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Pirates Plunder 4K Hateful Eight, but Did They Crack DCP?

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Re: Pirates Plunder 4K Hateful Eight, but Did They Crack DCP?

#231

Post by user5994461 »

bluedino wrote: post #161
yRetsyM wrote: post #69

> Commenting on the release, Sebastian Haselbeck of Tarantino fansite Tarantino.info says that while he’s not a fan of piracy, he believes that a failure to serve the market is the real problem. > “I strongly condemn piracy and find it generally damaging, but it is a symptom, not the source, of market failure,” he told TF. That's it right there. Music piracy took a long time to sort out because it was inaccessible. N…

>> I struggle to find anyone who pirates music in my peers (it was prolific) Music piracy is still huge. Any top 40 album is going to have THOUSANDS of seeders, who knows how many people have downloaded from them.

Thousands is not much.

The top movies are getting ten of thousands of seeders. They get thousands in each of their localized version (French, German, Spanish...).

Go to one of the "current-best-streaming-site-of-the-moment.inwhatevercoutry" [1]

Some of the streaming sites publish the "views per video" (or downloads per video for DDL site). The top 10 videos are all in the hundreds of thousand of views.

The English streaming sites are in the millions of views per top video. They get more audience because of the language.

In comparison, it seems to me that music is not very popular for streaming/DDL/torrenting. If anything, it should concentrate all the views in a few places only because songs exist in a single version in a single language.

[1] easy to find in the "top 100 most visited site per country" with alexa.com :D

Re: Pirates Plunder 4K Hateful Eight, but Did They Crack DCP?

#232

Post by i336_ »

durakot wrote: post #93
e12e wrote: post #65

Earlier quoted context omitted.

To add to this - a typical cinema release is a pretty big file - frame-by-frame encoded as jpg2000 in 4k. Often shipped on hard drives, or downloaded via dedicated fiber lines. They key material is distributed separately, and allows for fine-grained control of play back (eg time of day - to the point that if a screening is sufficiently delayed, it may sometimes have to be cancelled if a new key can't be acquired in t…

Pretty much any digital cinema projection suite will be able to play your run of the mill quicktime/h264 file, so DCP is hardly a requirement to watch cat videos on a cinema screen. DCP can be a pain in the ass for indie filmmakers, though. These days it's easy to generate a DCP from footage, but basically impossible to test it without actually putting it through a DCP projector in a cinema. This is crazy.

With no familiarity of the subject, I see a lot of DCP player programs. What do you mean by "test it"?

Re: Pirates Plunder 4K Hateful Eight, but Did They Crack DCP?

#233

Post by i336_ »

4ad wrote: post #137
dagw wrote: post #136

Earlier quoted context omitted.

Still, a 'low-end' Barco good enough for smaller cinemas is definitely less than $100k these days.

Times are changing. I am very happy for these new developments. If you have the right friends, and hang out with the right group of people, you can get sometimes unencrypted material, just like in the old days you could get film reels. But a 35mm film projector was relatively affordable, this new digital stuff is still crazy expensive.

Huh, very interesting. (And mildly obvious.)

I'm curious what I should be keeping an eye out for, what sorts of people would be the most interesting to chase, etc, to maximize my chances of causing this opportunity to present itself at some point in the future. (I'm not particularly social right now.)

Re: Pirates Plunder 4K Hateful Eight, but Did They Crack DCP?

#234

Post by i336_ »

vocatus_gate wrote: post #198
badwolf wrote: post #183

Earlier quoted context omitted.

I don't even own a DVD/Bluray player. If I can't find it on a streaming site (whether subscription service like Netflix, or buying it, ala Amazon) Then... :-/ Hoist the Jolly Roger. It's frustrating wanting to give money for something, and not being able to.

I have a friend who has an approach I like. He buys the Blu-Ray from Amazon, usually used if possible, then immediately goes and pirates it on to his home media server. When the disc arrives, he tosses it in a box that sits in the corner and never touches it again. This way he made a legal purchase and exchanged money, but still gets a DRM-free high quality copy to move around to his various devices.

That's a really cool approach, but taking the time to rip the disc means you get the extras and other features that were on the disk, along with a significantly higher quality encode of the content.

If the focus is on quantity and diversity, I can understand just getting a decent-bitrate MKV or MP4 of just the film, but it might be worth it to see if there are Blu-Ray rips of the media in question "around" before just grabbing what's out there; at the very least, complete (and perhaps even decrypted, since that's finicky) rips have reasonable value on private trackers.

I'm guessing this sort of thing has probably already been taken into account.

Re: Pirates Plunder 4K Hateful Eight, but Did They Crack DCP?

#235

Post by lgieron »

dozzie wrote: post #187
lgieron wrote: post #173

Earlier quoted context omitted.

You've missed "within the scope of personal use" at the end of point 1 - which (IMO) means that you can only watch the video if it was posted by a friend/relative.

I'm somewhat surprised you and DanBC show that deep understanding of Polish law despite of not living here, judging from your names.

I'm Polish and live in Poland, funny to hear my name doesn't sound Polish though :)

Re: Pirates Plunder 4K Hateful Eight, but Did They Crack DCP?

#236

Post by e12e »

i336_ wrote: post #232
durakot wrote: post #93

Earlier quoted context omitted.

Pretty much any digital cinema projection suite will be able to play your run of the mill quicktime/h264 file, so DCP is hardly a requirement to watch cat videos on a cinema screen. DCP can be a pain in the ass for indie filmmakers, though. These days it's easy to generate a DCP from footage, but basically impossible to test it without actually putting it through a DCP projector in a cinema. This is crazy.

With no familiarity of the subject, I see a lot of DCP player programs. What do you mean by "test it"?

I'm not sure what parent means, but I've projected quite a few DCP films made by individuals / beginners at movie festivals - hand often the technical quality is heart-breakingly bad: the colour, resolution, encoding/compression and sometimes frame rate can be off. Most of these are fixable if you know what you are doing.

But it takes a lot of experience to imagine what a frame that looks great on a ~24 inch monitor will look like when projected in a theater.

I would strongly recommend that anyone dreaming to screen something in cinemas make a deal with their local cinema in order to do test screenings - to check picture and sound. Just like with anything else, there's no substitute for testing under "real" conditions.

Note that most(?) cinema setups will happily take some form of digital audio/video signal and run it through dolby surround and project it - so you don't have to start testing with a DCP file. But you certainly should test that in a cinema before distribution.

Also note that the "player" part of a fixed installation might have quirks/bugs that software that's more easily updated might work around (think mplayer vs a cheap old DVD player).

Re: Pirates Plunder 4K Hateful Eight, but Did They Crack DCP?

#237

Post by e12e »

mountaineer22 wrote: post #157
e12e wrote: post #65

Earlier quoted context omitted.

To add to this - a typical cinema release is a pretty big file - frame-by-frame encoded as jpg2000 in 4k. Often shipped on hard drives, or downloaded via dedicated fiber lines. They key material is distributed separately, and allows for fine-grained control of play back (eg time of day - to the point that if a screening is sufficiently delayed, it may sometimes have to be cancelled if a new key can't be acquired in t…

What do you use to film in 4K so that you can later view your own footage on a cinema screen? What does that workflow look like?

Anything that films in 4k+, post production, and then "print" to DCP. If you make 3d/digital film you could render to 4k single frames and use that for your DCP (although for a professional workflow you would probably want to follow regular workflow, with post production, sound and end up with one or two "print" stages - depending if your toolkit is any good for "printing" to DCP. Afaik Adobe premier is still quite useless for making DCPs, you're better off rendering to single frames and building the DCP with a dedicated tool).

Re: Pirates Plunder 4K Hateful Eight, but Did They Crack DCP?

#238

Post by i336_ »

e12e wrote: post #236
i336_ wrote: post #232

Earlier quoted context omitted.

With no familiarity of the subject, I see a lot of DCP player programs. What do you mean by "test it"?

I'm not sure what parent means, but I've projected quite a few DCP films made by individuals / beginners at movie festivals - hand often the technical quality is heart-breakingly bad: the colour, resolution, encoding/compression and sometimes frame rate can be off. Most of these are fixable if you know what you are doing. But it takes a lot of experience to imagine what a frame that looks great on a ~24 inch monitor…

TIL, thanks for the clarification and information. Definitely filed away.

Re: Pirates Plunder 4K Hateful Eight, but Did They Crack DCP?

#239

Post by e12e »

4ad wrote: post #124
e12e wrote: post #65

Earlier quoted context omitted.

To add to this - a typical cinema release is a pretty big file - frame-by-frame encoded as jpg2000 in 4k. Often shipped on hard drives, or downloaded via dedicated fiber lines. They key material is distributed separately, and allows for fine-grained control of play back (eg time of day - to the point that if a screening is sufficiently delayed, it may sometimes have to be cancelled if a new key can't be acquired in t…

> last I heard from around 15k to 30k USD Where can I buy one? Last I heard, smallest 4k projectors start at $400k.

You may be right, that price might have been for a Sony 2k projector.

Re: Pirates Plunder 4K Hateful Eight, but Did They Crack DCP?

#240

Post by shalmanese »

ekianjo wrote: post #101
ddt_Osprey wrote: post #89

Earlier quoted context omitted.

a typical cinema release is a pretty big file - frame-by-frame encoded as jpg2000 in 4k. Often shipped on hard drives, or downloaded via dedicated fiber lines. This is not a show stopper. All you need is one unlocked copy to drop in the open, and then everyone can work on it, and get it packed up in a more reasonable format. This all works due to proprietary hardware - the modifications to the 4k cinema projectors th…

> a typical cinema release is a pretty big file - frame-by-frame encoded as jpg2000 in 4k In a way it's shocking that huge cinema screens ONLY project 4k. When we had film instead of digital projectors, we actually had a much higher resolution on screen. It's a shame we replaced it with an inferior technology.

Which has been irrelevant ever since the late 90s since 99.9% of films since then has been digitally scanned from film (usually in 2K, sometimes in 4K), edited, and then reprinted on film from the digital intermediate.
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