From law professor James "Public Domain" Boyle: a thrilling, chilling tale of life in an "ecosystem" when the company can arbitrarily "upgrade" the devices you depend on for llfe and limb, while they're hurtling down the road at 100mph.
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From Melbourne's Astor Theatre, a harrowing tale of the way that the DRM on digital projectors -- intended to stop exhibitors from leaking high-quality videos onto the Internet -- can interfere with legitimate exhibition. Punishing the innocent to get at the guilty is never a good answer, morally or commercially. The most secure way to manage theatrical exhibition is to ban it altogether; the DRM scheme used by digital projectors comes pretty close to that "solution."
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 night. 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.
What Happened Last Night
(Image: Ozone projectionist, a Creative Commons Attribution Share-Alike (2.0) image from gawler_history's photostream)