THE EDCF FESTIVALS GUIDE
TECHNICAL SPECIFICATIONS
A Guide for Festivals’ Technical Managers
This document is based on the CST “Recommendation Technique CST – RT – 027 - 2012
DIGITAL CINEMA SCREENINGS
VIDEO SCREENINGS
TECHNICAL SPECIFICATIONS
targeting:
equipment to be provided,
installation, settings and validation of this equipment,
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Table of Contents
1.
2.
3.
4.
5.
6.
Scope
General principles on equipment choice
Definition of requirements
2K and / or 4K projectors
Screens to equip with 2K and 4K projectors
Types of equipment
Technical constraints for the projectors
Summary
Quality constraints
Network
2K and / or 4K servers
Screens to equip with 2K and 4K servers
Types of equipment
Technical constraints
Equipment summary
Quality constraints
Network
Definition of requirements for video projection
Equipment summary
Constraints
Installation and validation
Physical installation
Certificates
Procedures for settings and validation of the equipment
Planning of the installation
Summary tables
2K-4K digital projection
HD video projection
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1/ SCOPE
The present document aims at identifying the requirements of technical equipment for digital cinema and
video projections in the framework of film festivals.
It is intended for all kinds of short film and feature film festivals.
It applies to all locations used by festivals, whether cinema screens that are already equipped or facilities used
temporarily, with or without existing equipment.
It defines the equipment required to project images and reproduce related sound tracks.
2/ GENERAL PRINCIPALS
To ensure all tasks related to the screening of films from digital cinema and non-cinema video and / or media
sources, the festival requires complete and homogeneous technical equipment. Above all, this means that, if
the festival uses several screens, the equipment must be similar and fully interchangeable between all
screens.
Preferably, the projectors for all screens should be of the same brand and using the same technology. It is
recommended that the projector models used are the same for all screens. Only the lamp power shall be
adapted according to the surfaces of the respective projection screens.
The servers feeding the projectors must be of the same make and model for all screens.
If equipment with an IMB implanted in the projector is used, the source servers shall all be of the same make
and model as well as the IMB.
The IMBs proposed shall be clearly identified and adapted to the projectors provided.
For 3D screenings, it may be necessary to provide two projectors in order to ensure the image luminance
required by the film production.
The festival shall provide all necessary means to control and validate the films provided. The tests may be
performed on any equipment used in the screen(s) concerned, if the screening schedule allows it.
Otherwise, the tests shall be performed on additional equipment installed in an editing or testing room.
The test shall be performed for image, sound and subtitles, if any. A checklist shall be established.
Technical rehearsals, with or without the production team, are recommended. Rehearsal specs will allow the
procedures and settings to be applied to each film.
The projection devices shall allow the reproduction of images EG HD and / or 2K and / or 4K with all qualitative
criteria described in the standards cited in the annex (standards).
The sound system shall allow reproduction of all soundtracks EG 5.1, 7:1
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3/ DEFINITION OF REQUIREMENTS FOR DIGITAL PROJECTION
3.1 –DIGITAL PROJECTORS
3.1.1 Types of equipment
The basic equipment for each screen includes:
 A digital projector, type 2K, matrix 2048 x 1080 (in accordance with ISO standards– see annex) or 4K
matrix 4096 x 2160 for the screens in question
 A remote control panel for the projector that can be placed at the side or behind the projector
 A xenon bulb (power adapted to each screen, see § 3.1.3)
 A rectifier for the power supply of the xenon bulb, switch mode type
 One or two projection lenses in accordance with screen requirements (see § 3.1.3)
 An anamorphic lens is mandatory for screens with a width of more than 17.00 m in CinemaScope, in
order to increase the light efficiency of the systems.
Additional equipment provided:
 Interfaces to select various video sources (Beta SP, Digibeta, DVD, HDMI sources)
 An Ethernet switch per booth. The number of ports has to be adapted to the equipment installed to
ensure that it is still possible to connect an external laptop.
 In case of several screens an Ethernet network shall be installed between the different projection
booths. The equipment has to be connected to the established control network.
3.1.2 Technical constraints
Constraints for the projector:
 The projector shall reproduce Interop and SMPTE files.
 The projector shall be able to process subtitles in XML, PNG and SMPTE file formats via CineCanvas
connection. In case images need to be resized, the projector has to resize the subtitled images (e.g. in
PNG format) in the same proportions.
 Calculation of the focal length of the lenses or the choice of the equipment must not affect resizing of
the images on the matrix, except in case of an anamorphic lens.
 It shall provide for a quick installation of an anamorphic, especially in case of screens with a width of
over 20 m in 2D projection and 14 m in 3D projection.
 It shall allow the potential integration of an IMB adapted to the servers provided by the server supplier.
 It shall allow processing images in 3D format in accordance with the current technologies
 It shall allow projecting images in the following ratios: silent 1.33 – standard 1.37 – panoramic 1.66 –
panoramic 16/9 – panoramic 1.85 and CinemaScope 2.39. For CinemaScope format it shall allow
projection on the full matrix with anamorphic or projection without anamorphic lens.
3.1.3 Screens to equip with digital projection
The screens to equip are:
 Auditorium 1: …. projector
 Auditorium 2: …. projector
 …, etc.
 A backup projector, one for each model suggested, has to be provided
Constraints per screen:
 Auditorium 1: screen ratio ………, picture width ……. m, throw distance ….. m
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 Auditorium 2: screen ratio ………, picture width ……. m, throw distance ….. m
 …, etc.
Backup: one backup server (one for each make or model)
3.1.4 Summary festival equipment
A summary table of the technical requirements can be found at the end of this document.
3.1.5 Quality constraints
All the equipment supplied must comply with the provisions of the ISO standards 26428 and 26431, and the
recommendations issued by the DCI (Digital Cinema Initiative) (last publication 2008 - chapter 8 – Projection).
According to the technological developments and specific demands related to the selected films, the festival
management may make additional requests.
The festival management, or its designated representative, decide on the selected equipment and the final
quality required for the smooth running of the screenings.
3.1.6 Network
If the festival is planning to establish a network of the digital projection equipment by means of a central
storage solution (editing room, QC room or booth) this network will be managed in conjunction with the
controller of access to the festival.
The network connections shall provide:
 monitoring and testing of projection equipment from this central spot
 protection from intrusions on the system by other network users
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3.2 –SERVERS
3.2.1 Types of equipment
If the festival has to manage more than two different films per day it should consider providing two servers per
projection booth, both for securing the screenings and to allow time for loading and testing of the files. In other
cases, one single server may be sufficient. A backup server is highly recommended.
The basic equipment for each screen includes:
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A digital cinema server allowing the reproduction of compressed JPEG2000 files (see § 3.2.3)
The server shall be able to correctly ingest and play back the DCPs in Interop and in SMPTE format
IMB adapted to the projectors in case servers with non-integrated IMB are used
A remote control monitor for the server
A remote “Azerty” or “Qwerty” keyboard for use with the server
4 HD connection cables (+ 2 backup) for Dual Link connection between the server and the projector
2 AES audio connection cables (+1 backup) to connect the server and the audio processors (1 backup
cable)
 2 Ethernet connection cables category 5 or 6 for a network connection between the server and the
projector (1 backup cable)
Additional equipment provided:
 Scaler - interfaces to select video sources (Beta SP, Digibeta, DVD, HDmi)
 One Ethernet switch per booth. The number of ports has to be adapted to the equipment installed so
that it is still possible to connect an external laptop.
3.2.3 Technical constraints
Constraints for the server:
 The server shall ensure playback and projection of digital cinema film files in the format JPEG 2000, 24,
25, 30, 48, 50 and 60 fps, depth analysis 12 bits minimum, colour space X’Y’Z’.
 It shall provide a protocol allowing the exporting of content to another server in the booth
 It shall allow the display of subtitles in XML, PNG et SMPTE file format via CineCanvas connection
 It shall allow the pre-embedding subtitles in the image stream from XML, PNG and SMPTE files
 It shall provide a freeze frame mode (unlimited duration) whereby the freeze frame has to be displayed
on the screen without an optical default or scattering
 It shall enable the processing of 3D images according to current technologies
 The storage capacity shall allow the storing of three complete programmes, plus test patterns and other
short elements,
 Once the play-list is programmed, the display time of a picture on the screen from sending the
command “play” must not exceed 5 seconds
 Remote interrogation of the server via the network must be possible. In particular, they have to provide
information about the list of content available as well as the availability of the KDMs. Interrogation of
the servers shall be effected via a documented and bandwidth efficient protocol.
 The possibility to ingest KDMs via the network in push by a documented and preferably open (type ftp)
protocol shall be provided as well.
 The servers shall provide a storage capacity of minimum 2GB. Data processing protocols must not lead
to errors regarding image display and sound reproduction (defragmentation, test, etc.)
 The server shall be able to effect a disk editing with ext2, ext3, ext4, fat 32 and ntfs file systems
 If the upload of a programme failed or is incomplete an error message has to be displayed clearly
without having to start play
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 The server log must indicate error messages in such a way that they can be clearly understood. In
particular, the fields “parameters” in the messages must be clearly explained
 The server shall allow preloading the composition or the show while remaining in pause mode on the
first picture of the screening leading to the immediate display of picture once the pause mode is
deactivated.
 A quick entry of a chain of commands by the projectionist must not put the server in error mode
 The function macros management (“channel”) of the projector can be switched off.
3.2.1 Screens to equip with a digital 2k-4k server
The screens to equip are:
 Auditorium 1: …. server
 Auditorium 2: …. server
 …, etc.
3.2.4 Equipment summary
A summary table with the technical requirements can be found at the end of this document.
3.2.5 Quality constraints
All the equipment supplied must necessarily allow complying with the provisions of the ISO standards 26428
and 26431, and recommendations published by the DCI (Digital Cinema Initiative) (last publication 2008 Chapter 8 - Projection).
According to the technological developments and specific demands related to the selected films, the festival
management may make additional requests.
The festival management, or its designated representative, will decide on the selected equipment and the final
quality required for the smooth running of the screenings.
3.2.6 Network (see § 3.1.6)
If the festival is planning to establish a network of the digital projection equipment by means of a central
storage solution (editing room, QC room or booth) this network will be managed in conjunction with the
controller of access to the festival.
The network connections shall provide:
 Monitoring via a TMS solution or equivalent. This type of connection is 100 Mb / s
 Transfer of film files from a central server (library or equivalent) to play-out servers. This will be a
Gigabit connection.
The equipment provided (servers, projectors, various processors) must be compatible with this potential
network.
In addition, the network shall allow protection from intrusion on the system by other network users.
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3.3 – SOUND SYSTEM
3.3.1 Basic principle
The basic principle of sound reproduction consists in having a 5.1 multi-channel system, including 3 screen
speakers, two surround channels and a subwoofer.
3.3.2 Description
The screen speakers will be appropriately positioned, as described in particular in ISO standard 26 428-3.
Their characteristics shall allow sound reproduction according to the criteria of ISO standard 2969. They shall
ensure a consistent sound reproduction as far as sound level and frequency response in the entire seating area
of the auditorium are concerned.
The surround speakers shall be evenly and appropriately distributed in the auditorium as defined in the Dolby
Guidelines , THX specifications or the Guide “Salles de projection, salles de cinema” edited by the CST.
An audio processor shall be provided. It shall allow the reproduction all types of sound sources, from mono to
5.1 multi-channel. In case of multi-channel multiplexed digital sources, the mapping of the audio channels shall
be of the type AES 3, included in the ISO standard 26 428-3. In this mapping it will be included that the AES 4
channel is reserved for Hi tracks (hearing impaired) and Vi (visually impaired).
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4/ DEFINITION OF REQUIREMENTS FOR VIDEO PROJECTION
4.1 Equipment summary
A basic installation includes:
 A Full HD MPTE 292M video projector
 A changeover switch for all types of video sources like SD, HD and computer for the image stream, and
the analogue and digital streams and AES for the sound.
HD projectors and switches have to correctly manage the HDCP protocol on HDMI or DVI-D.
Potential types of video sources:
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Beta SP/ Digibeta video player
Digibeta player
DVD and / or Blu Ray player
HDCam video player
4.2 Constraints
The interfaces of the video projectors shall provide for the following:
 Ensure the transition between different programmes using different formats with black background,
without displaying a “blue” screen
 Programme management without the appearance of the technical interface on the screen that has
nothing to do with the programme being screened.
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5/ INSTALLATION AND CHECKING OF THE EQUIPEMENT
5.1 Physical installation
Physical installation includes:
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Provision of pedestals for the projectors, if required
Installation at the location indicated by the festival team
Installation of removable components (mirror, bulb, lenses, anamorphic lens mount)
The connection of the various elements between (image, sound, network)
Connection to sources of electrical power supply (in co-operation with the relevant service providers of
the festival)
The provider shall supply the equipment, connect it and test it. A representative of the provider shall check the
operability of the equipment, the successful installation of the connections (image, audio, subtitles). An
installation report shall be completed with the head of the technical management of the festival.
IMPORTANT: The projectors shall be positioned and aligned in such a way that the optical projection axis goes
through the centre of the screen without using the lens shift function.
The physical locations of the projectors shall be in compliance with the relevant standards. The technical
provider shall inform the festival about any deviations with regard to these standards and shall explain the
impact on the projection quality, especially as far as geometry of the image and uniformity of the sharpness are
concerned.
5.2 Certificates
Serial numbers and public certificates of the equipment provided (projectors and especially servers) shall be
submitted to the technical teams prior to the festival to prepare the production of potential KDMs in advance.
5.3 Procedures for setting and checking of the equipment
The projection equipment shall be set and validated by the representatives of the technical management of the
festival. Engineers and technicians provided by the technical partner supplying the equipment may assist them.
The setting procedures, as defined by the CST, focus on:
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Mechanical alignment
Optical alignment
Image luminance
Uniformity of luminance
Respecting of image formats, setting of “cropping”
Colorimetry of images
Black level
Picture sharpness
Audio connections, of audio channel orientation
Network connections
The test patterns used for the settings are available from the CST. If for one area to be treated the CST has no
reference pattern, on the advice of the supplier, a pattern of different origin that fits best the requirements of
the provision should be used.
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The macros or “channels” are implemented by the provider under the control of the technical management of
the festival. The basic macros are defined with reference to the respective color spaces (X’Y’Z’ for digital
cinema, REC 709 for video projections). One macro per picture format (ratio) is created for each basic colour
space. These macros are used as a standard for all screenings.
Specific macros per film may be created as the case may be, in case the technical characteristics of the film
require them (3D for example).
Apart from these particular cases, NO MODIFICATION of the colour space, which would require non-standard
or non-recommended settings shall be made.
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ANNEX - STANDARDS
Digital cinema projection
For the digital projection of feature films, the equipment proposed must meet the criteria of the following
texts:
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Technical DCI Specification (latest edition a minima 2008 or later)
ISO/DIS standard 26 428 – 1 – D-Cinema Distribution Master – Part 1 Image characteristics
ISO/DIS standard 26 428 – 2 – D-Cinema Distribution Master – Part 2 Audio characteristics
ISO/DIS standard 26 428 – 3 – D-Cinema Distribution Master – Part 3 Audio channel mapping labelling
ISO/DIS standard 26 431 – 1 – D-Cinema Quality – Part 1 Screen luminance, chromaticity and uniformity
Afnor standard (France) NF S 27100 “Salle de projection électronique de type cinéma numérique”
As a result, the servers have to ensure playback, the projectors have to ensure projection and the sound
systems have to ensure reproduction of DCP (Digital Cinema Package) files as defined in the following
standards:
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ISO/DIS 26 429 – 3 – D-Cinema Packaging – Part 3 Sound and picture track file
ISO/DIS 26 429 – 4 – D-Cinema Packaging – Part 4 MXF JPEG 2000 application
ISO/DIS 26 429 – 6 – D-Cinema Packaging – Part 6 MXF Track file essence encryption
ISO/DIS 26 429 – 7 – D-Cinema Packaging – Part 7 Composition play list
ISO/DIS 26 430 – 1 – D-Cinema Operations – Part 1 Key delivery message
ISO/DIS 26 430 – 2 – D-Cinema Operations – Part 2 Digital Certificate
ISO/DIS 26428 -7 Digital cinema (D-cinema) distribution master -Part 7 : Subtitle
ISO/DIS 26428 -9 Digital cinema (D-cinema) distribution master -Part 9 : Image pixel structure level 3 –
Serial digital interface signal formatting
ISO/DIS 26429-8 Digital cinema (D-cinema) packaging -Part 8 : Packing list
ISO/DIS 26429-9 Digital cinema (D-cinema) packaging -Part 9 : Asset mapping and file segmentation
ISO/DIS 26429-10 Digital cinema (D-cinema) packaging -Part 10 : Stereoscopic picture track file
ISO/DIS 26430-4 Digital cinema (D-cinema) operations -Part 4 : Log record format specification
-ISO/DIS 26430-5 Digital cinema (D-cinema) operations - Part 5 : Packaging -Security log event class
and constraints
ISO/DIS 26430-9 Digital cinema (D-cinema) operations -Part 9 : Key delivery bundle
ISO/DIS 26433 Digital cinema (D-cinema) – XLM data types
ISO/DIS 26428-11 Digital cinema (D-cinema) distribution master --Part 11: Additional frame rates
ISO/DIS 26428-19 Digital cinema (D-cinema) distribution master --Part 19: Serial digital interface signal
ISO/DIS 26429-13Digital cinema (D-cinema) packaging --Part 13: Operational constraints for additional
frame rates
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