Cool. So, hi guys. I'm Mehdi. I'm going to talk about the App Hub. I'm going to talk about the new published workflows we've been working on, which will hopefully allow you to publish updates through your CI and CD pipelines. I'm going to talk about the App Hub Guidance, which we've updated very recently, and that, well, you should follow when you submit to the App Hub, and I'll walk you through that. And I'm going to talk about new updates, so things that we've been working on, new features, a new user experience, and how that's going to affect you. So, published workflows. I'm going to talk about the existing workflow of uploading apps directly through the web interface, and I'm going to be talking about the upcoming feature, but we're very happy to introduce very soon hopefully, which is using the D2 command line utility to publish your apps directly from either your CI, CD pipeline, or maybe even manually from your machine, which is a workflow very similar to what you may have with the experience through NPM and maybe some other package managers. So, the current workflow that some of you may have experienced is using the web interface of the App Hub, where you see the screen, where you've got four sections, your general, version, developer, and image sections, and then provide the information manually. Now, of course, the obvious information will be similar for all of your apps, like your developer information should be the same for most of your apps if you're part of the same organization, maybe even some of your logos and screenshots are very similar, and then your version information, as in the minimum, and maximum DHIs versions might be similar across applications. So, I wanted to standardize this workflow to make it easier for you guys, and we've introduced API keys as well as the D2 publish tool, which I'm going to walk through now. So, before we can discuss these tools, I'd like to talk about the new API key screen of the App Hub. So, if you go on the sidebar, you should see an API key section, which will invite you to generate your own API key that can then use to talk to the App Hub. And this API key will be, well, first of all, it should be treated as a password. So, each user, so each App Hub user, so that will be your own account on the App Hub, gets its own API key, and that key lets you do pretty much anything that you can really do through the web interface. And because of the power that comes with it, it should really treat these keys as passwords, so please don't commit them to any public repos. Store them as a secret in your CI pipeline. Most pipelines allow you to do that, and, of course, if you need any help setting that up, feel free to contact me and I'll try to help you out with that. Now, currently, you get one API key per user, and we're hoping to make that more granular in the future. Maybe multiple API keys per user organization. Then you can really separate your different roles and responsibilities. So, if you have any feedback about how you think that should look like, please feel free to get in contact with me. So, this API key is very important for an upcoming feature which is publishing through the D2 utility, and you will just be providing that API key as an environmental variable to the script, and that will allow the script to just talk to the app directly without having to use the web interface, and then, of course, it will make it much easier to integrate with a pipeline. And this new published script uses the configuration in your D2 config.js, which should already be present in an app platform app. If you're using a, if you're not part of the app platform, sorry, if your application is outside of the app platform, you'll probably have it manifest, and we recommend just moving to the new D2 config and then using that. And through the D2 config, you can specify your app version, your minimum DHIs version, maximum DHIs version, and have information that you normally provide in the web interface. And this script is very similar to existing JavaScript tooling like NPM, so some of you may have used NPM published before. Our tool is pretty much exactly the same. It just takes your app, creates a bundle, and then uploads it to the app using the API key. We're hoping to release this very soon. We've got a PR open that we've been working on very hard lately, and we're just hoping to make some finishing changes and push it through. And yeah, so this new script will allow you to integrate your publishing workflow with your CR and CD, so doing it manually. And what we recommend is having one branch for the stable version of your app that you think should be published via pub, maybe another branch for your development work, and then having a workflow take that stable branch and then just publishing every commit using the published script. It's very similar to what we've been doing for our repos where we tag each release, have a version and publish to NPM. So if you guys need any help, we've really got that experience that can help you guys with. Now, the submission process. So we're submitting an app to the app hub team. We'll first be pending. That means that only you can see that app, and then the app hub team will be reviewing that app within the week or two. Normally it only takes us a week or two to actually get to apps and review them and provide feedback. And all we do is check whether the app is suitable and that you follow all guidelines. Once an app is approved through each version, it does not require a review. So don't worry if you need to get a bug fix out quickly if that's not a problem. And a game rejected isn't that big of a deal. It just means we have some feedback that will be incorporated and then we'll review as soon as that's dealt with. So to help us make reviews as quick as possible, please document your apps very clearly with killer names and descriptions. You can actually understand the purpose of the app and what we should be testing. If you can provide example use cases or example data, it's very useful as well. And even more preferable is linking to your source code. And that would be your unminified uncompressed source code. So you can really look at how it works, how it communicates with instances, and help us provide better feedback. And of course, up-to-date contact details allows to email you much quicker and get that feedback that you need to get your app approved much faster. Now I'm going to talk about the submission guidelines which has two sections. The first one is for required information and the second one is a wider range of guidelines but I'll walk you through that in detail. And of course the guidelines are available online. The latest version is available at this link on the developer portal and since the documentation is open source if anything is unclear please just you know, follow the reaper, make your changes and submit pro requests. We'll be very happy to review your changes and try to make the text more clear. Now required information. So I'm going to be walking you through any information that really absolutely must be included for us to prove an app. First of all is the app name that should be very clear and descriptive. Try to capture what the app actually does in just a few words. Have the users browsing the app hub on exactly what they're looking at. And try to avoid things that are very similar to other apps available both on the app hub and provided by us. That way it just makes it easier for users to it makes them less likely to be confused with other apps and it's just better overall. Now the your app icon. By making a unique app icon, you'll make your app really stand out on the app hub. And it allows users to once they've installed the app differentiate from the others in the application menu. So it's actually quite important to be unique. It doesn't have to be a work of art. We just want something that is very clear and unique. And your description is also important for users that actually want to explore what your app does on the app hub. So once they click through I'll see your description. This is pretty much the first thing they see. And it should just answer two questions really. What does this app allow the user to do and who is it useful for? We've also got screenshots and source code as part of our required information guidelines. So screenshots are just two to three images of most important screens of your app. We cannot put as many as you think are useful. We don't really have a limit. But there's no need to show every screen. Just focus on the main ones and try to show any example data if you can. Place all the data, since empty screens are very useful. Your source code. So if you can provide a link to your source code on maybe GitHub or GitHub or any other public platform that will not only allow us to review your app much quicker but allows technical prospective users to really explore what your app does and if it's correct for their instance. Now another guideline we have is that it should be generic. So they should be able to run any DHIs to instance within their specified range. So there shouldn't be any weird custom implementation dependencies or other things like that. Your dependency should all be open source as well. So of course when you think your code maybe on GitHub or GitHub should be able to see all your dependencies. This is clearly there should all be open source with correct licenses. So that is that if you can relicate to third-party services, they don't have to be open source. But please mark it very clearly in your app's description that you do talk to third-party services. And of course we have a design system where we lay out the principles and expect user experience of our apps and we expect your apps to follow them too. Now to make that much easier for you guys we've created a DHIs to UI package that has already made to react components to implement the design system completely and all of our apps use it. So I recommend that you guys use it too and I'll just make everything much easier. Now if you're using the app platform you might have noticed that we insert the header bar component automatically. But if you don't use our app platform then please include the header bar component that way all apps will have a consistent menu and information at the top. Of course you need some documentation as well so if you could provide a user manual or any other kind of information explaining to users what your app does, how to use it, how to get up to speed that makes reviewing normally much quicker and makes it more like for others to use and contribute back to your app. Now we had a workshop on security and performance. I'm going to go through this kind of quickly because I recommend you look at the workshop for more detail but essentially our security guidelines are the same as what we've discussed before or apps should be following up-to-date security best practices. You should not be hard coding any passwords or usernames and please avoid a data store, try to use a user data store which limits who can access the data and of course please use cookie authentication instead of basic authentication that way we can leverage the existing login and workflow that we've created and regarding cross-site scripting if user reacts you don't really need to worry but without frameworks make sure you've enabled all protections. Now on our app hub guidance webpage we've listed out the security requirements in much more detail along with any tips that we have. Now performance, same as what was discussed in my workshop yesterday, please use pagination. Some instances we have a large number of users and organization units unfortunately but through pagination we can work through that and make sure our apps work everywhere and please don't assume it fast on stable network connection and that's why we recommend you specify the fields you need from the API and that will significantly reduce the bandwidth required by your app as well as making it much more snappy. Now updates so we've got a new redesign of the app hub coming through and through that a new user experience that should make it easier for both users and app developers to submit and examine apps so we're very happy to be providing you that in the next few weeks hopefully, maybe even by next week and with that we'll also be providing a new app management app in the next DHIs to release because we're really focusing on investing in the app hub making it a better platform for app updates both from our side and from the side of external app developers so we're really much looking forward to those updates. So that's it from me.


I'm Mike. I do digital cinema for a theater. Thanks for coming. We're going to be talking about digital cinema's technology and security. Many of us have sat in theaters who likes movies. Have you ever wondered what's up in the booth? I will speak closer to the mic. Has anybody ever wondered what's in the booth? What's going on up there? I remember being a kid looking up, wondering what was going on. Up until recently, we've been doing film. 35mm film is the standard. There is some 70mm stuff. You can still see things in IMAX. Image has an upgraded munch over the time. Mostly come up from black and white to color. It's about it. Sound has gotten better over the years. I went from analog to digital. Here we are with film. A little bit of the Mach 5, Mach 6. Couldn't tell the difference in the movie. They were moving too fast. On the sides here, you can actually see some of what else is going on in the booth. Up here, these dots and dashes are DTS timecode. We're syncing up with 6 track CDs. If you're watching a movie in DTS, that's where you're getting your sound from. There's the analog soundtrack. Tough as nails, about like an audio cassette. It's our absolute fallback position. On the sides is Sony SDDS. It's almost a dead format now, although they're still releasing things in it. Then there's Dolby, spectral recording digital or Dolby digital sound. In between the sprockets on one side, and if you look closer up in the left-hand corner, you can actually see the Dolby double D's imprinted there. It's a 174 by 174 array that has the sound information for that frame. Problem with film is, has anybody ever been in a scratched movie before? Did it suck? Yeah. Film can be damaged. It's heavy. 70 pounds on average for one two-hour movie.  The security measures for getting a printout, a big Batman or something like that that's coming out, they're going to give you a code name for the content. It won't say Batman on the thing, Spider-Man. When it came out, it came out as Iguana. I don't know. I'd miss that one. They do separate shipments. They ship half the movie in one can through DHL and the other half of the can, or the other half of the movie through UPS just to keep it separate. Mike put Lux on the cans. How worried are we about that one? Enter DLP technology. Actually built in 1987, so it's been a long time coming bringing digital to our screens. First major release was in 2005, and this is the chip that does it. I'm holding it up here in my hand, which you probably can't see too well. Maybe some size reference here in just one moment. This is 2048 pixels across and 1080 pixels high for a grand total of 2,211,840 mirrors in an array that is that size. That's pretty small. How tiny are the mirrors on the thing? The gap between the mirrors is one micron. This is actually a needle in front of it. You can't use a regular microscope. This is a scanning electron microscope that's viewed this. We go a little bit closer. Can anybody tell me what that thing is on the center there? Salt. One grain of salt will cover a 12 by 12 array or 144 mirrors. Then we get even closer here, and you can actually see some of the difference between which way they're tilted. A human hair, plug it off your head, set it down on top of the thing, end down, other end up would cover this many. A 4 by 4 array of mirrors. So we're talking very, very tiny. The mirrors themselves will shift either to an on or off position. A 12 degree movement. In this picture here we've got a light source bouncing the light off the mirrors and going to what we call a light dump. It's basically just a heat sink when you're not putting things out through the lens. We moved two of the mirrors though, 12 degrees toward, and we're actually coming out of the lens creating two pixels on the screen. And we can add the third. Makes it fairly easy. The DMD chip here, each of the moving segments, if you keep it off most of the time, you're actually going to make a darker gray pixel. If you turn it on more of the time, you're going to get a light all the way up to a white pixel. Each one of these mirrors, remember it's 2.21 million mirrors, can move individually up to 5,000 times each second. And because there is no weight involved, because they're so very tiny, you can do it millions and millions and millions of times and it won't make any difference. The stuck pixel problem is very, very, very rare. So it's a pretty robust technology. This is what it actually looks like inside a projector. We've got a light coming up, what we call the light pipe. It's a mirror that aims it up into a prism. The prism is six elements, dichroic, and can split off the red and send it over to the red DMD. The green, send it off to the green DMD and the blue off to the blue. Then it bounces the light out to the light dump off of each of those or recombines the image and puts it together to make a color image. So if we wanted a purple pixel on the screen, the green would turn off and the red and the blue would turn on. And then depending on what shade of purple we wanted, the mirrors would flutter to give you that color. The colors themselves, we have a high degree of control over what's going on. And so on the CIE color chart, we can actually tighten it down to within one or two thousandths of a point on the CIE color chart. So that when Michael Bay is in there doing transformers and he has Optimus Prime being these few colors, that's exactly what you're going to see in digital cinema. It's very cool technology. The red DMD is positioned right above things. The green DMD is around the back and the blue DMD is down on the bottom. And that's the lens facing toward us. A couple of digital cinema projectors that use the DLP standard. On the far left is a Barco. Bottom right is an NEC and the top right is a Christie. These are the only licensed digital cinema projectors using the 3CIP DLP system. There is one other digital cinema standard out there. It's called Sony SXRD. It's a completely different technology. It's liquid crystal on silicon. I don't have any of these so I don't know too terrible much about them. The one thing that's cool is you got standard definition, what you would look at there. DCI 2K is digital cinema through DLP chip and the 4K digital cinema is what that Sony SXRD projector can output. So it's a much higher resolution image. The problem is, you know, DLP you're running off of these little mirrors and, you know, there's only so much heat it can take but it can take quite a bit. Unfortunately the Sony SXRD cannot take a lot of light so you're reduced to a sub 45 foot wide screen. So you've got fantastic resolution, itty-bitty screen. It's cool. I just don't think it's there yet. Digital cinema distribution. We talked about the cans before. There are multiple methods of delivery in digital cinema. You can send me a hard drive. 300 and 500 gig drives are what we normally get, SATA drives. We can do a network transfer. You can actually send it over the internet if you want. Satellite delivery is kind of brand new. We've received a few movies that way and it's actually quite cool. We're using spare bandwidth on the birds so it's actually quite cheap for us. But it is an effective way to transfer. No locks, no subterfuge required. The content is encrypted. We're going to talk about that in just a second. Just a little bit about the content itself. A DVD, 4.7 gig, Blu-ray disc, 50 gig. Average D Cinema movie is about 150 gig. We have some as low as 60. The largest one we ever had was the last Pirates of the Caribbean and that was 320 gigabytes for the entire movie. This is how it works, security. The content is stored in a rate array and is sent to what we call a media block or you could read it as a decoder. These could be in the same box. They could be down the booth from each other or two boxes sitting right next to each other. The media block decodes the video and audio portion of the content and sends the audio up to the audio processor. Digital Cinema Standard is 16 channels of uncompressed audio. If you watch a show and film, you're probably about at a 96 to 128k kbps mp3 file. It's about the compression level. This is completely uncompressed so you go to a digital cinema. It's going to sound bigger, faster and stronger. We're not using all 16 channels. 7.1 is the standard for most things and that's all in the first eight channels. Then there's hearing impaired for inside the theater and descriptive video service for the blind. The video is sent out on two dual link HD-SDI high definition serial digital interface cables. You've got ten bits of color information on the first cable and just two bits of color on the second cable. The color space is exactly equal. There are four bits for red, four bits for green and four bits for blue. When the content is leaving the media block, it is actually re-encrypted with something called Centrelink 2 and sent over those wires and the decryption key for that is sent along the ethernet cable going to the projector. You can't just plug it into something that could record HD-SDI dual link. Then there's a separate layer of encryption that's running underneath that that we're talking about here. In digital cinema, in the media block, to play a piece of content, you've got to have a SHA-1 256 key correctly addressed and unlockable. The correct date range, we're given a KDM, it's an XML file that gives us a specific range. We're going to show a slide on that in just a moment. It's got to be the correct content. I've gotten keys for a film, I've gotten the movie itself and they don't work together. Interestingly enough, they sent me the keys for the French version of the film and I'm in the U.S. It doesn't work. There's also no tampering detected in the media block itself. These things are locked down very, very tightly. FIPS 2 Level 3 security and it basically all of the decoding happens on the one system that I'm very familiar with. In the center of a board that has 14 layers, 7 on the top, 7 on the bottom, anti-tampering material. If any of those layers are breached, it'll shut down the machine and wipe the private key in the system so there's no way that you can get at it there. In the projector itself, I talked about that underlying security there, there is a second Shaw 1-256 key that lives on that machine that has to agree. A secure connection to the media block, no man in the middle attacks or anything like that being detected and no open access panels. They actually have it fairly well locked down so you can't get to the parts of the machine that do the actual decoding when the thing is in operation. It's pretty tough stuff. When the security breach is detected, it will delete its Centrelink keys and jump you to static on the screen. So if you see that in a theater, you know that's what happened. And sometimes that's a network error of some kind. The Centrelink keys when they're transferred are good for 4 hours, but they recycle in 2. So theoretically, you're never going to run out of a Centrelink 2 key. KDM or Key Delivery Message, this is the XML file that is transferred to the theater. So if I've got 10 screens in a complex and they're all digital cinema, I'm going to get 10 of these files. If we look here down at the bottom, what just turned blue, content keys not available before 2008, 808 at 6 o'clock, and that's UTC time. I just generated this one to make it look like it was, you know, DEF CON. And it will not play past 8.10 at 10 p.m. on UTC. There is no way past this. They put very, very expensive clock chips in the machines. In the system that I know very well, you can make a 5-minute time change every 2 weeks. So there's no way to just rev your date back and play the content all you want. What's turning red now, the composition playlist. This is actually talking about the individual content that we're going to play. It's got a universally unique identifier. That's URN, UUID, D12, blah, blah, blah. So each film is generated and given one of those. And then the content title text, I've named this one DEF CON. It is a feature film. It's presented in scope, which is the wide aspect format ratio. It's in English with no subtitles. It was generated in the U.S. It is NC-17, because we all know it is. 5.1 sound after that. So that could be 7.1 or 2.0 if it was stereo only. 2K Digital Cinema, if you remember, back that it's 2048 mirrors across. We call that 2K Digital Cinema. So that could be 4K if it was in a Sony house. The title of the studio that generated it and the date that the content was generated and who generated it, which was me. Above that, I'm not going to change the color on it, but you have X509 subject name. That's actually addressing the media block that's inside the machine. So you see that there's the hash, the TRX-E7, and then some information about the player itself. In this case, we're talking about a Dolby DSP100 Dolby Show player. There are a couple other security measures in Digital Cinema, mostly to help them search for pirates. Forensic Marking, DCFM, is a distribution channel forensic marking. How many of you like Transformers? This was Ratchet, he was at the Show West convention. If Ratchet is sitting there in a static shot, they will actually take and put an image on that, in this case, the 681. This isn't a real-world example. They can put a 681 and they can identify and track that back to a specific distribution of the film. So this is one method that they use to help find where a movie came from. The other one is a forensic marking, a play-out marker. How many of you like Batman? Good stuff, huh? This was at Show West also. I have several pictures of this and it was just awesome. They've got you looking at the bat pod. But over on the side, they've actually put some dots, which may or may not show up too well on this screen, and that's actually giving them information as to date and time that it was played. They have several of these running in different sections of the movie, and so by adding them together, so say that somebody recorded with a video camera in the theater, they can actually piece this together, and there are a few other methods. There's some audio water marking as well. So the last film that I heard that was pirated straight out of a U.S.-based theater, they knew within two hours what time, what location, and what was played, and I assume that they would subpoena credit card records at that point and try and be able to get the information or watch security footage to be able to try and find the person who's actually... We'll take questions in just a little while. So it's very, very locked down. Is it bulletproof? That content isn't going anywhere. But really with the pair of Shaw 1256 keys, the few other things, I mean, how many of you here have a machine that can take dual-link HDSDI? It's very difficult from the exhibitor standpoint or someone who has physical access to the hard drive to actually use it to pirate the film or whatever. The other problem is that because all of the security is happening inside the box, you never know when one of those play-out markers or DCFMs is going to happen. So you don't know what sections you're going to have to blank out if you're talking about stealing a film. So hopefully the studios will find you. That's their hope. 3D technology is getting big though. Has anybody seen a digital cinema 3D movie? Okay, we've got a few here. How many of you have just seen 3D movies any time in the past, you know, 20 years? Okay. Did you like it? 3D was a gimmick. It really was. And it's come back and it's gone away and it's come back and it's gone away. In the previous iterations of 3D and aglyph technology, how many of you have worn glasses like this? Okay. Two main issues, okay. So here's this image that's up on screen. And because film is a mechanical process, it's shaking a little bit. Up, down, left, right as it's going through. It's not much, but it's noticeable and it gives you a headache. It drives me batty.  They really do.  It's a pain and you end up with a headache, am I right? Okay, so how digital cinema fixes this problem? In digital cinema, the spec is that you can have one quarter of a pixel's shake and be okay. So you think about how very small a pixel is, one quarter of a pixel shake. It's really not noticeable, especially when you're a little waist back from the screen, which hopefully you are. So we fix the shaking problem. The other thing that filmmakers have realized is, yes, it's 3D, yes, we occasionally want something to come out and eat our heads. That's cool, but you don't need to do it every 10 seconds. So what they do is they put, like in this image here, they're going to have a plane in front of the screen that things will come out to normally, and it's not very far, and they're going to have some depth to the screen. So it's more like you're looking into a box with a whole lot of immersive stuff going on. It's a much better way of doing things. There are a couple of different companies that make 3D technology. We're going to talk about each of them. I'm only going to spend a brief moment on active glasses. This is when you have a 3D image projected on the screen.  I don't like active glasses technology, mostly because I think that if I'm watching a 3D film and the fricking batteries run out, I'm going to have to get up, walk down the aisle, go down and find the dude and say, ''Batteries! I'm missing the movie!'' And they're going to go, ''Oh, yeah, I think we got somewhere in here.'' It's no fun. So I am not a fan of active glasses technology, and they don't even really make them rechargeable.  It's not very cost-effective, anything like that. So I am not a fan of active glasses. Circular polarization, though, is cool. How many of you have polarized sunglasses?  That's straight across polarization. Digital cinema uses circular polarization in most of its designs for the 3D. So what we're actually doing is the left eye is circularly polarizing in a counter-clockwise direction, and the right eye is circularly polarizing in a clockwise direction. This way, if you're bored with a section of the film and you go like this, it's not going to futz the 3D for you. Don't ask me how circular polarization works. I've been trying to figure it out for a really long time, and nobody can explain it to me. It's just one of the principles of light and how it works. Unfortunately, a lot of people aren't going to spend $200,000 for a projector, or for a pair of projectors. Most of my digital cinema projectors are about $100,000 apiece, and I don't want to buy two of them and set them one over top the other to do this. So there's a company called RealD that has come up with what's called a Z-screen. And this is a widget that polarizes left for the left eye and then snaps quickly to polarizing right for the right eye. Here's an image of it here. I hope you can see it. So it's just something that sits in front of the lens and does the polarization very, very quickly. It's probably a good moment to say that most film, and if you go to a regular 2D digital cinema, or you go to a film show, you are watching it at 24 frames per second. Regular TV is 29.97 frames per second. And it looks just great to you. Unfortunately, 3D starts to get a little bit jumpy when you're snapping back and forth doing polarization. So we actually ramped this up to three times the frame rate, which is pretty darn cool, I think. So you got way much more information being passed through the system just to make you a really good 3D image. RealD, first major 3D commercial digital cinema out there, and they have the lion's share of the market right now. So if you go see a 3D film, I know many of you probably went to Hannah Montana. Maybe not. Wrong crowd. This is probably how you saw it. These glasses are plastic, and that's why they're disposable. They do not cost much money to make. Dolby 3D is brand new on the block. They're using a technology called Wavelength Multiplex. It's licensed from a company called Infatech, and it was originally designed for and by the engineers at Damler Chrysler to help them 3D model parts and cars so that their engineers could see what was actually going on and kind of walk around a vehicle. Pretty cool technology. These glasses, they're using a electroplated material on the glass lenses, so we're out of plastic now, and it's 50 layers of material on the glasses themselves. It's a very intensive process to get this right, and thus the glasses are reusable and not disposable. We will collect them from you at the end and wash and sanitize them and use them in the next show. The way this works, jump here. Standard projection. If you're watching a 2D film, you've got the full range of red, green, and blue color over top or running out of the lens. It's interpreted by your eye, and you make an image. Dolby adds a 3D filter, which is essentially the complete opposite of both of these lenses, and is fractioning out the color information. We've got the left eye and the right eye here. You can see the dotted lines behind is the regular 2D spectrum. What we're doing is we're fractioning out half of the color information into each eye. Once that's gone through the lens, bounces off the screen, is essentially refiltered, unfiltered, defiltered by your glasses and is presented to you exactly how it's supposed to be. The nice thing about this technology is that it's working with the way your brain interprets color as opposed to circular polarization, which is using a principle of light. You're going to get way less headaches with Dolby 3D. It's the most expensive technology that's out there because the glasses, it's an initial outlay of several thousand dollars to get enough glasses to fill a theater. But it's pretty cool. Also because we have such high control out of the color space, we can retime the color being projected by the projector for the left lens to compensate for the fact that the filter wheels in it and that the eyeglass has this color filter and do the same for the right eye, so Optimus Prime still looks like the exact same colors of Optimus Prime that Michael Bay saw. It's very, very cool technology. Now the question, which is better? Everybody's brain works a little bit differently, so some people like Realty better, some people like Dolby 3D better. I'm a Dolby fan and help play along with the engineering that helped make this work, so I'm actually going to say I'm a fan of Dolby 3D, but here's my reasoning why.  It is actually physically changing an image. It's an actual image being projected by that lamp, and I don't think that you are not going to lose a little bit of fidelity with that. Dolby 3D, since it's back inside the projector just forward of the lamp and right behind the DLP engine, which is where all the magic happens, that by just changing light, you're really affecting the outcome of the image. So I think that Dolby 3D is a much better solution, and I used to get headaches. I go to a Dolby 3D show, I'm perfectly fine. What's coming in 3D? James Cameron, one of the leaders of the 3D spearhead, is coming out with a movie called Avatar, coming in 2009. This is a rumor, but it's a pretty good one. How many of you would like to see Transformers 2 in 3D? Some interest. Probably have to see a 3D film first to make sure. The Hobbit reports that Peter Jackson is filming with 3D cameras. Well, not Peter Jackson, sorry. I think Lord of the Rings, and I just think Peter Jackson. Parts 1 and 2, releasing in 2011 and 2012. They're also going to do the conversion it sounds like and re-release the Lord of the Rings in 2013, 14, and 15. So we'll have five years of Lord of the Ring goodness. Robocop 3D. They're actually going to repurpose this one. They're going to take it and re-engineer it and make it go, and you can go see that fine film in 3D. How about Ghost in the Shell? Anybody interested in that? Ghost in the Shell, 3D, come on, be awesome. How about Star Wars? Anybody interested in giving George Lucas some more money? I have seen test clips from episodes 2, 3, and 4. It's awesome. I don't normally pay for movies because I can just walk into them. I'd pay to see this stuff. Episode 4 was probably the coolest.    And then the clip ends and you're like, let's watch it again. The episode 3 clip that I saw was the initial battle at the very front of the movie, and that just looks stellar in 3D. So it's going to be a lot of fun. No, no release date yet. George Lucas is sitting there waiting for some magical number of 3D installations before he sends this out. Nobody knows what that magical number is. So we just added two screens 3D within the last couple months, and it's getting bigger and bigger and bigger because there is so much more content coming down the pipe. I didn't list them here, but out of the next nine or ten Disney films, eight of them are going to be in 3D. So with the filmmakers and producers getting behind it, it's getting to be much, much better. We've also got Alice in Wonderland, Tim Burton doing that one in stop motion animation and will be in 3D. Most of the places, if they've got 3D for the last four or five years, Disney re-releases Nightmare Before Christmas. If you haven't seen that in 3D, it's awesome. I think it's absolutely cool. So check online, and you'll see that a lot of people are coming out with 3D content, and it's really going to be a lot of fun. It's a much more immersive experience, and I just find it rather enjoyable. So here's the question, where are the best 3D presentations found? You kind of have to do your research on this because I can't tell you in Omaha, Nebraska, where to go or anything like that. Find out what 3D system they're using or ask around. Dolby, I know, puts up a list of where all of their theaters are on their website. Every theater installed with Dolby 3D. So you can head that way and try out a couple of RealD and Dolby 3D and figure out what works best for you.  There is also alternative content coming. I know you guys are excited. Metropolitan Opera. Yeah, we're playing that every once in a while. Charge like 15 bucks and come see the opera. There you go. Have fun. No. We're also doing sports events. The Dallas Mavericks have actually shown some of their games in other theaters, or in theaters in the area in 3D. I think that's actually cool. I think the idea of getting together with a few friends and going to see the game, Super Bowl or something like that, just sitting at the theater. It's there in 3D. You get to enjoy it. I think that's a great deal. The only thing that's really kind of hampering this is, of course, marketing and legal contracts and that kind of thing. U2 3D. Did anybody go see U2 3D? Not many. Okay. Did you have fun? Okay. Concerts I like in digital cinema or in 3D, preferably 3D. The idea of bending an arm and a leg to go into a movie theater and watch a concert may seem a little bit strange until you're realizing that you're spending 34 arms and like 17 legs to go actually see the person in concert that you want to see and you probably have a bumseed anyway. This is going to get bigger over time. U2 3D was kind of the test balloon for it and there was a whole lot of people who just absolutely loved it. So I think those are going to be coming more and more. If you're in any way interested, some places let you play Halo 3 on their screens. At my theater just Friday night, we took over, I think it was eight screens and you could split it into the four person view or if you wanted to pay a little bit more money, you could have the screen to yourself in a theater, 5.1 sound, 1080p. One quarter of the screen for one hour is about $20. It's not great, it's okay, but we have a lot of equipment that we actually have to set up. We have done it all the way up to, I've got one complex that has 12 theaters. We have taken over the entire complex, all 12 screens, people networked together playing games against each other.  So check local listings for that. I'm about done, we've got about, you know, seven, eight minutes. Question. The question is, do they have to do anything special with 3D or is it, you know, is real D1 thing and is Dolby 3D another thing? Great question. The content is either filmed with a stereoscopic lens, so there are two lenses recording simultaneously and then it's just put together by a computer. The Dolby system can take that natively. To use real D, you're actually going to have to do a process called ghost busting and it makes some changes and gives you some Z-axis information that that system uses to produce its image. But no, you can take really any 3D source and make it work. The other thing that you can do, like in the case of Star Wars, you know, Episode 4, he wasn't filming with a stereoscopic camera. That's actually an engineer or an editor going in and creating the Z-axis information and putting that all together so that you can have, you know, Han Solo sitting here and, you know, Chewie right next to him and Luke behind him and it looks cool. Getcha? Anyone else? IMAX is a completely different deal and as far as I know there's no digital aspect to that. There is what's called a DTAC that's running the audio for the IMAX and if they've threaded slightly wrong, it does take a while for it to catch up and do it right. I don't know too much about the IMAX standard so I can't help you more than that but that's probably what happened. It's not a digital picture, it is digital audio though. How does it work if you're in the center of the room? Great, if you're in the side of the room, maybe not quite as great but it's very, very good. The interesting thing is that the real-D glasses are completely flat lenses. Dolby because they were doing it, trying to do a much better job. They used glass lenses and these are actually curved so no matter where you're sitting in the theater, it still looks accurate to what you're seeing. So theoretically you could, oh sorry, could you do this on an LCD TV, the Dolby color shifting or having the color information? Theoretically you could, just to make this work in a digital cinema world is thousands of dollars worth of glass. I don't want to give out the actual cost of the thing but it's very cost prohibitive and you'd have to have a digital cinema thing or set up anyway to be able to play it back. Simpty, one of the standards boards, did actually just announce that they're putting together a task force to work on a 3D technology for home use but it was just announced a few days ago and so it's going to be at least a year or two coming, I would think. What percentage of screens are actually digital now or moving to digital? It's ramping up higher and higher and higher. A lot of people are realizing that they have more control over what they play, where they play it and all that so the exhibitors are really starting to jump on board. Out of my screens in my theater complex I'm at about 87% digital now so the lion's share of our fleet is already there and it's just going to keep going. The rest of the nation, it kind of depends on the area you're in. If you're in a large metropolitan city you're going to get 3D and you're going to get digital cinema. I know that Regal is very, very into it. Carmike is doing quite a bit as well. The big dogs are leading the pack. Some of the smaller groups are having a harder time because the projector is $100,000 by itself so it takes a little while to build up that capital and make the jump. Are we worried about denial of service attacks and someone with the short time and the keys breaking something? Not really. All of the projectors that I have have no direct connection to the internet whatsoever. They're connected to a satellite feed which most people can't get access to or interpolate enough that they'd be able to figure out what to do with it. Most of the content still right now is being sent on a hard drive and I'm just bringing that physically into my trusted area and loading it up to a rate array. A certificate, those are actually either available via satellite, email, they come on thumb drives that come with the content or shipped separately from the content. There are multiple ways to get it done and because those keys actually have to go to that one and only machine if I've got 10 screens I've got 10 keys coming. It's fairly well bulletproof. I can't reverse engineer it and I've been playing with it for a lot of years now. Got another minute or two, right over there. How are the keys distributed? Email, satellite, thumb drive, usually not. What we do is like if I got a film print and I wanted to play it in a big house, I could. If it wasn't doing that well in sales, I could move it down to a small house and move something up. So they'll actually send me a key for every one of my screens to play a piece of content. I could not play there but it's, you know, if I've got 10 screens in a complex, I've got keys for all 10 screens. That's about it. I'm going to head over to the Q&A room and we'll also have, if you want to hold a DLP chip or play with any of the glasses or ask any questions about cinema, digital cinema, 3D. Come on over. Thanks for coming.


Gunmen suspected to be kidnapped is abducted by the Biasa Commissioner for Trade and Commerce, Mr. Federal O'Pamela Otoketu. Otoketu was reportedly abducted by a heavily armed man from his residence at O'Pukuti in Ogbera Local Government area. Biasa Police Command confirmed the abduction of the commissioner.