Abstract:
A method and apparatus for scheduling the distribution of information so as to maximize the viewer ship of the same and, therefore, profits. Dynamic scheduling of distribution of subportions of the information, referred to as descriptors that typically correspond to a motion picture program, is achieved so that the subportions may be transmitted to end users having a high probability of perceiving the same. A subgroup of the descriptors have a weighting value assigned thereto with said subgroup of said plurality of descriptors having a weighting value differing from the weighting value associated with the remaining descriptors of said subgroup. The weighting value is a function of predetermined parameters associated with said motion picture program, such as revenue generated when released in movie theaters, comments by professional critics and contractual constraints placed upon the distributor by holders of the ownership rights of the motion picture program. Viewing population numbers are assigned to segments of a predetermined period of time, typically the different hours of the day. The descriptors are then scheduled to be transmitted to end users so that the descriptors with the greatest weighting value is transmitted during a segment which has the greatest viewing population number.

Description:
CROSS REFERENCE TO RELATED APPLICATIONS 
     This application is a nonprovisional application of U.S. provisional patent application “AN AUTOMATIC DIGITAL INFORMATION AND CONTENT SCHEDULING AND BARKERING SYSTEM,” U.S. Serial No. 60/060,111, filed Sep. 26, 1997, having Winston W. Hodge, Robert M. Kamm, Lawrence E. Taylor, David L. Hench, Pierre A. Schuberth, Kang T. Yam and Gary B. Seaton listed as co-inventors and assigned to Alpine Microsystems. The No. 60/060,111 application is hereby incorporated by reference in its entirety. 
    
    
     BACKGROUND OF THE INVENTION 
     The present invention relates to distribution of information either through broadcasting transmission over a local or wide area network, e.g., the Internet, or using cable video systems. More particularly, the invention provides a technique, including a method and apparatus, for scheduling distribution of video/audio information so as to maximize viewer ship of the same and, therefore, profits. 
     High speed networking and mass storage technologies have made possible interactive communication networks which provide consumers with video/audio information. Broadcast, video-on-demand, pay-per view, cable and Internet services are some of the best known services for providing consumers with programming choices ranging from movies to interactive games. FIG. 1 shows the major components of a video on demand service. The video programs, such as movies, are typically stored in one of various formats at a central server  10 . Subscribers  12  submits requests to the server  10  for particular programs over a communications network  14 . The communications network  14  may use any transmission medium, e.g. commercial telephone, cable and satellite networks. Upon receiving a request, server  10  retrieves the video program from mass storage and delivers a data stream, corresponding to the frames of the movie, to the requesting subscriber via distribution network  14 . The data stream is directed to a receiver possessed by the subscriber which converts the data stream into signals necessary for playback and viewing of the movie. 
     As the number of providers for each of the aforementioned services increases, the bandwidth of the channels available for distributing information decreases. To that end, the prior art is replete with systems and methods of maximizing the revenue generated by a given bandwidth of transmission channels. For example, U.S. Pat. No. 5,758,257 to Herz et al. and U.S. Pat. No. 5,734,720 to Salganicoff each discloses a system and a method for scheduling receipt of desired movies and other forms of data from a network which simultaneously distributes many sources of such data to many customers, as in a cable television system. Customer profiles are developed for the recipient describing how important certain characteristics of the broadcast video program, movie or other data are to each customer. From these profiles, an “agreement matrix” is calculated by comparing the recipient&#39;s profiles to the actual profiles of the characteristics of the available video programs, movies or other data. 
     U.S. Pat. No. 5,594,491 to Hodge et al., assigned to the assignee of the present invention, discloses a system and method for distributing video over ADSL telephone lines. To maximize usage of the bandwidth provided by a system storing the information to be distributed, Hodge et al. advocate implementing a Near-Video-On Demand (NVOD) protocol. The NVOD protocol maps a video program onto disk-drive in an interleaved fashion so that the video program is divided into data packets having a plurality of frames with each pair of adjacent frames corresponding to a pair of frames in a viewing sequence displaced from one another by a predetermined number of frames. Mapping the video frames in this manner renders the system compatible with existing video distribution systems, while maximizing the number of users that may access any given program. 
     U.S. Pat. No. 5,172,413 to Bradley et al. describes, in pertinent part, use of a central electronic library to store and deliver high-demand entertainment programming to local community electronic libraries that channel the programming to subscribers. Low-demand programming is stored and delivered directly from a local community electronic library located in an area in which there may be a special interest in the programming. In this manner, Bradley et al. maximize access capacity while minimizing investment cost. 
     U.S. Pat. No. 5,421,031 to De Bey describes, in pertinent part, a video-on-demand system in which a video program disposed on a non-volatile storage device in divided into a plurality of segments. The segments are transmitted to each subscriber as a redundant sequence. The sequence is transmitted in accordance with a scheduling algorithm that ensures all the video segments of the video program are received by the subscriber to enable continuous playback in real-time of the video program. In this manner, the segments typically correspond to a non-contiguous sequence of video frames. The receiver, possessed by the subscriber, includes a buffer having sufficient memory to store a sufficient amount of video segments to ensure the subscriber experiences real-time playback of the video program. 
     What is needed, however, is a system and method for transmitting programming material so as to maximize the number of viewers of the same. 
     SUMMARY OF THE INVENTION 
     The present invention provides a method and apparatus to schedule the distribution of information so as to maximize the viewer ship of the same and, therefore, profits. This is accomplished by dynamically scheduling distribution of information, segments of which are referred to as descriptors that typically correspond to a motion picture program, to be transmitted to an end user having a high probability of viewing the same. A subgroup of the descriptors have a weighting value assigned thereto with the subgroup of the plurality of descriptors having a weighting value differing from the weighting value associated with the remaining descriptors of the subgroup. The weighting value is a function of predetermined parameters associated with the motion picture program, such as revenue generated when released in movie theaters, comments by professional critics and contractual constraints placed upon the distributor by holders of the ownership rights of the motion picture program. Viewing population numbers are assigned to segments of a predetermined period of time, typically the different hours of the day. The descriptors are then scheduled to be transmitted to end users so that the descriptors with the greatest weighting value is transmitted during a segment which has the greatest viewing population number. 
    
    
     BRIEF DESCRIPTION OF THE DRAWINGS 
     FIG. 1 is a simplified block diagram of a prior art video-on-demand distribution system; 
     FIG. 2 is a simplified block diagram of a content and management information controller coupled to a plurality of video distribution systems via a communications infrastructure; 
     FIG. 3 is a detailed block diagram of a video distribution system shown in FIG. 2; 
     FIG. 4 is a graphical representation of contractual constraints which are quantified and operated on by the content and management information controller shown in FIG. 2; 
     FIG. 5 is a graph depicting the purchasing rate per day for a given week; 
     FIG. 6 is a graph depicting the sales of a movie program compared to the number of weeks the movie program has been released; and 
     FIG. 7 is a graph depicting the average revenue generated by the movie program depicted above in FIG.  6 . 
    
    
     DESCRIPTION OF THE PREFERRED EMBODIMENT 
     Referring to FIG. 2, a content and management information controller (CAMIC)  11  a super hub controller  13  in data communication with one or more video distribution systems  16  (VS) each of which are in data communication with one or more end users  17 . The super hub controller  13  may be located proximate to one or more of the distribution systems  16  or may be remotely located with respect thereto. To that end, the super hub controller  13  is typically in data communication with the each of the video distribution systems  16  via an existing communication infrastructure  19 , such as the Internet, cable network system, television broadcast network or satellite. 
     The super hub controller  13  may consist of one or more computers and functions to distribute information to the video distribution systems  16  and control operation of the same, such as content installation, play rule determination, barker channel (advertisements) preparation, accounting, maintenance and the like. Two of the most complicated operations concern content delivery and installation. Specifically, content delivery of any given video program must entertain a plurality of variables to ensure maximum revenue generation by distributing the same. For example, motion picture studios have predetermined requirements that a distributor of a video program must adhere to, such as minimum play times. These motion picture studio requirements are dependent upon many variables such as theater box office receipts, number of viewing times, number of available channels, actual viewing times and the like. The CAMIC  11  is programmed employing standard artificial intelligence and feedback control techniques to facilitate these activities. 
     In this manner, the CAMIC  11  overcomes many of the difficulties with traditional prior art information distribution systems. Traditionally, video service providers have placed their equipment at cable television and telephone company servers, leaving the operation, management and maintenance to local operators. This required the operators to be responsible for: physical equipment installation &amp; validation; continuing video/multimedia content installation; setting up Barker channel (continuing); setting up Play Rules (continuing); administration of Play Rules (continuing); setting up and maintaining customer data bases (continuing); setting up and maintaining demographic databases; and validating EPG and Billing interfaces. The CAMIC  11  reduces the burden on local operators by providing a centralized automated control of the video servers. As a result, the CAMIC  11  may either supports or replace local operators. This provides added flexibility for information distribution provides by allowing local operators to override the control parameters provided by the CAMIC  11 . Alternatively, the control parameters may be treated as suggestions to simplify the local end operator&#39;s system management duties. 
     The system described will interface with either external or internal Electronic Program Guides (EPGs) and Customer Billing Systems and provide remote or local control of CATV or TELCO Resources at one or many CATV or TELCO Head Ends. With the CAMIC  11 , rapid deployment of operational units to CATV and TELCO head ends may be achieved while minimizing the need for large human organizational support to operate PPV VOD ITV business. 
     FIG. 3 shows a typical video distribution system  16  with which the present invention may be incorporated. System  16  includes a video server  18 , video storage vault  20  and an access controller  22 . Video server  18 , video storage vault  20  and access controller  22  are in data communication via line  24 . Video server  18  includes a microprocessor  26  which may be incorporated into a personal computer such as a PENTIUM or Motorola 68000 processor. The microprocessor  26  is associated with a memory  28 . Microprocessor  26  is in data communication with one or more disk-drives  30  via a disk read write controller  32 , with each controller  32  uniquely associated with a disk-drive  30 . Although any type of disk drive may be employed, preferably disk drives  30  are single large disk capable of handling at least one video program of 100 minutes in duration. Data from the disk-drive  30  is distributed by network interface circuitry  34  which is in data communication therewith. Interface circuitry  34  includes a multiplexor  36  which distributes data to the requesting subscribers (not shown). Each subscriber typically includes a receiver (not shown) having the circuitry necessary to convert data received from the video server  18  into viewable material. 
     Video storage vault  20  includes a bulk video storage system such as video juke box  38 . Juke box  38  may comprise of high capacity disks or tapes storing thousands of video programs in encoded, compressed and digitized form. A typical 100 minute movie of VHS quality requires one Gigabyte of storage. However, the amount of storage capacity for a given frame of a movie is dependent upon the quality of the movie. For example, a 100 minute HDTV video requires more the one Gigabyte of storage. 
     Access controller  22  is in data communication with a memory  40  which typically includes a database identifying authorized subscribers. The interface circuitry  34  is in data communication with the access controller  22  so that access to system  16  by a particular subscriber is restricted unless memory  40  indicates access is authorized. If access is authorized, access controller  22  allows interface circuit to distribute the video programs to the subscriber. Otherwise, access controller  22  denies the subscriber access to data on the system  16 . To maximize the number of users that may access a video program on any given disk-drive  30 , the frames of each video program is mapped thereon in an interleaved fashion. The mapping of the video program on each of disk-drives  30  may be performed prior to a subscriber request, or may be done during a period in which a video program is transferred from the storage vault  20  to the disk-drives  30 , in response to a subscriber&#39;s request. 
     Although the CAMIC  11  may be employed with any type information distribution system, the description contained here will describe implementation of the CAMIC  11  with a pay-per-view(PPV)/video-on-demand (VOD) system. In this implementation, the CAMIC  11  facilitates dynamic content scheduling to optimize revenue generation, as well as barker channel programming. For example, the motion picture studios have constraints (motion play rules MPR) that must be adhered to by distributors of movie programs. A typical MPR requires that movie programs having the greatest revenue in movie theaters be provided a greater percentage of the bandwidth of the video distribution system  16 , than the remaining movies being shown, i.e., movies generating lower revenues in movie theaters. Typically, the movies having lower revenues associated therewith are allocated a minimum amount of bandwidth. 
     Referring to FIGS. 2 and 4, the contractual constraints presented by MPRs may be envisioned as containing minimum values  40  and maximum values  42 . The area  44  between the minimum  40  and maximum  42  values represents operational latitude for operators. The CAMIC  11  is designed to optimize revenue generation while maintaining operational head end profits while operating within the operational latitude area  44 . This is achieved by dynamically adjusting the scheduling of programming material on the video distribution systems  16  so that, for example, the most profitable films are shown at during a segment of time when the largest view audience is available to perceive the programming information. Conversely, the least profitable movie programs are shown when the fewest numbers of viewer are available, while adhering to the MPRs. Further optimization on limited video distribution systems may be provided by randomizing different events according to a system of “play rules”, as discussed more fully below. 
     These play rules are evaluated and ranked. There exists one individual play rule value for each movie program or other information to be distributed. These individual Play Rule Values (PRVs) are then ranked and associated with viewing times which are also ranked from minimum to maximum values corresponding to minimum and maximum viewing audiences, respectfully. 
     The pairing of movies/events with viewing times provides a viewing schedule which can be optimized for expected profitability. Since it is expected that Play Rule Values will change from day to day and week to week, the measurement of Pay Per View (PPV) sales is one of many feedback parameters which will permit parameter optimization, as well as predicted revenue generation by examining the historic revenue generated by theater box office sales. Also, success might be determined by professional critique of the video program material by critics. 
     Shown below is a sample of movie sales for a period of time. It would be possible to normalize this example in a potential success range with a single value for each movie program from one to ten. This would become an element of the group of parameters making up the Program Rule Values. 
     
       
         
               
             
               
               
               
               
             
           
               
                 TABLE 1 
               
             
             
               
                   
               
               
                 HISTORICAL BOX OFFICE SALES 
               
             
          
           
               
                 VARIETY BOX OFFICE 
                 World Wide Sales 
                 VARIETY BOX OFFICE 
                 World Wide Sales 
               
               
                   
               
               
                 Star Wars (reissue) ™ 
                 $645,974,423 
                 Fools Rush In (Sony) ™ 
                 $25,526,308 
               
               
                 Empire Strikes Back 
                 $459,456,515 
                 Breaking the Waves 
                 $21,502,218 
               
               
                 (reissue) ™ 
                   
                 (October/ . . .) ™ 
               
               
                 Ransom (BV) ™ 
                 $293,841,038 
                 Private Parts (Par) ™ 
                 $18,906,599 
               
               
                 101 Dalmatians (BV) ™ 
                 $218,369,398 
                 Mother (Par) ™ 
                 $18,510,792 
               
               
                 Space Jam (WB) ™ 
                 $185,699,050 
                 Ridicule 
                 $18,192,910 
               
               
                   
                   
                 (CFP/Miramax) ™ 
               
               
                 Jerry Maguire (Sony) ™ 
                 $168,380,416 
                 In Love and War 
                 $17,148,061 
               
               
                   
                   
                 (New Line) ™ 
               
               
                 Star Trek: First Contact 
                 $141,337,397 
                 Jungle 2 Jungle (BV) ™ 
                 $16,270,074 
               
               
                 (Par) ™ 
               
               
                 Evita (BV) ™ 
                 $132,009,270 
                 That Darn Cat (BV) ™ 
                 $15,961,024 
               
               
                 Michael (New Line) ™ 
                 $101,937,698 
                 Booty Call (Sony) ™ 
                 $14,940,756 
               
               
                 Scream (Miramax) ™ 
                 $90,178,159 
                 Turbulence (MGM) ™ 
                 $14,806,390 
               
               
                 English Patient 
                 $70,863,872 
                 Marvin&#39;s Room 
                 $14,628,339 
               
               
                 (Miramax) ™ 
                   
                 (Miramax) ™ 
               
               
                 Mars Attacks (WB) ™ 
                 $68,407,743 
                 Ghosts of Mississippi 
                 $13,014,690 
               
               
                   
                   
                 (Sony) ™ 
               
               
                 Dante&#39;s Peak (U) ™ 
                 $60,618,907 
                 Across the Sea of Time 
                 $12,271,123 
               
               
                   
                   
                 (Sony) ™ 
               
               
                 One Fine Day (20th) ™ 
                 $56,730,819 
                 Beautician and the Beast 
                 $10,748,798 
               
               
                   
                   
                 (Par) ™ 
               
               
                 Shine (New Line) ™ 
                 $55,863,536 
                 Rosewood (WB) ™ 
                 $10,431,502 
               
               
                 The Preacher&#39;s Wife 
                 $54,210,740 
                 Smilla&#39;s Sense of Snow 
                 $7,967,034 
               
               
                 (BV) ™ 
                   
                 (Fox) ™ 
               
               
                 Secrets &amp; Lies 
                 $46,736,377 
                 Zeus and Roxanne 
                 $7,098,097 
               
               
                 (October/Alliance) ™ 
                   
                 (MGM) ™ 
               
               
                 Absolute Power 
                 $43,140,900 
                 Lost Highway 
                 $6,269,969 
               
               
                 (Sony) ™ 
                   
                 (October/Malo . . .) ™ 
               
               
                 Metro (BV) ™ 
                 $35,767,377 
                 Gridlock&#39;d (Gramercy) ™ 
                 $5,552,507 
               
               
                 The Relic (Par) ™ 
                 $35,023,090 
                 Sling Blade (Miramax) ™ 
                 $5,358,210 
               
               
                 Vegas Vacation (WB) ™ 
                 $31,328,556 
                 Dangerous Ground 
                 $5,102,151 
               
               
                   
                   
                 (New Line) ™ 
               
               
                 Beverly Hills Ninja 
                 $29,455,486 
                 Hamlet (Sony) ™ 
                 $4,149,241 
               
               
                 (Sony) ™ 
               
               
                 Donnie Brasco (Sony) ™ 
                 $25,856,141 
                 Meet Wally Sparks 
                 $4,073,582 
               
               
                   
                   
                 (Trimark) ™ 
               
               
                 Fools Rush In (Sony) ™ 
                 $25,526,308 
                 The Pest (Sony) ™ 
                 $3,407,993 
               
               
                 My Fellow Americans 
                 $22,240,513 
               
               
                 (WB) ™ 
               
               
                   
               
             
          
         
       
     
     Some (but not all) of the elements of the Program Rule Values are: pending real time events, theater box office sales, number of available digital channels, demographic factors, content purchased locally, time of day, day of week, local operator preferences, holidays, time since last play, program duration, avail window and duration, film critics&#39; ratings, and automatically adapting weights for each of these parameters. From these parameters, an electronic spread sheet (matrix) is assembled, shown in Table 2, which automatically computes the PRV for each movie or event. The events are then sorted according to their Play Rule Value which has been scaled in a range from 1 to 10 where 10 is best. 
     
       
         
               
             
               
               
               
               
               
               
               
               
               
             
               
               
               
               
               
               
               
               
               
               
             
               
               
               
               
               
               
               
               
               
             
               
               
               
               
               
               
               
               
               
               
             
           
               
                 TABLE 2 
               
               
                   
               
               
                 MOVIE RANKING, INDEPENDENT OF DAY OR TIME 
               
               
                   
               
             
             
               
                   
               
             
          
           
               
                   
                 Minimum 
                   
                 Maximum 
                   
                   
                   
                 Theater 
                   
               
               
                   
                 Studio 
                   
                 Studio 
                   
                   
                   
                 Gross Sales 
                   
               
               
                   
                 Contractual 
                 Weighting 
                 Contractual 
                 Weighting 
                 Real Time 
                 Weighting 
                 “O” in 
                 Weighting 
               
               
                 Movie Product Name 
                 Requirements 
                 Values 
                 Requirements 
                 Value 
                 Events 
                 Value 
                 $Millions 
                 Value 
               
               
                   
               
               
                 When a Man Loves a Woman 
                 803 
                 9 
                 857 
                 5 
                 0 
                 9 
                 50 
                 9 
               
               
                 Beverly Hills Cop 
                 501 
                 9 
                 819 
                 5 
                 0 
                 9 
                 42 
                 9 
               
               
                 I Love Trouble 
                 708 
                 9 
                 508 
                 5 
                 0 
                 9 
                 31 
                 9 
               
               
                 Getting Even With Dad 
                 772 
                 9 
                 813 
                 5 
                 0 
                 9 
                 10 
                 9 
               
               
                 Jurassic Park 
                 854 
                 9 
                 735 
                 5 
                 0 
                 9 
                 358 
                 9 
               
               
                 Speed 
                 696 
                 9 
                 538 
                 5 
                 0 
                 9 
                 121 
                 9 
               
               
                 True Lies 
                 505 
                 9 
                 719 
                 5 
                 0 
                 9 
                 145 
                 9 
               
               
                 The Flinstones 
                 907 
                 9 
                 858 
                 5 
                 0 
                 9 
                 130 
                 9 
               
               
                 The Client 
                 843 
                 9 
                 859 
                 5 
                 0 
                 9 
                 92 
                 9 
               
               
                 Clear and Present Danger 
                 678 
                 9 
                 628 
                 5 
                 0 
                 9 
                 121 
                 9 
               
               
                 The Mask 
                 535 
                 9 
                 531 
                 5 
                 0 
                 9 
                 118 
                 9 
               
               
                 Natural Born Killers 
                 711 
                 9 
                 821 
                 5 
                 0 
                 9 
                 60 
                 9 
               
               
                 Stargate 
                 888 
                 9 
                 333 
                 5 
                 0 
                 9 
                 71 
                 9 
               
               
                 Boxing 
                 999 
                 9 
                 888 
                 5 
                 0 
                 9 
                 235 
                 9 
               
               
                   
               
             
          
           
               
                   
                 Number 
                   
                   
                   
                   
                   
                   
                   
                   
               
               
                   
                 of Available 
                   
                 Scaling 
                   
                 Local 
                   
                 Local 
                   
                   
               
               
                   
                 Digits(s) 
                 Weighting 
                 Vectors 
                 Weighting 
                 Demographics 
                 Weighting 
                 Contrast 
                 Weighting 
                 Time 
               
               
                 Movie Product Name 
                 Channels “C” 
                 Value 
                 “R” 
                 Value 
                 “S” 
                 Value 
                 Purchases “P” 
                 Value 
                 “T” 
               
               
                   
               
               
                 When a Man Loves a Woman 
                 674 
                 3 
                 945 
                 3 
                 854 
                 3 
                 616 
                 6 
                 626 
               
               
                 Beverly Hills Cop 
                 795 
                 3 
                 793 
                 3 
                 624 
                 3 
                 880 
                 6 
                 512 
               
               
                 I Love Trouble 
                 759 
                 3 
                 538 
                 3 
                 508 
                 3 
                 653 
                 6 
                 713 
               
               
                 Getting Even With Dad 
                 794 
                 3 
                 558 
                 3 
                 832 
                 3 
                 674 
                 6 
                 652 
               
               
                 Jurassic Park 
                 782 
                 3 
                 801 
                 3 
                 809 
                 3 
                 577 
                 6 
                 706 
               
               
                 Speed 
                 585 
                 3 
                 830 
                 3 
                 408 
                 3 
                 484 
                 6 
                 754 
               
               
                 True Lies 
                 812 
                 3 
                 801 
                 3 
                 889 
                 3 
                 804 
                 6 
                 870 
               
               
                 The Flinstones 
                 765 
                 3 
                 534 
                 3 
                 853 
                 3 
                 610 
                 6 
                 444 
               
               
                 The Client 
                 476 
                 3 
                 852 
                 3 
                 620 
                 3 
                 900 
                 6 
                 677 
               
               
                 Clear and Present Danger 
                 967 
                 3 
                 612 
                 3 
                 675 
                 3 
                 887 
                 8 
                 648 
               
               
                 The Mask 
                 737 
                 3 
                 805 
                 3 
                 776 
                 3 
                 855 
                 6 
                 752 
               
               
                 Natural Born Killers 
                 644 
                 3 
                 687 
                 3 
                 649 
                 3 
                 613 
                 6 
                 508 
               
               
                 Stargate 
                 585 
                 3 
                 830 
                 3 
                 409 
                 3 
                 484 
                 6 
                 740 
               
               
                 Boxing 
                 987 
                 3 
                 612 
                 3 
                 675 
                 3 
                 687 
                 6 
                 492 
               
               
                   
               
             
          
           
               
                   
                 Weighting 
                   
                 Weighting 
                   
                 Weighting 
                   
                 Weighting 
                 Local Operator 
               
               
                 Movie Product Name 
                 Value 
                 Date “d” 
                 Value 
                 Day “n” 
                 Value 
                 Holiday “h” 
                 Value 
                 Preferences “p” 
               
               
                   
               
               
                 When a Man Loves a Woman 
                 5 
                 738 
                 2 
                 490 
                 7 
                 457 
                 2 
                 474 
               
               
                 Beverly Hills Cop 
                 4 
                 676 
                 6 
                 745 
                 6 
                 611 
                 3 
                 588 
               
               
                 I Love Trouble 
                 5 
                 778 
                 5 
                 768 
                 3 
                 755 
                 3 
                 704 
               
               
                 Getting Even With Dad 
                 7 
                 662 
                 3 
                 646 
                 3 
                 600 
                 8 
                 516 
               
               
                 Jurassic Park 
                 3 
                 523 
                 5 
                 818 
                 8 
                 542 
                 7 
                 907 
               
               
                 Speed 
                 8 
                 448 
                 2 
                 741 
                 5 
                 881 
                 4 
                 513 
               
               
                 True Lies 
                 5 
                 695 
                 5 
                 473 
                 4 
                 557 
                 3 
                 543 
               
               
                 The Flinstones 
                 8 
                 583 
                 3 
                 528 
                 7 
                 503 
                 5 
                 590 
               
               
                 The Client 
                 2 
                 633 
                 3 
                 811 
                 4 
                 797 
                 8 
                 817 
               
               
                 Clear and Present Danger 
                 5 
                 622 
                 5 
                 825 
                 4 
                 517 
                 7 
                 844 
               
               
                 The Mask 
                 2 
                 459 
                 4 
                 483 
                 5 
                 824 
                 2 
                 817 
               
               
                 Natural Born Killers 
                 7 
                 534 
                 8 
                 520 
                 5 
                 622 
                 4 
                 682 
               
               
                 Stargate 
                 4 
                 867 
                 8 
                 612 
                 5 
                 575 
                 4 
                 567 
               
               
                 Boxing 
                 4 
                 585 
                 8 
                 830 
                 5 
                 409 
                 6 
                 484 
               
               
                   
               
             
          
           
               
                   
                   
                   
                   
                   
                   
                 Cisco 
                   
                   
                   
               
               
                   
                 Weighting 
                 Time Since 
                 Weighting 
                 Program 
                 Weighting 
                 &amp; Ebert 
                 Weighting 
                 Rounded 
                 Scaled 
               
               
                 Movie Product Name 
                 Value 
                 Last Playing 
                 Value 
                 Duration 
                 Value 
                 Rating 
                 Value 
                 Rank 
                 Rank 
               
               
                   
               
               
                 When a Man Loves a Woman 
                 6 
                 843 
                 6 
                 709 
                 3 
                 663 
                 1 
                 41283 
                 72 
               
               
                 Beverly Hills Cop 
                 5 
                 731 
                 8 
                 818 
                 3 
                 787 
                 1 
                 44804 
                 75 
               
               
                 I Love Trouble 
                 5 
                 688 
                 4 
                 924 
                 6 
                 918 
                 1 
                 43994 
                 77 
               
               
                 Getting Even With Dad 
                 7 
                 855 
                 5 
                 430 
                 4 
                 668 
                 1 
                 45935 
                 80 
               
               
                 Jurassic Park 
                 7 
                 782 
                 8 
                 828 
                 5 
                 880 
                 1 
                 57143 
                 100 
               
               
                 Speed 
                 4 
                 514 
                 5 
                 501 
                 2 
                 538 
                 1 
                 40711 
                 75 
               
               
                 True Lies 
                 1 
                 717 
                 8 
                 814 
                 7 
                 873 
                 1 
                 45682 
                 84 
               
               
                 The Flinstones 
                 7 
                 818 
                 4 
                 465 
                 4 
                 664 
                 1 
                 44824 
                 82 
               
               
                 The Client 
                 4 
                 814 
                 5 
                 791 
                 2 
                 839 
                 1 
                 43746 
                 80 
               
               
                 Clear and Present Danger 
                 5 
                 513 
                 4 
                 789 
                 7 
                 678 
                 1 
                 45985 
                 84 
               
               
                 The Mask 
                 8 
                 663 
                 2 
                 754 
                 8 
                 614 
                 1 
                 40227 
                 74 
               
               
                 Natural Born Killers 
                 5 
                 437 
                 3 
                 809 
                 2 
                 778 
                 1 
                 39650 
                 73 
               
               
                 Stargate 
                 4 
                 492 
                 4 
                 585 
                 8 
                 830 
                 5 
                 45838 
                 84 
               
               
                 Boxing 
                 5 
                 740 
                 4 
                 967 
                 5 
                 612 
                 5 
                 54643 
                 100 
               
               
                   
               
             
          
         
       
     
     In a similar manner, optimum time analysis is developed, and best times by half hour, day and holiday proximity is created and similarly ranked. A mathematical procedure then mates best time with best movie/event ranks, followed by a modest randomizing procedure which reduces distribution of redundant information from occurring thus providing the ability to insert infrequently at optimum times less than optimum content in order to meet contractual play rule requirements. 
     Inputs to the system for optimum viewing days are based on previous movie sales. The system extrapolates from previous PPV sales and predicts best and worst times for new viewing. This data is available from the system&#39;s PPV sales data base. 
     FIG. 5 depicts best viewing days based upon actual sampled PPV buy rate data from the CAMIC  11 . The higher the value, the better the day. Series 1 through 9 are selected movies. It can be observed that typically, the best PPV days are Friday, Saturday and Sunday. Specifically, Friday gets about 20% of the viewing traffic, Saturday gets 27% and Sunday gets about 20% of the total weekly viewing traffic. From this data the CAMIC  11  may determine the most profitable play schedules. 
     Further analysis of twenty-one top movies have demonstrated more complex but similar relationships. The analysis of these movies has been simplified to represent the minimum and maximum boundaries for the same 7 day integrated viewing period and the mean values (arithmetic and geometric). Both the arithmetic and mean values have very similar values indicating that the randomly selected  21  sample movies do not have highly variant buy characteristics, thereby facilitating the predictability of viewer ship by days. Similar analyses can be extrapolated for time of day viewing. As shown, two different samples from two different databases produced similar day of week viewing merit values. These values are represented in the Table 3 below as samples A and B and illustrate their very small differences. 
     
       
         
               
             
               
               
               
               
             
               
               
               
               
               
             
           
               
                 TABLE 3 
               
             
             
               
                   
               
               
                 Daily Buy Rates from Two Different Movie Databases 
               
             
          
           
               
                   
                 Sample A 
                 Sample B 
                 Difference 
               
               
                   
                   
               
             
          
           
               
                   
                 Sunday 
                 20% 
                 18%  
                 3% 
               
               
                   
                 Monday 
                 10% 
                 9% 
                 2% 
               
               
                   
                 Tuesday 
                  7% 
                 7% 
                 0% 
               
               
                   
                 Wednesday 
                  6% 
                 8% 
                 −2% 
               
               
                   
                 Thursday 
                  8% 
                 9% 
                 −2% 
               
               
                   
                 Friday 
                 19% 
                 20%  
                 −1% 
               
               
                   
                 Saturday 
                 30% 
                 29%  
                  1% 
               
               
                   
                   
                 100%  
                 100%  
                  0% 
               
               
                   
                   
               
             
          
         
       
     
     The third column represents the high correlations between databases. 
     Time of day viewing merit can be ranked simply into a 3 point scale as shown in Table 4 below. The CAMIC  11  will refine these merit values based upon system feedback: however, these initial estimates provide a good starting point for the time of day merit assessment. The three point scale could be expanded for greater resolution, but this probably isn&#39;t necessary for good system operation. 
     
       
         
               
             
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
             
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
             
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
               
             
           
               
                 TABLE 4 
               
             
             
               
                   
               
               
                 Figures of Merit Based on Time of Day 
               
             
          
           
               
                   
                 AM 
                   
                 PM 
                 1 
                 2 
                 3 
                 4 
                 5 
                 6 
                 7 
                 8 
                 9 
                 10 
                 11 
                 12 
               
             
          
           
               
                   
                 1 
                 2 
                 3 
                 4 
                 5 
                 6 
                 7 
                 8 
                 9 
                 10 
                 11 
                 12 
                 13 
                 14 
                 15 
                 16 
                 17 
                 18 
                 19 
                 20 
                 21 
                 22 
                 23 
                 24 
               
               
                   
                   
               
             
          
           
               
                 hour value 
                 1 
                 1 
                 1 
                 1 
                 1 
                 1 
                 2 
                 2 
                 2 
                 2 
                 2 
                 2 
                 2 
                 2 
                 2 
                 2 
                 2 
                 2 
                 3 
                 3 
                 3 
                 3 
                 3 
                 2 
               
               
                 merit 
               
               
                 Poor = 
                 1 
               
               
                 OK = 
                 2 
               
               
                 Good = 
                 3 
               
               
                   
               
             
          
         
       
     
     When the probabilities of the day of week viewing are applied to the hour of day ranking, the ranking table shown in Table 5 is produced. These hour of week rankings can be sorted and used to meet the requirements which are correspondingly ranked with Movie Play Rule Values. Application of the day of week merit values to the hour of day merit values produces a value of hour per week which can be ranked and matched with movie Play Rule Values; or the process may be extended to determine merit of hours per year. A chart could be produced similar to that depicting weighted merit values of hours per week. 
     
       
         
               
             
               
               
               
               
               
               
               
               
               
               
               
               
               
             
           
               
                 TABLE 5 
               
               
                   
               
               
                 Figures of Merit Based on Hour and Day of Week 
               
               
                 Weighted Hour Per Week Merit Values 
               
               
                   
               
             
             
               
                   
               
             
          
           
               
                 24 hour 
                 1 
                 2 
                 3 
                 4 
                 5 
                 6 
                 7 
                 8 
                 9 
                 10 
                 11 
                 12 
               
               
                 time 
               
               
                 12 hour 
                 1 
                 2 
                 3 
                 4 
                 5 
                 6 
                 7 
                 8 
                 9 
                 10 
                 11 
                 12 
               
               
                 time 
               
               
                 Sunday 
                 20% 
                 20% 
                 26% 
                 20% 
                 20% 
                 20% 
                 41% 
                 41% 
                 41% 
                 41% 
                 41% 
                 41% 
               
               
                 Monday 
                 10% 
                 10% 
                 10% 
                 10% 
                 10% 
                 10% 
                 20% 
                 20% 
                 20% 
                 20% 
                 20% 
                 20% 
               
               
                 Tuesday 
                 7% 
                 7% 
                 7% 
                 7% 
                 7% 
                 7% 
                 15% 
                 15% 
                 15% 
                 15% 
                 15% 
                 15% 
               
               
                 Wednesday 
                 6% 
                 6% 
                 6% 
                 6% 
                 6% 
                 6% 
                 11% 
                 11% 
                 11% 
                 11% 
                 11% 
                 11% 
               
               
                 Thursday 
                 8% 
                 8% 
                 8% 
                 8% 
                 8% 
                 8% 
                 15% 
                 15% 
                 15% 
                 15% 
                 15% 
                 15% 
               
               
                 Friday 
                 19% 
                 19% 
                 19% 
                 16% 
                 19% 
                 19% 
                 38% 
                 38% 
                 38% 
                 38% 
                 38% 
                 38% 
               
               
                 Saturday 
                 30% 
                 30% 
                 30% 
                 30% 
                 30% 
                 30% 
                 60% 
                 60% 
                 60% 
                 60% 
                 60% 
                 60% 
               
               
                   
               
               
                 24 hour 
                 13 
                 14 
                 15 
                 16 
                 17 
                 18 
                 19 
                 20 
                 21 
                 22 
                 23 
                 24 
               
               
                 time 
               
               
                 12 hour 
                 1 
                 2 
                 3 
                 4 
                 5 
                 6 
                 7 
                 8 
                 9 
                 10 
                 11 
                 12 
               
               
                 time 
               
               
                 Sunday 
                 41% 
                 41% 
                 41% 
                 41% 
                 41% 
                 41% 
                 61% 
                 61% 
                 61% 
                 61% 
                 61% 
                 41% 
               
               
                 Monday 
                 20% 
                 20% 
                 20% 
                 20% 
                 20% 
                 20% 
                 31% 
                 31% 
                 31% 
                 31% 
                 31% 
                 20% 
               
               
                 Tuesday 
                 15% 
                 15% 
                 15% 
                 15% 
                 15% 
                 15% 
                 22% 
                 22% 
                 22% 
                 22% 
                 22% 
                 15% 
               
               
                 Wednesday 
                 11% 
                 11% 
                 11% 
                 11% 
                 11% 
                 11% 
                 17% 
                 17% 
                 17% 
                 17% 
                 17% 
                 11% 
               
               
                 Thursday 
                 15% 
                 15% 
                 15% 
                 15% 
                 15% 
                 15% 
                 23% 
                 23% 
                 23% 
                 23% 
                 23% 
                 15% 
               
               
                 Friday 
                 38% 
                 38% 
                 38% 
                 38% 
                 38% 
                 38% 
                 57% 
                 57% 
                 57% 
                 57% 
                 57% 
                 38% 
               
               
                 Saturday 
                 60% 
                 60% 
                 60% 
                 60% 
                 60% 
                 60% 
                 89% 
                 89% 
                 89% 
                 89% 
                 89% 
                 60% 
               
               
                   
               
             
          
         
       
     
     Referring to FIG. 6, an additional parameter in the Play Rule Value computation is the method to process the data accumulated by the CAMIC  11  sorting specific movie attendance by number of views since release to PPV. It has long been appreciated that movies shown numerous times attract fewer audiences as the time from introduction is elongated. Most movie viewers like to see the movie as soon after release as possible. Statistical analysis of real data have demonstrated this to be the case. The CAMIC  11  continually collects viewing statistics, and processes them many ways as previously demonstrated. Actual data for 30 movies for a period of 13 weeks. FIG. 7 represents the averages for those same movies. This elementary data is then used to predict optimum play rule values in the future. 
     The evolving (adapting) numbers shown in FIG. 7 are used to predict movie viewing for new releases. The CAMIC  11  learns from old data how to predict new play rule values. When the some of the play rule values suggest heavy positive weighting for a movie, the fact that it has been showing for 3 weeks is an indicator that the play rule value should be attenuated to some extent. The multiplicative weights for this element of this play rule contributing value are automatically adjusted over time using standard feedback techniques. 
     Therefore, based upon the Expected Movie Sales as a function of time, the CAMIC  11  normalizes the above graphed values to  1  shown in FIG.  6  and then subtracts from the maximum Play Rule Value a value relating to the descending numbers in the graph in FIG.  7 . The de-emphasis value of this element can be seen to drop by about 50% per week until week 5 after which it slowly converges on zero. Optimum content scheduling occurs when the highest ranking content is matched to the highest ranking hours of the week (or year). This is done by sorting content with descending PRVs to hours with descending viewing probabilities, shown in FIG.  8 . 
     An additional benefit with providing CAMIC  11  is that the scheduling of commercial programming, i.e., barkering channels, may be optimized to maximize the association of the commercial programming with the product, e.g., movie program, being advertised. For example, if several movies are starting at the same time soon, it may be desirable to present the Barker for the movie with the highest play rule value immediately prior to the movie preceded by the Barker for the movie with the next highest play rule value, and so forth. 
     Play Rule Values (PRVs) for either a movie or a barker channel programming are computed from a table driven algorithm as follows:        PRV   =     V        {       Cmin   &lt;       ∑     i   =   1     m                   PRV       =         f        (     D   ,   C   ,   K   ,   S   ,   P   ,   t   ,   d   ,   n   ,   h   ,   p     )       /   N     &lt;   Cmax       }                              
     Where “N” is a normalizing factor by which PRV is normalized in a range from 1 to 10, with 10 representing the movie with maximum plays and 1 representing movies with minimum plays and “m” is number of movies Cmin and Cmax represent motion picture studios contractual requirements, D represents theater gross sales, C represents number of available digital channels, i.e., bandwidth; K represents scaling factors; S represents local geographic parameters, e.g., weather conditions; P represents, local demographic parameters, e.g., the type of programming material typically purchased; t represents time of day; d represents the date of a calendar year; n represents either the day of a week or of a year; h represents a holiday; p represents local operator preferences or time since programming material was distributed. 
     The PRV parameters represent a table from which the PRV values are computed. The table is then sorted according to PRV and the one to ten value directs the systems&#39; presentation sequence. The PRV value is within the studio contract ranges between Cmin and Cmax. 
     The Barker algorithm employs the PRV as an entry in its table to schedule the type of trailers and the time the trailers are to be shown. The barker channel may have 2 or more hours of clips ranging from a few seconds to a few minutes, describing upcoming recorded or real time attractions. 
     Part of the barker table is a listing of at what times the movies and other content plays. This table is a logical table, and is used to determine which barker clips should play and when, on a dynamic basis. Further, there will be at least one Barker trailer for each movie or other event, but there will likely be 3 Barker trailers for each event: one long trailer, one medium trailer and one short trailer. These different length trailers will be used to maximum advantage. For example, when 4 movies are about to start in a very short time, it will be applicable to use short trailers. When movies are 30 to 60 minutes from starting, the longer trailers can be employed. 
     The Barker scheduling process will read the Program Schedule to determine placement of the “call to action” trailers. It will also note the next scheduled start time of the feature to which each trailer refers. This information could be used to generate a caption overlay to act as a countdown clock. 
     The subsequent table illustrates how 30 second and 1 minute trailers could be assembled together in real time to provide content with a high PRV with a higher advertising rate than content with a low PRV.