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This topic comprises 2 pages: 1 2
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Author
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Topic: KDM Question
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Frank Angel
Film God
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Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999
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posted 06-30-2011 03:46 AM
quote: Danial Simmonds Lets say if the cinemas going to be playing a movie at 12:05 but gets a kdm that activates at 12:01, is it reasonable?
Personally, I think the whole KDM is unreasonable and quite frankly, a waste of a layer of technology. Maybe it makes a paranoid studio think they can better control the exibitor, but in reality, if there were no KDM and the D-print were set out so it would be run when the exhibitor opened the package JUST LIKE THEY CAN WITH THE FILM PRINT, then what do the studio execs think will happen? They are afraid while in the hands of the exibitor it would be copied? Like it can't be copied any other time once it is activated?
And it only could be camcorded off the screen, just the same way it can be copied off a film screen. It can't be copied any other way because already each D-print has gazillion safety interlocks, the drive is watermarked down to each indivitual copy, yes? The projectors can't be opened without them exploding or something, so what good does a KDM do, other than to aussuage the studios' already out-of-control paranoia about piracy AT THE THEATRE LEVEL (it's exhibition's fault).
What they REALLY need is to have KDMs on the digital intermediates and digital watermarks on the post-production facility's copies where the REALLY damaging, PRISTINE bootleg copies are made which wind up on the internet BEFORE it opens in theatres; and these are the indistinguishable conterfiet commercial DVD quality copies that wind up in hunders of thousands of video and on-line stores in Russia, China and other parts of the world, not the crap camcopies that no one freakin wants!
But I guess if it makes the studio turks feel better that they can force a theatre to run one of their major blockbusters when they dictate and that happens to wind up being without enough lead-time to do a proper quality prescreening -- let them get their jollies thinking they've really got it under control, because pristine copies NEVER wind up on the internet thanks to tight KDMs, do they.
All a few of the big chains needs to say is, if you don't give us ample time to prep a major opening by setting the KDM by at least a 12hr leeway, then we will hold that opening until the NEXT DAY. Let's see if the KDM is THAT important to a studio that it is willing to loose a Friday night of a big opening weekend. Bet that KDM will quickly be extended to plenty of time in advance of opening night.
But of course, exhibitors who HAVE that kind of power are greedy little chickenshits and will never press anything that vigourously.
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Carsten Kurz
Film God
Posts: 4340
From: Cologne, NRW, Germany
Registered: Aug 2009
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posted 06-30-2011 05:29 PM
Watermarking is visually and audibly undetectable - that's the whole idea about it.
http://en.wikipedia.org/wiki/Digital_watermarking
Watermarking is done on the image and on the audio.
When a rip is handed out to a service lab, they can decode the watermarking and trace it back to the specific cinema, screen and date/time it has been pirated. So the code is per cinema, per screen (media block serial), and timestamped.
The dots you mention are only used on film, it's a Kodak patent and is called CAP Code
http://en.wikipedia.org/wiki/Coded_Anti-Piracy
It was meant to serve like watermarking, at least during the first showings of a movie to trace down theaters where pirating would occur unusuably often. However, as you say, it usually can be easily detected visually, so if someone would want he could easily remove it before distributing a copy. That doesn't work with digital watermarking. They say visual and audio watermarking will survive all typical massacres of digital conversions. Wether that is really true, I could reveal to you - but then I would have to kill you.
- Carsten
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Terrence Meiczinger
Film Handler
Posts: 45
From: Orono, Me, USA
Registered: Dec 2008
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posted 07-01-2011 01:30 AM
quote: Ken Lackner Actually, you are right about the serial number. I stand corrected on that. But if the Ethernet connection between the player and projector is broken, then the projector would not be able to play encrypted content, correct?
The encryption is handle by the HD-SDI link between the projector and digital server, much like HDCP. So, pulling the ethernet connection shouldn't affect playback based on encrypted or un-encryped criteria. It may break playback in general, if the server no longer detects the projector for control purposes.
quote: Carsten Kurz That doesn't work with digital watermarking. They say visual and audio watermarking will survive all typical massacres of digital conversions. Wether that is really true, I could reveal to you - but then I would have to kill you.
Using a single source it is difficult to remove an embedded watermark, unless you have the transfer function, know where the watermark is, or deteriorate the quality such that the multiple markers are destroyed. We are talking hundreds of pixels amongst several million for video, so it is a good chance they will survive in at least one frame. The watermark could even shift on a per frame basis. I think audio watermarking is even harder to detect, let alone to remove.
If you have multiple sources, it is possible to use differential comparison to detect and distort (or maybe remove) the watermark. In a practical sense this would not work because two camcorder recordings from different screens would have so many inherit differences it would make differential analysis useless. But... as we've seen time and time again, where there is a will there may be a way.
That is my non-authorative understanding anyway...
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