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This topic comprises 3 pages: 1 2 3
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Author
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Topic: Copying DTS CD-ROMs
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Bobby Henderson
"Ask me about Trajan."
Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001
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posted 05-23-2001 12:35 AM
Well, I had a hunch it would happen and I was right. My friend Jack is in a bit of a pinch here regarding the prints of "Pearl Harbor" he is supposed to receive in the next day or two. He needs more than one set of DTS discs per print since the higher ups want him to interlock two prints across screens 3, 4, 5 and 6. The distributor is now only promising one set of discs per print (which I kind of suspected in the first place). So he needs me to make a couple CD-R dubs on my computer. On the surface it would seem pretty easy. But, having the experience I have with computer systems, I know all kinds of snafus are just prone to rise especially if you have a deadline to meet. To complicate things, my friend's theater already has ads on the radio selling his engagement of "Pearl Harbor" with the claim of DTS on ALL engagements --which goes to compete against the new Dickinson Theaters build opening up this week (which was supposed to have digital on every screen, but actually only has 2 DTS units and Ultra Stereo on the other 10 auditoriums). Jack's theater will have the better sound, but I need to help him do it. Having analog on any of his shows would be an embarrasment, especially with how good his auditoriums sound playing DTS. Sorry for the long winded story.I know some of the fellows here have been successful at making CD-R copies of DTS-CDs. I'd like to know any kinds of "gotchas" to watch out for in making CD copies of DTS cinema CD-ROMs. FYI, I'm using Adaptec EZ-CD Creator 4 software. It usually does fine when directly copying music CDs and even data CDs with the CD Copier utility. I'm just wondering if there is anything that might prevent such a run-through on DTS discs. I know these are "data" discs and not in LPCM music layout (like a DTS audio CD would be structured). But any kind of procedural help on the part of the participants of this forum would be highly appreciated.
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Paul G. Thompson
The Weenie Man
Posts: 4718
From: Mount Vernon WA USA
Registered: Nov 2000
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posted 05-23-2001 01:00 AM
Although it can be easily done, I would check with Karen at DTS to see if permission can be granted to copy the disks. I personally would not do it without permission. It is not worth it. Heaven only knows what kind of copyright laws DTS has to follow.
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Bobby Henderson
"Ask me about Trajan."
Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001
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posted 05-23-2001 09:27 AM
Yes, there is no problem regarding the number of DTS players in the theater. The Carmike 8 has 7 DTS units, with an 8th DTS unit apparently on the way (either in the form of a DTS-6AD or a DTS-6D packaged with a Smart 5.1 capable cinema processor).I too would be surprised if DTS, or the film distributor (who actually holds the copyright on the audio contained on the disc) would have any problem with dupe CD-Rs made. Such CDs are completely useless without the film print. DTS cinema CD audio gets the corresponding film title number, reel number, frame number and other synch information from the time code on the print. The first two DTS movies ("Jurassic Park" and "Heart and Souls") did not have the film ID information so you had cases of dinosaurs roaring in a mild supernatural comedy. That can't happen now. You have to have the correct discs and correct film print for the audio to play at all. Anyway, the plan is to just throw the CD-R dupes in the garbage once the interlock showings of "Pearl Harbor" are finished. If the "Pearl Harbor" prints don't come in today, I may try a dry run using discs from the one show on screen 7 that has no DTS player at the moment. The idea of dubbing the CD image to the hard disc sounds pretty good. I have plenty of space (80GB HDD divided up into 2 logical 40GB drives).
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Scott Norwood
Film God
Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
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posted 05-23-2001 11:43 AM
The "music" CD-R disks are no better or worse than regular CD-Rs. They exist only because of lobbying efforts by the RIAA to intentionally cripple standalone (non-computer) consumer-grade CD burners to prevent them from writing to standard CD-R media. The "music" CD-R blanks are more expensive because part of the cost is a "tax" which is distributed to RIAA member record companies in order to ostensibly defray the cost of making unlicensed copies of recordings whose copyrights are owned by RIAA members. Of course, this leaves out the possibility that many consumers might want to use their "fair use" rights under the US copyright law to make the permissible single backup copy of copyrighted works or might even want to copy music to which they own the rights (for garage bands, etc.) or which is in the public domain. Also, unlicensed copying of music owned by non-RIAA members is not addressed.
Sorry for the rant. I'm totally against copyright infringement, but I also believe in the concept of "fair use" (for example, my right to make a tape recording or CD compilation for use in my car or in a portable player of recordings which I already legitimately own in other formats). I also disagree with the idea that the RIAA _is_ the record industry (it isn't, and primarily exists to represent the interests of the major labels and not those of the smaller record companies, who may well suffer even more from copyright infringement). I guess this whole thing just sort of irks me because it has been demonstrated many times that copy-protection schemes for software (computer code, music recordings, etc.) don't work; they don't solve the real problem of the big-time pirates, yet they do succeed in annoying legitimate users who want to make use of the software within the allowed constraints of "fair use."
Note, also, that professional-grade standalone CD-R units do not require these special disks, just as professional-grade DAT machines (which, today, includes pretty much every DAT machine in current production) ignore SCMS coding, which was the product of a similar RIAA lobbying effort. As it happens, SCMS pretty much killed DAT as a consumer format, and is easily bypassed, as anyone who knows people who collect (legitimate) Grateful Dead or Phish bootleg tapes is fully aware.
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