immersive projection environments
VI. Digital Rights Management: Encryption, etc.
What is the way that Hollywood handles DRM on digitally distributed films? Would this be a good model?
It's not clear to me how we'd enforce a DRM system here, since the specs imply directories and files are open to any reader. We can provide a key that standards-compliant players can agree to validate, I guess, but not much more than that.
A real DRM scheme would lock all of the data inside an authenticated and encrypted gateway covering all files and directories. Nasty business, that, and generally pretty useless. I just means extra work for the content producers and tool-makers, and it's still relatively straightforward for determined hackers to defeat.
In other words, it would be about as effective as the DRM schemes currently used by Hollywood. ;-)
Here's a good rundown of the Hollywood model. As I just said to someone though, it's not exactly like you can buy DVD's of "Dynamic Earth" from a street vendor the day before release. How much of a necessity is this?
I think jumping into a DRM scheme for fulldome content would be, to put it mildly, a nightmare. As far as I'm aware, it's a problematic solution to a problem that doesn't exist. Maybe some content distributors can chime in, if that's not the case.
The DCI spec requires encrypted data between the video server and video projector. A "media block" in the projector accepts the encrypted data stream and decodes it using a key. Therefore it is impossible to scoop the media assets off of the digital signal feeding the projector... Yes, DRM can greatly complicate show distribution. The DIGGS spec for giant screen cinema is built on the DCI spec. How many producers would be upset if their 4kx4k dome master frames made it to the "black market?" Is this a true concern?
I'm looking at the DCI spec right now (http://www.dcimovies.com/DCIDigitalCinemaSystemSpecv1_2.pdf) and I'm liking the completeness I see there. We have a bit more complexity to deal with, but the general format and level of detail makes it a good template for us.
Seems like the DRM could methodology be standardizedl, and then noted as optional. Obviously we won't have to defend against the same degree of piracy as the movie industry, but it'd be nice to lay the groundwork. (Ed: Can you point us at the DIGSS spec? I can't seem to find it.)
I see DRM as a potential nightmare. Another set of processes to run on machines that are already overtaxed as is, or a lot of potential users left out because they have older projectors that don't use DRM controls at that level.
I had always figured that if producers were concerned about someone potentially modifying their content, those producers would only provide the content pre-split and pre-encoded for that customer.
I look forward to hearing more from those in the know...
I agree with the above that DRM is very problematic.
In the discussion at the weekends IMERSA summit, it sounds like part of the concern is with planetarium expansion into global markets where copyright law may not be as strongly enforced as it has been elsewhere. How much of a real concern this is, I suppose remains to actually be seen. It was observed a real DRM system would be problematic: requiring live authentication would be difficult if not impossible for portables, for example. Others observed that since some shows are sold with decades long licenses, if a site has the dome masters they can reencode if they change systems or projector arrangment in that time, even if the original vendor has gone out of business.
I agree with Way above that it will be difficult to come up with a real system, and it will always have to be optional (of course), but that what seems to work best current is that producers produce and distribute dome masters. If they are concerned about illegal reproduction of their content, they can slice and distribute the video files, or seek out a distributor to do so for them. I think it could also be questioned if the video stream encoding does all that much for protecting producer rights: obviously quality will drop if a less scrupulous individual were to recomposite the streams back into dome masters, but it doesn't seem to me that it would be impossible.
Kevin: here's a slightly older version of the DIGSS spec: http://www.whiteoakinstitute.org/digss_1.0.pdf . There were some slight revisions over the past year on the DIGSS wiki, but that appears not now require GSCA membership to view?
I think that the main wondering of the cinema industry is the piracy by the public, not by the theater themselves. Am i right ??
Ken also mentioned the effectiveness of all this mechanism...
This will also need a really huge effort by all the company in the market to reach "something".
Anyway, the pdf's links i've found here for the DCI & DIGSS specs looks very interesting.
Actually, there are some reports of content being sold to theaters without the creators’ knowledge or permission. So this is a real, albeit not pervasive, problem.