DCP Marker Labels and Lighting Show Control

[James R. Skinner]

We have a small independant theatre. Recently we upgraded to a new lighting control system (ETC EOS Nomad) that allows us to send lighting commands from our DCP-2K4. I have created lighting macros for things like trailers, movie start, credits start, credits moving, and movie end. We can add these into our playlists to automate lighting. It works well.

I see that the most recent DCP specifications require that the marker labels FFEC (First Frame of End Credits) and FFMC (First Frame of Moving Credits) be present. Does that mean that both are present in most modern DCPs? When I add a lighting macro though the playlist editor it looks like I can add them 'from clip marker' which should make adding these maros really easy if they are present.

I assume that setting up these lighing macros has to be done every time new playlist is created. There is no way to set this globally once and always have lighing cues fire for FFOC, FFEC, FFMC, and LFOC? I can't image big movie chains are doing this manually but I suppose their management systems automate the creation of playlists and add show control automatically.

[Steve Guttag]

I see them on most Hollywood content (if not all). I also see incorrect ones...or my favorite...the end credits that are after the end of the content.

[Frank Cox]

Does that mean that both are present in most modern DCPs
Yes. Most of the movies have those markers now. Repertory titles and some of the smaller movie companies may or may not have them.

When I add a lighting macro though the playlist editor it looks like I can add them 'from clip marker' which should make adding these maros really easy if they are present.
Yes.

I assume that setting up these lighing macros has to be done every time new playlist is created.
Yes.

There is no way to set this globally once and always have lighing cues fire for FFOC, FFEC, FFMC, and LFOC?
Not to my knowledge, but I'm always willing to be proven wrong.

[James Gardiner]

The Markers in the DCP are only there for convenience. TMS or a DCI-Player can take advantage of them to fill in specific macros according to the marker. But it can typically be overridden, as they could be wrong, or just not suitable due to the site and how it works.

To a degree, its better than having to look them up in a KDM email or projectionist Email. It's a big reason no one reads KDM and projectionist emails anymore as, it's so automated now, people have stopped bothering.

ISDCF have been discussing the need for a more critical projectionist letter that is more likely to get noticed due to this trend. Send when there is actually detail the projectionist NEEDS to be aware of.
But I have not seen any movement on this idea.

I have not seen any erroneous Markers myself. Not from Studio films. Art house, typically don't have them at all. So you need to hunt them down.

[Frank Cox]

Art house, typically don't have them at all. So you need to hunt them down.

Or just watch it with a stopwatch in hand. If I get something that doesn't have a marker set or a note with it, I just time it myself.

"To the second" isn't critical when you're just cranking the lights up one notch.

[Ryan Gallagher]

Yeah the safest general use approach is to use existing or published markers as guides, but set your own clip markers that the automation actually watches for, especially needed for Indy/festival/classics etc.