Abstract:
The present principles relate to a technique for distributing content destined to be played out on digital cinema systems. The content is preferably distributed compact, but non-digital-cinema-ready encodings. Upon receipt in the theatre, the content is transcoded as needed and played out on theatre systems. The system provides for miscellaneous pieces of content (separate picture and sound elements) to be automatically organized into a multimedia presentation along with other synchronized picture and sound content. The organization of this content may employ heuristics to optimize for revenue while considering aesthetics and showmanship.

Description:
CROSS REFERENCE TO RELATED APPLICATIONS 
       [0001]    This application claims the benefit of U.S. Provisional Patent application Ser. No. 60/920,648 filed on Mar. 29, 2007. 
     
    
     BACKGROUND 
       [0002]    1. Technical Field 
         [0003]    The present principles relate to digital cinema systems. More particularly, they relate to a method and apparatus for content distribution to, and playout with, a digital cinema system. 
         [0004]    2. Description of Related Art 
         [0005]    Generally speaking, most movie theaters today show more than just movies. In a typical show sequence, early arriving audience members may take their seats as a sequence of still images, primarily comprising local advertising, are displayed over background music. As showtime approaches, many theatres switch to a canned 10-20 minute preshow containing advertising, but presented in an entertaining format, typically an entertainment reporting format. As showtime draws still closer, the ‘coming soon’ banner is displayed, followed by a sequence of teasers and trailers of upcoming features. The audience is advised that popcorn is available, to turn off their cell phones, and that the feature is about to start. At last, the feature begins. 
         [0006]    In some theatres, the local advertising is literally a slide show, using a carousel projector and a source for background music. Some theatres arrange for a third party to provide an on-screen advertising (OSA) system, which supplies a dedicated projector and playback device, which is provided with ads, both local, regional, and national. These systems interact with the primary movie projector: either a film projector or a digital cinema system. The interaction is through an automation system, which minimally acts to ensure that the movie projector and on-screen advertising system do not simultaneously try to project on the screen. 
         [0007]    Current OSA systems use high-compression encoding schemes, such as MPEG-4 (well known as the encoding used to manufacture DVDs). Digital cinema content such as trailers and features use specific encodings acceptable to studios, but these encodings schemes do not achieve compression ratios as high as that of MPEG-4, for example. Advantages of the encodings employed by OSA systems are that the higher compression ratio provides lower cost content distribution, faster content transfer times, and more efficient use of storage. These advantages usually outweigh the audience perception (if any) of producing a lower quality image and or sound. 
         [0008]    Encodings such as MPEG-4 are sometimes referred to as ‘e-Cinema’, to be differentiated from those less-lossy, higher precision encodings accepted by the studios and known as ‘D-Cinema’. 
         [0009]    It can thus be appreciated that there is a desire to make use of the digital cinema projector for both studio and advertising content. Most digital cinema projectors can accept images from more than one source, and switch between the two. Also, there are digital cinema screen servers available today which can decode and playout e-Cinema content and also D-Cinema content. Such screen servers utilize a single projector interface, but change output modes when switching between e-Cinema and D-Cinema content. 
         [0010]    However, whether running from separate OSA and digital cinema screen servers and switching between projector inputs, or using a digital cinema screen server that plays both e- and D-Cinema content, there is a hiccough during the show at the transition from e-Cinema to D-Cinema content. That is, the differences in the image essence and signals provided to the projector are sufficient to require the projector to change configuration, resulting in many seconds of black screen. Often the image size (pixel count) is different. To remedy this, a lens move may be required, or engagement of an electronic image scaler may be needed. The color spaces in which e-Cinema and D-Cinema images are encoded are different, requiring the loading or calculation of separate color look-up tables. In addition, frame-rates may differ, possibly requiring a resynchronization of the projector&#39;s image pipeline. 
         [0011]    Ideally, there would be no difference at the projector between advertising content and studio content, other than what the exhibitor, for showmanship reasons, chooses to impose (e.g., projector brightness). However, retaining the low distribution costs of more highly compressed content is valuable, and presently outweighs the inconvenience and disruption caused by switching formats within the projector, or the expense of having two projections systems dedicated respectively to e- and D-Cinema: 
         [0012]    Another problem with both e-Cinema and D-Cinema content is that content for them is far more expensive to create and distribute than the historically used still image slides showing asynchronously over background music. The local pizza parlor merely wants to attract after-movie patrons, and a simple still image is sufficient to the task. However, creating and packaging an e-Cinema movie and soundtrack is what is required by the OSA system and it only gets more expensive when providing a D-Cinema package. 
         [0013]    Presently, the most common practice is to provide a separate OSA playout server and its own projector. This represents a significant hardware, installation, and maintenance expense, and frequently requires the addition of an additional port (window) in the projection booth so the OSA projector can hit the screen. Thus, the theater or venue requires actual physical modification to accommodate this additional port 
         [0014]    A few of the known OSA playout servers can be connected directly to the digital cinema projector. This requires careful intercommunication between and among the projector, OSA playout server, and the digital cinema screen server so that the projector is lit at the correct time, watching the appropriate one of two inputs, and the corresponding image source is playing, and the transition occurs at the appropriate time and the presentations are in sync. Audio must be effectively switched, too. In addition, the entire orchestration must account for the marginally-predictable projection switch-over timing. 
         [0015]    Some digital cinema screen servers handle e-Cinema and D-Cinema content, but still face the projector switch-over timing which includes an undesirable blanking of the screen for several seconds. 
         [0016]    Currently, the owner of the OSA is the only provider from which content can be accepted and presented with the OSA system. Today, Digital Cinema screen servers that support advertising are closed systems—that is all advertising must come through the provider of both the cinema and advertising equipment. It would be desirable for there to be a simple mechanism for providing simple ads for the “slide” portion of the presentation that promotes competition among advertising providers and equipment manufacturers, and allows exhibitors to select among a variety of entertainment content and advertising providers, or to develop their own content using popular, commercially available tools. 
       SUMMARY 
       [0017]    According to one implementation, the method for providing non D-cinema content for distribution and playback at theaters includes performing a quality control check on content master comprising non D-cinema content, the quality control check including, transcoding the non D-cinema content to produce D-cinema compliant content, transferring the D-cinema compliant content into a screen server, initiating playout and monitoring to ensure no unacceptable artifacts are present after transcoding, determining acceptability of the coded D-cinema compliant content, and duplicate/distribute the content master to a theater to be displayed when it has been determined to be acceptable. 
         [0018]    The transcoding can be performed before or after the transfer of the content master to the screen server, and is performed according to policies to be encountered at an exhibition or displaying theater. The transcoding is substantially the same as or identical to the transcode used by an exhibition (auditorium/theater) facility. 
         [0019]    According to one aspect, the non D-cinema content can be, for example, MPEG encoded content. 
         [0020]    According to another implementation, the method for playing back non D-cinema content at an exhibition theater includes receiving a content master comprising the non D-cinema content at the exhibition theater, transcoding the non D-cinema content into a D-cinema compliant content form, transferring the content to a screen server, scheduling the playout of the D-cinema compliant content along with other content, and executing the playout schedule which includes both the D-cinema compliant content, and the other content. The scheduling can includes forming a show play list (SPL) having one or more composition playlist (CPL) such that the forming further includes modifying the SPL or internal one or more CPL to extend or shorten the SPL to accommodate preferences of the exhibition theater. 
         [0021]    The modifying of the SPL or CPL can includes populating an SPL template from a point of sale (POS) system, lengthening the SPL or an internal CPL using rules in a rules database maintained by the exhibition theater, transferring the modified SPL to a screen server when the length of the SPL has been determined to be sufficient. The modifying can further includes monitoring and initiating playout of the SPL, determining, during playout, if the SPL is too long, shortening the SPL when it is determined to be too long, determining if the SPL length is sufficient when it is not too long, and lengthening the SPL when it is determined the length is not sufficient. 
         [0022]    As mentioned above, the transcoding can be performed prior to or after the step of the transferring. 
         [0023]    According to another implementation of the present principles, there is provided a computer program product comprising a computer usable medium having computer readable program code embodied thereon for use in communicating data over a communication channel, the computer program product having program code for receiving the non D-cinema content at the exhibition theater, program code for transcoding the non D-cinema content into a D-cinema compliant content form, program code for transferring the content to a screen server, program code for scheduling the playout of the D-cinema compliant content along with other content, and program code executing the playout schedule which includes both the D-cinema compliant content, and the other content. 
         [0024]    In accordance with another implementation, the apparatus for playing back non D-cinema content at an exhibition theater includes a receiver for receiving the non D-cinema content, a processor configured to transcode the non D-cinema content into D-cinema compliant content, and a screen server configured to receive the D-cinema compliant content and deliver the same to a projector. 
         [0025]    The screen server is further configured to schedule the playout of the D-cinema compliant content along with other content, and to execute a playout schedule including both the D-cinema compliant content and the other content. 
         [0026]    According to one aspect, the transcoded D-cinema compliant content delivered to the projector is substantially similar to post-transcoded D-cinema content previously reviewed at a distribution side of the content. 
         [0027]    The playout schedule can include a show play list (SPL) having one or more composition play list (CPL), where the processor and screen server cooperate to modify the SPL or the one or more CPL to extend or shorten the SPL to accommodate preferences of an exhibition theater. The preferences of the exhibition theater can be maintained in a rule database stored in a storage medium that is in communication with the processor. The rule database can be local to the exhibition theater, or can be remotely located from the same. 
         [0028]    According to a further implementation, the apparatus for playing back non D-cinema content at an exhibition theater includes a receiver for receiving the non D-cinema content, a screen server configured to receive the non D-cinema content, and a processor configured to transcode the non D-cinema content into D-cinema compliant content after being received by the screen server, where the screen server delivers the D-cinema compliant content to a projector. According to one aspect, the transcoded D-cinema compliant content delivered to the projector is substantially similar to post-transcoded D-cinema content previously reviewed at a distribution side of the content. 
         [0029]    The details of one or more implementations are set forth in the accompanying drawings and the description below. Even if described in one particular manner, it should be clear that implementations may be configured or embodied in various manners. For example, an implementation may be performed as a method, or embodied as an apparatus configured to perform a set of operations or an apparatus storing instructions for performing a set of operations. Other aspects and features will become apparent from the following detailed description considered in conjunction with the accompanying drawings and the claims. 
     
    
     
       BRIEF DESCRIPTION OF THE DRAWINGS 
         [0030]    In the drawings wherein like reference numerals denote similar components throughout the views: 
           [0031]      FIG. 1  is diagrammatic view of a variety of content that can be used by the present principles; 
           [0032]      FIG. 2  is diagrammatic representation of various timelines corresponding to the content shown in  FIG. 1 ; 
           [0033]      FIG. 3  is a diagrammatic representation of different timelines having shorter intervals than those of  FIG. 2 ; 
           [0034]      FIG. 4  is a diagrammatic representation of a plurality of transcode operations that support the present principles; 
           [0035]      FIG. 5  is block diagram of a content distribution system according to an implementation of the present principles; 
           [0036]      FIG. 6   a  is a flow diagram of a pre-distribution quality control check according to an implementation of the present principles; 
           [0037]      FIG. 6   b  is a flow diagram of and ingest, transcode and playout process according to an implementation of the present principles; 
           [0038]      FIG. 7  is table representation of a content database, a decrease rule database and an increase rule database; and 
           [0039]      FIG. 8  is a flow diagram of the timeline editing process according to an implementation of the present principles. 
       
    
    
     DETAILED DESCRIPTION 
       [0040]    The present principles provide a way for e-Cinema content to be distributed to theatres, transcoded to look and behave like D-Cinema content, so that it may be seamlessly displayed using D-Cinema screen servers, thus providing a presentation exhibiting improved degree of showmanship, but providing a lower cost of distribution. 
         [0041]    The system and methods not only provide the benefits of the more efficient encoding schemes, but further reduces the costs of producing and distributing simple ads by separating still images and silent video from background audio, and allowing them to be composed into an audio/visual presentation at or near the time of presentation. 
         [0042]    Referring to  FIG. 1 , a variety of content usable by the present principles is shown, including non-D-Cinema content  100  comprising silent video clips  110 , audio tracks  120 , still images  130 , and e-Cinema content  140 ; and standard D-Cinema content  150 . 
         [0043]    Silent video content  110  can be an animation  112  (the content of which is designated herein as ‘animation’ or abbreviated as ‘ani’), provided in a presentation language such as PowerPoint™ by Microsoft Corporation, of Redmond, Wash. or Flash™ by Adobe, Inc. of San Jose, Calif. It can also be provided in a regular digitized video format, such as DV, AVI, or an MPEG-4 encoded file, as is video file  114  (the content of which is designated herein as ‘video_ 1 ’). 
         [0044]    Audio tracks  120  are preferably provided without a pre-associated image component. Generally, this will be background music or other free running audio not requiring a synchronized image. Examples of audio tracks  120  include interview WAV file  122  (the content of which is designated herein as ‘interview’), a first music WAV file  124  (the content of which is designated herein as ‘music_ 1 ’) and a second music MP3 file  126  (the content of which is designated herein as ‘music_ 2 ’). 
         [0045]    In addition, automation cues (not shown) may be employed to cause the audio system (not shown) of the auditorium ( 560  in  FIG. 5 ) to switch to a distinct source of background audio (e.g., a theatre-wide background music channel, not shown) for intervals in timeline  200  where no audio content is specified (none shown). When the timeline  200  again specifies audio file content, automation cues are provided to cause the audio system of the auditorium to switch back to using the screen server ( 562  in  FIG. 5 ) as the source of audio for the auditorium. Preferably, the switching of the audio channel includes a brief, momentary gain fade to prevent an audio ‘pop’ from being heard in the auditorium. 
         [0046]    Still image files  130  are exemplified by pizza parlor ad in PNG file  132  (the content of which is designated herein as ‘P’), an ice cream parlor ad in TIFF file  134  (the content of which is designated herein as ‘I’), a subscription offer for the local newspaper in JPG file  136  (the content of which is designated herein as ‘N’), and a drain cleaning service ad in JPEG2000 file  138  (the content of which is designated herein as ‘D’). 
         [0047]    The actual variety of image formats in which still image might be delivered to a theatre is preferably constrained. However, this is more for operational ease and not due to technical limitations. As will be shown below, because of quality control processes and the value of having source materials with strongly characterized or prescribed properties, it is preferable to provide very few formats in each category. 
         [0048]    In Digital Cinema, images are required to be in the X′Y′Z′ color space (discussed below in conjunction with  FIG. 4 ), which is substantially different than the RGB color space used in the vast majority of multimedia software (and in all the file formats mentioned above). Still images  130  could be provided in a JPEG2000 X′Y′Z′  or PNG X′Y′Z′  file, which would simplify the processing described below. However, that forgoes two advantages of providing still images  130  in widely used formats: First, the ease of creating and editing images with well known, widely available, low-cost workstations and software tools; and second, the ease of providing the advertiser and exhibitor a way of previewing the finished ad by simply calling up the file on a general purpose PC. While such a review station (not shown) would not have all the color calibration and other settings appropriate to content mastering station (not shown), it is sufficient for an advertiser or exhibitor to check the ad for accuracy, suitability and workmanship. 
         [0049]    Typical e-Cinema content  140  can include high definition (HD) content using, for instance, a VC-1 video encoding and a PCM audio encoding as in HD file  142  (the content of which is designated herein as ‘AD_ 1 ’) or other encodings as might be found in an HD DVD or Blue-Ray™ high definition digital video disk. Similarly, and at much lower costs of production, content may be provided in standard definition (SD), for example SD file  144  (the content of which is designated herein as ‘AD_ 2 ’) using, in this instance, MPEG-4 as the encoding for video and AAC encoding for audio as commonly found in popular DVDs. 
         [0050]    In the following discussion, standard Digital Cinema content  150  includes a short “And Now, Our Feature Presentation” file  152  introducing the feature (the content of which is designated herein as ‘INTRO’), a studio provided trailer file  154  (‘TRAILER’), and the feature file  156  (‘FEATURE’). 
         [0051]    With reference to  FIG. 2 , an ideal show timeline  200  is shown, which makes use of the assets provided in  FIG. 1 . An editor is responsible for constructing timeline  200 . This editor may be the theatre projectionist, the theatre manager, or other personnel. Preferably, a template (not shown) is provided as the basis for timeline  200 , so that repetitious manipulations and checks (e.g., always placing INTRO  152  immediately before FEATURE  156 ; ensuring that all trailers proceed INTRO  152 , etc.) are less burdensome. 
         [0052]    A template may be unique to a theatre, an auditorium, or kind of performance (e.g., children&#39;s matinee vs. late night double-feature picture show), or combinations thereof. Such templates and timelines also preferably include automation cues (not shown), for example to operate curtains or dim the lights at appropriate times in coordination with the presentation. 
         [0053]    Alternatively, the creation of timeline  200  may be automated, in which case the editor is an algorithm. Note, that it is not necessarily the case that all available content  100  is used, for instance the ‘AD_ 2 ’ file  144  is not used in timeline  200 . 
         [0054]    When dealing with the still image ads, an editor can specify which slides play in which order, for how long, and with what accompanying audio. However, for the convenience of the editor, a collection of still images (in this example consisting of images  132 ,  136 , and  138 ) is referred to collectively as the carousel  210  (also abbreviated as ‘car.’). The carousel  210  behaves much like a classic carousel slide projector, that is, wherever the carousel  210  is placed in timeline  200 , the intent is to display a still image. The still image being displayed is the least-recently-displayed member of the carousel  210  collection, and each still image is displayed for about the same amount time, in succession, as often as necessary to fill the assigned span in timeline  200 . More elaborate implementations are contemplated as being within the scope of this disclosure, such as allowing different images to be displayed for different or adaptive amounts of time, depending upon the editor&#39;s selection, complexity, advertising fees paid, comment metadata within the source still image file, how much time is available (i.e., how much time until a non-carousel image source is to be used), etc. 
         [0055]    Further, it is desirable for the behavior of carousel  210  to avoid displaying any image for a very short period, for example, if in a carousel sequence each still image is shown for five seconds, and the time remaining in the duration of a carousel would only leave one second for the next still image, it would be ideal for the prior image to be held for six seconds and forgo, for the time being, showing the next still image. Alternatively, the carousel  210  behavior may include stretching each of the four prior still images displayed by a quarter second, rather than the last one being stretched by a full second. 
         [0056]    Idealized timeline  200  specifies that the show begins with audio ‘interview’  122  while the images of carousel  210  are repeatedly displayed. In this example, the three still images in carousel  210  sequence exactly twice during the single playout of ‘interview’  122 . 
         [0057]    In addition, automation cues (not shown) may be employed to cause the audio system (not shown) of the auditorium ( 560  in  FIG. 5 ) to switch to a distinct source of background audio (e.g., a theatre-wide background music channel, not shown) for intervals in timeline  200  where no audio content is specified (none shown). When the timeline  200  again specifies audio file content, automation cues are provided to cause the audio system of the auditorium to switch back to using the screen server ( 562  in  FIG. 5 ) as the source of audio for the auditorium. In one implementation, the switching of the audio channel includes a brief, momentary gain fade to prevent an audio ‘pop’ from being heard in the auditorium. 
         [0058]    Next in timeline  200  is AD_ 1   142 ′, which provides its own synchronized audio and video. AD_ 1   142 ′ is followed by two selections of music, music_ 1   124  and music_ 2   126 ″ (derived from MP3 file  126 , as discussed below). While these music selections play, animation  112 ′ is shown, followed by a resumption of carousel  210 , followed by video_ 1   114 ′, followed by still more of carousel  210 , followed finally by some seconds of ice cream parlor ad ‘I’  134 ′, which ends in conjunction with the end of the playout of music_ 2   126 ″. 
         [0059]    At this point in the timeline  200 , TRAILER  154  is shown with its synchronized audio, followed by INTRO  152 , and finally what the audience paid to see, FEATURE  156  (only the first portion shown in  FIG. 2 ). 
         [0060]    Note that having the editor identify times when the carousel  210  is to play is a valuable shorthand, as opposed to having to specify individual still images, which can still be done as with ice cream ad  134 ′. Alternatively, if the editor were to specify only the non-carousel image portions (e.g. animation  112  and video_ 1   114 ), placement of carousel  210  could be presumed as the default for any interval not otherwise containing image content. 
         [0061]    In an analogous construction, a collection (not shown) of background audio could be identified. Wherever image content having no audio portion (e.g., animation  112 , video_ 1   114 , still images  132 ,  134 ,  136 , and  138 ) is specified, the next portion of the collection of background audio is played in conjunction. Preferably, transitions to and from audio in this collection are made on boundaries between members of the collection. For example, if the collection were comprised of interview  122 , music_ 1   124 , and music_ 2   126 , then a transition to or from the collection would preferably occur at the beginning of interview  122 , between interview  122  and music_ 1   124 , between music_ 1   124  and music_ 2   126 , or at the end of music_ 2   126 . Transitions to or from within an audio track are preferably avoided, but if used, they can include automation commands or screen server behaviors (e.g. a fade) to prevent an audio pop from a discontinuity in the audio stream. 
         [0062]    In order for a Digital Cinema screen server to produce the performance anticipated by show intent timeline  200 , the intent must be represented by a show playlist (SPL) which calls for a sequence of one or more composition playlists (CPL). The nature of the CPL is an XML file as described in SMPTE  Standard  429-7  Composition Playlist,  and while standards for the SPL are still in development, as of today all manufacturers of digital cinema screen servers provide software which can create, store, load, edit, and playout a show playlist referencing CPLs, though with the SPL storage format for each being in their own proprietary, non-transportable format. 
         [0063]    In Digital Cinema, a CPL is a synchronized presentation of picture and audio, and optionally includes subtitles synchronized elements (e.g., automation). FEATURE  156  is defined in a single CPL, as are TRAILER  154  and INTRO  152 . When the HD file  142  for AD_ 1  is converted for digital cinema use under the present principles, the result is AD_ 1  file  142 ′, comprising a CPL  216  and additional asset files described below in conjunction with  FIG. 4 . 
         [0064]    Normally, a CPL is provided by a studio or by a digital cinema packaging service retained by a studio. The decisions made regarding the selection and synchronization picture and audio is part of the motion picture post-production pipeline. Here, as when making traditional movie prints, image and soundtrack essence have a 1:1 correspondence: the twenty minutes or so of picture that corresponds to a reel of film has a corresponding soundtrack that is exactly the same duration. If subtitles are included, then those subtitles are contained entirely within that interval. 
         [0065]    However, the present principles anticipate that image-only or sound-only files do not necessarily have a 1:1 correspondence within a CPL as picture and sound AD_ 1  file  142 ′, and in fact, they are likely not to. 
         [0066]    Three implementation alternatives for the carousel and additional still image behaviors are provided for exemplary purposes. These may co-exist in a single implementation, but are shown distinctly herein. Each still image file  132 ,  134 ,  136 ,  138  is processed by at least one of the following methods, so as to be displayed for an interval of time determined by the editor&#39;s prescription when played on the digital cinema screen server. 
         [0067]    Each still image is preferably converted into a PNG X′Y′Z′  format suitable for use with the well-known digital cinema “subpicture” subtitle mechanism, as employed in SPL  250 . 
         [0068]    Alternatively, each of the still images files is converted into a digital cinema JPEG2000 X′Y′Z′  encoding and replicated  24  times for each second of desired playout and collected in a digital cinema track file, represented as corresponding files  132 ′,  134 ′,  136 ′, and  138 ′, and employed in SPL  240  (with  134 ′ also being employed in SPL  230 ). In still another implementation, a slide file  212  representing carousel  210  may be constructed (the content of which is designated herein as the ‘slides’ and abbreviated as ‘sl’), consisting of the concatenation of the collectively referenced sequence still images, which in this example are the pizza parlor, newspaper, and drain service ads (‘P’, ‘N’, and ‘D’). Such a slide file  212  is used in SPL  230 . 
         [0069]    For a carousel-file-based implementation as referenced by SPL  230 , a CPL  214  must be created that defines the composition of the slides file  212  for images and interview file  122  for audio. In a CPL, in order to playout an audio track in precisely defined synchronization with an image sequence, the audio and the image sequence must be exactly the same duration. The first portion of SPL  230  consists of a CPL  214  having two reels (an internal construct of CPLs well known to practitioners in the field). Reels, too, require audio and image sequences having exactly the same duration, and are provided with the additional assurance that consecutive reels within a CPL will be played out without any discontinuity in the image or audio presentation. The first reel of CPL  214  specifies the entirety of slides file  212  and a first consecutive piece  122 ′ of interview file  122 . The first reel ends with the end of the first slides file  212  and at the first portion  122 ′ of interview  122  at artificial boundary  232 , which is simultaneous. The second reel of CPL  214  identifies the slides file  212  again, the audience will see the carousel images repeat, and the second consecutive portion  122 ′ of interview  122 . The audience will hear no discontinuity in the playout of the two audio portions  122 ′ of interview file  122 . 
         [0070]    That interview file  122  is exactly twice the length of slides file  212  may be viewed as a coincidence in this example, or it may be considered that there was a forward looking decision made in the construction of slides file  212  and that the selection of precisely how many replicated frames of each of still images  132 ,  136 , and  138  were assembled was informed by the length of interview file  122 . 
         [0071]    Note, that it is currently a requirement that a CPL identify audio in integer increments (called ‘edit units’) of, typically, exactly 1/24th of a second. In the case that the necessary portion of an audio track like interview file  122  does not represent an exact multiple of that value, the end of the audio track can be padded with silence (not shown), or the audio can be scaled by techniques known in the art. Note that the latter is generally not considered an aesthetic technique when applied to music, due to quality issues in the scaling and the pitch error which may be detectable to those in the audience having perfect pitch. 
         [0072]    Once the interview  122  and two iterations of the slides file  212  have been played, SPL  230  references CPL  216  so that AD_ 1   142 ′ is played. Note that the CPL  216  is used throughout  FIGS. 2 and 3  in all SPLs, for all instances of AD_ 1  file  142 ′. 
         [0073]    Subsequently, SPL  230  references CPL  218 . Compared to earlier CPLs  214  and  216 , CPL  218  is complex, as many assets of differing lengths are composited to make a continuous, synchronous performance. The audio is taken from music_ 1   124  and music_ 2   126 . Images are provided by animation file  112 ′, video_ 1  file  114 ′, and ice cream ad file  134 ′, each separated from each other by varying amounts of slides file  212 . The resulting CPL  218  has seven reels with five artificial boundaries like  232  in the audio, and one artificial boundary  236  in the midst of video_ 1  file  114 ′. Note, that for clarity and because of the frequency with which artificial boundaries  232  occur in the audio tracks of  FIGS. 2 and 3 , and artificial boundaries  234  occurs within the image tracks in  FIG. 2 , only the two instances  232  and  236  are explicitly numbered, however all are indicated by the boundaries marked with hash-marks. 
         [0074]    CPL  218 , begins with a first reel composed of animation file  112 ′ and a like-duration first portion  124 ′ of music_ 1  file  124 . The duration of this first reel is defined by the actual duration of animation file  112 ′, and an artificial boundary like  232  marks the break in the composited audio file, music_ 1   124 , which does not have an intrinsic break at this point. 
         [0075]    A second reel in CPL  218  is composed of a first portion  212 ′ of slides file  212  and the next consecutive portion  124 ′ of music_ 1  file  124 , this consecutive portion of  124 ′ selected to have a duration matching that of the first portion  212 ′. In this case, there is no intrinsic duration of either the video or audio selections which drives the choice of the duration for this second reel. Rather, the duration is driven by a decision made in the editing to only show two slides of the carousel to separate the two silent video files  112 ′ and  114 ′. Artificial terminator  234  (and others like-marked elsewhere) indicates that slides  212 ′ is not a complete playout of slides file  212  before the switch to video_ 1  file  114 . It is likely to be a frequently used property of the slides file  212  that the selection of duration will be directed at individual still image sequence within the slides file  212 , rather than at the duration of one or more integer repetitions of the entire file  212  as illustrated in conjunction with interview file  122 . 
         [0076]    The third reel of CPL  218  includes a first portion  114 ″ of video_ 1  file  114 ′, and the next consecutive portion  124 ′ of music_ 1  file  124 . This third reel ends with the end of music_ 1  file  124 , and an artificial boundary  236  in video_ 1  file  114 ′. 
         [0077]    A fourth reel is composed of the latter portion  114 ″ of video file  114 ′ and the first portion  126 ′ of music_ 2  file  126 ″. 
         [0078]    A fifth reel is composed of a last portion  212 ″ of slides file  212  and the next portion  126 ′ of music_ 2  file  126 ″. Preferably, this last portion  212 ″ of slides file  212  begins on a boundary between two still images such that the still image that begins this portion  212 ″ is displayed for a duration typical of the other slides in file  212 . 
         [0079]    A sixth reel is the first portion  212 ′ of the fourth repetition of slides file  212  and the next portion  126 ′ of music_ 2  file  126 . 
         [0080]    The final, seventh reel in CPL  218  is composed of ice cream parlor ad file  134 ′ composited with a last portion  126 ′ of music_ 2  file  126 ″. The duration of the sixth reel is determined by the editor to cause ice cream ad  134 ′ to have an appropriate duration and be synchronized with the end of music_ 2  file  126 ″. In this example, it is not the case that there is a neat alignment in slides file  212 , and one of the still images may be shorter than others. While this may be moderated by the editor for aesthetic purposes, it is only technically a problem if a reel is designated to be less than one second long, which is the minimum allowable reel length according to current standards. 
         [0081]    The remainder of the SPL  230  is composed of the three CPLs calling out standard D-Cinema content  150 , namely, INTRO  152 , TRAILER  154 , and FEATURE  156 , each of which reference provided audio and image track files in standard D-Cinema formats. 
         [0082]    The same presentation can be achieved by allowing each still frame to be called out separately, as shown in SPL  240  and its unique CPLs  244  and  248 . The three slide files “P”  132 ′, “N”  136 ′, and “D”  138 ′ are cyclically selected wherever carousel  210  is specified in ideal timeline  200 . The result is that CPL  244  will have six reels (as opposed to the two in corresponding CPL  214 ) and CPL  218  will have nine reels (as opposed to seven in corresponding CPL  218 ). The complexity implied by the increased reel count may be at least partially offset by not having to re-construct slides file  212  every time a still image is added to or removed from the carousel group. 
         [0083]    Each of the six reels making up CPL  244  include a portion of interview file  122  and the entirety of one of the three slide files  132 ′,  136 ′, and  138 ′. In CPL  218 , the first, second, third, sixth, seventh, and ninth reels comprise the entirety of animation file  112 ′, “P”  132 ′, “N”  136 ′, “D”  138 ′, “P”  132 ′, and “I”  134 ′, respectively, The fourth and fifth reel comprise the first and second portions  114 ″ of video_ 1   114 ′, and the eighth reel comprises a portion  236  of “N”  136 ′. 
         [0084]    Compared to the implementation represented SPL  240 , one advantage to embodying carousel  210  as in SPL  230  as slides file  212  derived from the still images is that the transitions between slides can be calculated and recorded in slides file  212 , for example, the first several and last several replicated frames of ad still image “p”  132  can embody a fade from black to the still image and back, respectively. Alternatively, the first several frames can embody a crossfade from the prior still image in the carousel cycle. These more pleasant transitions between still images can require more judicious entry to and exit from the slides file  212 , however the aesthetic value of the carousel sequence is greatly improved. 
         [0085]    In still another implementation, the same presentation can be achieved using the subtitle mechanism specified for Digital-Cinema, as shown in SPL  250 . This implementation is attractive due to the low storage requirements for still image ads and the ease of generating the aesthetic improvements of crossfades and fades to and from black. 
         [0086]    In SPL  250 , CPLs  264  and  268  both reference the same audio tracks as in corresponding CPLs  214  and  244  in SPL  230  and CPLs  218  and  248  in SPL  240 . Individual reels in CPL  268  reference animation  112 ′ and first and second portions  114 ″ of video_ 1   114 . CPLs  264  and  268  make use of the subtitle mechanism of Digital Cinema by referencing subtitle track files  274 ,  276 , and  278 . The MainSubtitle reference  252  to subtitle track file  274  occurs in reel one of CPL  264 . MainSubtitle reference  256  to subtitle track file  276  occurs in reel two of CPL  268 , and MainSubtitle reference  258  to subtitle track file  278  occurs in reel five of the same CPL. Each of still images  132 ,  134 ,  136 , and  138  are converted into the PNG X′Y′Z′  format appropriate producing subpictures  132 ″,  134 ″,  136 ″, and  138 ″ which can be referenced subtitle track files. Preferably, each subpicture reference in a subtitle track file includes a FadeUpTime and FadeDownTime that aesthetically transitions into and out of a still image, which may optionally include a crossfade. There may be further finesse applied to the fade specifications on, for example the first or last slide in a sequence. In particular, a longer fade out immediately prior to TRAILER  154  is shown in the example subtitle track file  278 . 
         [0087]    Referring to  FIG. 3 , similar mechanisms are used for each of three SPLs  330 ,  340  and  350  implementing the intended presentation of timeline  300 . Timeline  300  specifies a presentation having a shorter interval between the time the show starts and the time the feature starts. If timeline  200  and  300  can be generated ahead of time by an editor, or generated by just-in-time automatic means as discussed below in conjunction with  FIG. 7 , then a selection of which timeline is appropriate may be made approaching or during the show based on a external selection by a projectionist or theatre manager. For instance, a shorter preshow (fewer ads) might be the normal mode, but in case of foul weather delaying the arrival of substantial portions of an audience or uncommonly long concession lines, an exhibitor may decide to delay the start of the feature by a few extra minutes, without going to a dead screen as hitting ‘pause’ on the server might. 
         [0088]    In shortened timeline  300 , music_ 2   126  (shown in  FIG. 2 ) has been eliminated to trim down the duration of the preshow. As a result, animation  112  has been moved ahead of AD_ 1 , and fewer runs through the carousel (presumed in this example to be the lowest revenue impact for the exhibitors). First CPLs  314 ,  344 , and  362  corresponding to alternative implementation SPLs  330 ,  340 , and  350  employ the resources and methods identified in conjunction with  FIG. 2 , though subtitle track file  374  is referenced by MainSubtitle reference  352  in SPL  350 . Similarly, Third CPLs  318 ,  348 , and  368  replaced their longer counterparts in  FIG. 2 . Again in SPL  350 , a new subtitle track file  378  is called out by MainSubtitle reference  358 . 
         [0089]    Those of ordinary skill will recognize that the principles demonstrated in SPLs  230 ,  240 , and  250  can be used consistently throughout an SPL, or they can be mixed and matched. Similarly, the creation of specific subtitle track files, such as  274 ,  276 ,  278  and their counterparts in SPL  350  could be mixed with the mechanism of slides  212 . In such a case, first CPLs  264  and  364  would each gain an additional reel, as a common subtitle track file (not shown) of the same example duration as slides  212  would include only references to subpictures  132 ″,  136 ″, and  138 ″ would be used wherever carousel  210  is called for in the corresponding timeline ( 200  or  300 ). Such a mechanism would generate a reel count in the affected CPLs identical to those in corresponding carousel-based CPLs  214 ,  314 ,  218 , and  318 . Thus, the present invention contemplates that many implementation choices are available. 
         [0090]    Further, CPLs and the associated content files, or amalgamations thereof (whether a simple collection of unrelated compositions, or a hierarchical collection that includes sequencing information), might be provided to an exhibitor or distributor by third parties for inclusion in presentations. 
         [0091]      FIG. 4  shows a number of transcode operations that support the present principles. The specific transcode operations described are merely exemplary and not intended to limit the selection of file formats available for display by exhibitors. 
         [0092]    Video transcoding  410  of video-only content supplied in any of a great variety of forms results in the same content, but in D-Cinema format. Two examples used herein are animation  112  and video_ 1   114 . 
         [0093]    Animation  112  can be provided in an animation programming language, for example as a .swf file produced in Flash™ by Adobe, Inc. of San Jose, Calif. Transcoder  412  would execute the Flash™ animation  112  and individual image frames would be captured and translated from RGB color (a color space commonly used in computer graphics) and converted according to X′Y′Z′ color. Further, each resulting frame is concatenated to product animation  112 ′ suitable for direct reference in CPLs. If necessary, individual frames are scaled, or cropped, or provided with a border, to achieve a final image of an appropriate size, as needed. 
         [0094]    Similarly, MPEG video sequence video_ 1   114  can be converted by transcoder  414  by rendering each frame of the MPEG sequence (starting with a keyframe, know to those familiar with MPEG as an I-frame) and performing the translation from the MPEG YCrCb color space to X′Y′Z′. 
         [0095]    Transcoders  412  and  414  may perform frame rate conversion as needed to match the frame rate of the target SPL, and ensure that the resulting files are integer multiples of the target frame rate and padding with black or the last image as needed, according to policy. 
         [0096]    In one implementation, all non-D-Cinema image content is provided with a white point and color gamut that is uniform or otherwise standardized, so that each image transcoder in  FIG. 4  can utilize a pre-determined transform from the source color encoding to the target X′Y′Z′ color encoding preferred by D-Cinema. Alternatively, metadata provided in or with each source image can describe the source color encoding (for instance, the white point, the gamma, the primaries, etc.) and the translation can be made by applying such metadata to equations known in the art. 
         [0097]    Still image transcoding  420  converts still images into D-Cinema image track files. 
         [0098]    Transcoder  422  converts Pizza Parlor ad “P”  132  supplied in PNG RGB  format from the PNG encoding in RGB color space into X′Y′Z′ color space encoded with JPEG2000 (abbreviated as J2K) to comply with D-Cinema image standards and then replicates that image twenty-four times for each second of duration, storing the result as “P”  132 ′, a D-Cinema image track file. 
         [0099]    Similarly transcoder  424  converts Ice Cream ad “I”  134  supplied in TIFF RGB  format into the J2K X′Y′Z′  format and replicates the result to create D-Cinema image track file “I”  134 ′. Transcoder  426  converts Newspaper ad “N”  136  from JPG RGB  format into the J2K X′Y′Z′  format and replicates the result to create D-Cinema image track file “N”  136 ′. 
         [0100]    If desired for aesthetic reasons, transcoders and replicators  422 ,  424 ,  426 , and  428  may include a fade in and fade out of the frames at the beginning and end of each file  132 ′,  134 ′,  136 ′, and  138 ′, according to a predetermined policy. 
         [0101]    When presented with Drain ad “D”  138  already in X′Y′Z′ color space and D-Cinema JPEG2000 encoding, processor  428  merely needs to replicate the image and package the result as D-Cinema image track file “D”  138 ′. 
         [0102]    Carousel creation  430  incorporates both the still image transcode, replication, and packaging  420 , except that concatenation process  432  combines the multiple replicated images  132 ′,  136 ′, and  138 ′ into slides file  212 , also a D-Cinema image track file. Still image “I”  134  is not in carousel  210 , and thus is not included in slides  212 . 
         [0103]    Subpicture preparation  440  takes the same source materials  132 ,  134 ,  136 , and  138 , but transcoders  442 ,  444 ,  446 , and  448  convert from the source encoding and color space and produce corresponding PNG encoded files  132 ″,  134 ″,  136 ″, and  138 ″ in X′Y′Z′ color space. 
         [0104]    Audio transcoding  450  provides source audio music_ 2   126  to transcoder  452  which decodes from MP3 or other audio format and encodes as D-Cinema compliant audio track file music_ 2   126 ″ having the audio is encoded in WAV format in chunks, typically, of 1/24th second. Since the D-Cinema requirement is that audio files are integer multiples of the frame rate in duration, the first or final 1/24th of a second may be padded with silence. Audio transcoding  450  may also provide a fade to/from silence over a brief interval at either end of the file, to assure that no audio pops occur, or that an aesthetic transition effect is provided, according to a predetermined policy. 
         [0105]    Audio/visual transcoding  460  accepts files having synchronized audio such as high definition digital file AD_ 1   142  and MPEG4 DVD file AD_ 2   144 . They are handled by transcoders  462  and  464  respectively, each providing appropriate video and audio conversions as above to produce the corresponding image and audio track files  142 ′ and  144 ′ respectively and the corresponding CPL that references and synchronizes the image and audio. As AD_ 2  is not used in timelines  200  and  300 , only CPL  216  corresponding to the audio and image track files  142 ′ is shown. 
         [0106]    Referring now to  FIG. 5 , mastering  510  feeds distribution, which may comprise duplication  520  and shipping of transportable media  530 , or telecommunications  540 , to an exhibition theatre  550  including auditorium  560 . 
         [0107]    In mastering  510 , a content master  512  is created or provided. Preferably before distribution, a quality control check  610  (see  FIG. 6 ) is run. Content master  512  may comprise any of the moving image, still image, audio, or synchronized image and audio content previously discussed. The quality control check  610  begins  612  and content master  512  is received  614  (or created) in mastering  510 . If content master  512  is found at  616  to require transcoding, it is submitted  618  to transcoder  514 . Transcoder  514  preferably includes any transcoding, replicating, and packaging process discussed in conjunction with  FIG. 4  and appropriate to content master  512 . Further, it is preferable that transcoder  514  reference the same or similar policies that content will encounter at the exhibition theatre  550 . 
         [0108]    The content, whether ready at step  616  or transcoded, replicated, and/or packaged in step  618  is provided to a D-Cinema system comprising screen server  516  and projector  518 . The content is loaded onto the screen server  516  in step  620 . Quality is checked in step  622  by initiating playout and monitoring the playout to ensure that no property of content master  512  produces unacceptable artifacts after being processed by transcoder  514 . If judged in step  624  to be unacceptable, the issue is reported in step  626 , otherwise the content is distributed in step  628 , and the process concludes at  630 , generally by billing the client. Note that the report in step  626  may result in an order to ‘ship it anyway’ in which case step  628  is performed, or step  626  may result in a rework of some or all of content master  512  which may require repeating quality control check  610  on some or all of content master  512  at a later time. According to other implementations, those of skill in the art will recognize that the transcoding  618  can be performed either before or after the transfer to the screen server, but generally must be performed prior to the initiate and monitor playout  622 . 
         [0109]    If content master  512  includes any encrypted portions, transcoder  514  and screen server  516  must be provided with the appropriate decryption keys. 
         [0110]    In the case of physical distribution, duplicator  522  is used to make multiple copies of content. Duplicator  522  may comprise a hard disk copying station, a DVD burner, a DVD press, or other digital media reproduction device. For small volumes, even a personal computer can be used to copy data to hard drives, for instance an external USB drive, or for burning CDs or DVDs. Physical media  530 , such as external or removable hard disk  532  or DVD  534  are shipped, preferably in a protective container (not shown) to exhibition theatre  550  where the physical media  530  is provided to ingest server  552 . 
         [0111]    For distribution using telecommunications  540 , the content master  512  is read to a sending interface for transmission across a communications channel to a receiving interface at the exhibition theatre  550 . As an example, the sending interface may comprise a transmitter  524  and transmitting antenna  526 , the communications channel may comprise satellite  542 , and the receiving station comprises receiving antenna  544  and receiver  546  connected to ingest server  552 . In an alternative implementation, the stations and communication channel can comprise a network connection traversing the Internet, preferably using Virtual Private Network (VPN) or other well known techniques to ensure privacy and security. Other implementations using the telephone network, other wireless data transmission channels, or combinations of all the foregoing may be used. 
         [0112]    Ingest, transcode, and playout process  650  begins at step  652 , awaiting the arrival of content  530  via one or more delivery channels. Content is received  654  and examined in step  656  to determine whether transcoding is needed, as was done in step  616 . If the determination is made that transcoding is needed, ingest server  522  initiates transcode, replication, and/or packaging  658 , as would have been tested in step  618 . 
         [0113]    Preferably the transcode  658  is performed by software on ingest server  552 , with or without hardware acceleration (e.g., a special transcoder chip or card, not shown). Alternatively, ingest server  552  can access a local transcoder box (not shown). In still another implementation, ingest server  552  can provide the content to screen server  562  and have the transcoding  658  performed there. This latter implementation has the advantage that, late at night, after all the shows have completed, a twenty-plex cinema house may have a considerable amount of computing power idle. Thus, the transcoding (if required) can be performed either prior to or after delivery to the screen server. 
         [0114]    Regardless of the location of processing  658  (if it was even required in step  656 ), the now D-Cinema compliant content is placed in storage  520 , preferably a disk  554  accessible to ingest server  552  (which may be distribution disk  532  if there is sufficient room). Alternatively, the D-Cinema compliant content may be placed directly on screen server  562 , or if transcode  658  takes place at screen server  562 , the resulting files may simply be stored locally and remain there. 
         [0115]    After the D-Cinema compliant content has been stored, it is transferred as needed to the screen server  562  for auditorium  560  in step  662 . While this process is preferably an automatic transfer, it may be initiated manually, or if there is no network connection from ingest server  552  to screen server  562 , step  662  may included the physical transport of hard disk  554  or  532  to the screen server  562  to be mounted and read directly. 
         [0116]    The playout of the transcoded, replicated, and packaged content may be scheduled in step  664 , preferably in conjunction with other content  150  which preferably includes a feature  156 . This schedule can be based on a predetermined time set by the exhibition theater. 
         [0117]    The scheduling of an SPL to playout on screen server  562  triggers or schedules a trigger of step  668 , wherein the CPLs and SPLs discussed in conjunction with  FIGS. 2 and 3  are created or updated. This process is described below. The creation of CPLs corresponding to the SPL is preferably performed by the ingest server  552  and the resulting CPLs are provided to the screen server  562 , which requires no special ability of the screen server  562  other than to accept and play as scheduled standard SPL referencing standard CPLs referencing standard track files (and standard subpicture files, if used). 
         [0118]    In an alternative implementation, the CPLs described in conjunction with  FIGS. 2 and 3  can be created as part of content master  512  by prior art processes and transcode steps  618  and  658  produce the appropriate identifications in the resulting track files so that the resulting transcoded, replicated and packaged content is the content referenced by those CPLs. 
         [0119]    Playout of the SPL occurs and concludes in step  670  as the screen server  562  executes the SPL and the presentation is given on projector  564 . Note that mastering  510  and auditorium (exhibition theater)  560  both have audio equipment (not shown, but well known) attached to their corresponding screen servers  516  and  562  for respectively evaluating and presenting the audio portion of the program. 
         [0120]    The delivery of non D-cinema content to an exhibitor (e.g., a theater) is cheaper and faster than delivering D-cinema content or D-cinema compliant content. By using non D-cinema content, significantly higher compression rates can be achieved with MPEG encoding (i.e., DVD standard), than with JPEG 2000 encoding (i.e., the D-cinema standard). As will be apparent, the smaller data size makes the content transfer take less time. Thus, when distributing the content via satellite, the size reduction afforded by the present principles will reduce distribution cost by a like factor. For example, this reduction could be 25:1 or more depending on the actual content. 
         [0121]    In an alternative implementation, the loading or execution of the SPL itself may induce modifications to the SPL or the referenced CPLs. This preferably includes redacting as-yet-unplayed portions of the presentation or repeating previously played portions of the presentation as needed to extend or shorten the duration of the presentation. Such shortening or lengthening of the presentation may be in response to external signals representing, for example, one or more of long lines at the concession stand, weather conditions affecting audience arrival times, or a medical or janitorial emergency in a particular auditorium (e.g., the policies and procedures of the particular auditorium/exhibition theater). The shortening or lengthening could also be based on meeting a predetermined time schedule of the exhibition theater. 
         [0122]    Such a process is shown in  FIG. 8 , where such signals are detected and acted upon in steps  822  and  826 . 
         [0123]    A simple algorithm for a shortening process is to omit from the playlist the next piece of content that is not currently playing. 
         [0124]    A simple algorithm for a lengthening process is to first restore in reverse order, each piece of content that has been omitted, inserting each piece of restored content as the next piece of content to play. When no further omitted content is available to restore, additional content may be selected by any procedure (including random selection), and inserted as the next piece of content to play. 
         [0125]    If playout is paused, the simple shortening algorithm can be perfectly reversed by the simple lengthening process and vice versa. In this special case, the two algorithms are commutative. This is not the case if playout is proceeding and the two algorithms take effect during distinct pieces of content. It is not required that the shortening and lengthening processes are commutative: many acceptable algorithms for shortening will not be ‘undone’ by a companion algorithm for lengthening, unless specific care is taken to design reversibility into the two processes. Generally, it is not a requirement. 
         [0126]    The simple shortening and lengthening algorithms above are generally too simple. Ideally, heuristics or rules are employed to improve the likely value (aesthetic or monetary) of the resulting presentation. In order to permit this achievement, more information is needed regarding the content being or potentially being presented. 
         [0127]    A example content database  710  provides information about each piece of content that might be automatically added to or deleted from a timeline, such as by timeline editing process  800 . 
         [0128]    Timeline  300 , as an example, results from performing timeline editing process  800  upon timeline  200  with a requirement for a shorter presentation. Timeline  200  may result from editing process  800  acting on timeline  300  with a requirement for a longer presentation. 
         [0129]    Content database  710  provides information about each piece of content that can be used to automatically select one or more pieces of content to be omitted or added. The formats shown in  710  are ideal, but those skilled in the art will recognize many alternatives can also be applied without departing from the scope of the present principles. 
         [0130]    A collection of removal rules  720  (only some shown) and addition rules  730  (only some shown) are provided for use in shortening step  824  and lengthening steps  814  and  828 . 
         [0131]    Further, while the following discussion of shortening step  824  and lengthening steps  814  and  828  reference modifications to the timeline and SPL, the SPL includes references to ad-hoc CPLs such as example CPLs  214 ,  218 ,  244 ,  248 ,  264 ,  268 ,  314 ,  318 ,  344 ,  348 ,  364 , and  368 . It is to be understood in the following discussion that modifications to the timeline or SPL may include implicit addition of, deletion of, or modification to such ad-hoc CPLs, depending upon the operation. 
         [0132]    Content database  710  ideally provides information for each piece of content, such as:
       ContentID is for identifying the specific piece of content with which the information is associated;   ContentType, such as moving image-only content  110 , sound-only content  120 , still images  130 , or image with synchronized sound  140 ;   ContentName, while usually not needed for algorithms to work, is useful to humans when for displaying SPL contents to projectionists and managers, or for reporting;   ContentDuration, is a measure of the expected playout duration of the associated content which is convenient when determining, for instance, whether music_ 1   124  is sufficiently long as to accompany both animation  112 ′ and video_ 1   114 ′, or whether one of the two moving images  112 ′ and  114 ′ will get bumped (as occurred in the shortening from timeline  200  to timeline  300 );   ContentKindType, is a categorization of content where categories commonly seen in theatres today include ads, trivia questions and answers, information about upcoming features, news about celebrities, etc;   ContentVersionDate, is used to determine which of two versions of data associated with a piece of content is more recent;   ContentActivationDate is used to disallow the use of a piece of content before a specific date, such as a product launch or feature release, or holiday themed content;   ContentSunsetDate is similarly used to disallow the use of content after a specific date;   ContentRatingType is not a rating of the content itself, but rather identifies content is appropriate to accompany feature presentations up to a certain rating;   ContentLanguage identifies the primary language in which the content is presented and will generally be selected to match the primary language of the feature presentation;   GroupID, when common to two or more pieces of content, identifies that members of the group should be inserted or removed together, as a group, though not necessarily as consecutive entries (an example would be a trivia question and a trivia answer which may allow up to 30 seconds of unrelated intervening content);   GroupSequence, if non-null, specifies the order in which the members of the group should appear (i.e., the trivia question GroupSequence=1, while the trivia answer GroupSequence=2);   GroupSeparation determines for each piece of content the maximum amount of time that may lapse between its finish and the start of the next member of the group (i.e., from the above example, the trivia question GroupSeparation=00:00:30:000, but if the value were 00:00:00:000, then the trivia answer would need to follow consecutively);   GroupDuration, if non-null, specifies the duration contributed by a group so that the aggregated ContentDuration of a group is convenient;   ContentRegionType allows content to be selected by market, preferably in a hierarchical arrangement, so that, for instance ads for the Los Angeles market are not included in New York, but ads for the California market may be used in Los Angeles;   ContentSupplierID is preferably provided to determine the path by which the content was supplied, as frequently this is useful to diagnosing problems and also for allocating advertising revenue share;   ContentOwnerID is preferably provided to determine the owner of the content, again for diagnosing problems, but also for billing advertising fees;   ContentConractType is preferably used by rules to implement contractual obligations for when, how often, and under what other conditions an piece of content can, shall, or shall not be presented; and,   ContentValue represents a value to the exhibitor such as expected revenue, but may also include other dimensions such as aesthetic value to an audience.       
 
         [0152]    Those skilled in the art will recognize that some, all, or different information about the content might be usefully included in content database  710 , and that the fields listed herein are by way of example and not a limitation thereof. 
         [0153]    D-Cinema content  150  such as TRAILER  154  and theatre policy content such as INTRO  152  are also included in content database  710  and subject to shortening step  824  and lengthening steps  814  and  828 . Also, it is desirably that feature content such as FEATURE  156  are also listed in content database  710 , but such content is preferably not subject removal or insertion in steps  814 ,  824 , and  828 . 
         [0154]    Removal rule base  720  shows a partial collection of rules suitable to shortening step  824 . In one embodiment, all rules of a given rank (the first column of  720 ) may be attempted until the shortening goal is achieved. When the rules of the given rank have been exhausted, the rules of the next rank may be attempted, and so on until the shortening goal is achieved. 
         [0155]    In an alternative implementation, some rules of higher ranks may cause rules of lower ranks to regain effectiveness. In this case, if the rules of one rank cease to provide the ability to shorten a show, then the rule at the next higher rank is tried. If successful, further attempts may begin with the rules at lower ranks. 
         [0156]    Other rule selection processes can be implemented: For instance, randomly executing rules in a range of ranks; or employing a Monty Carlo algorithm to evaluate the progress toward a goal of candidate random groups or individual rule executions, with the candidate having the greatest progress or the lowest reduction in value being the rule actually executed; or an exhaustive search using a similar candidate evaluation to determine the best rule to apply. 
         [0157]    Example removal rule base  720  provides pseudo-database-query-like expressions to describe the algorithm employed by each rule. The rule in rank one searches for content having both a ContentKindType of ‘information’ (e.g., “Recording devices of any kind are prohibited in this facility.”) and a ContentValue less than ‘5’. Since more than one piece of content might meet that criteria, the sort column specifies that results should be sorted in an order so that the minimum ContentValue is removed first. Other sorts include selecting content having the maximum duration first, or just selecting the first content found in the timeline to meet the criteria. 
         [0158]    Some rules make use of functions, such as the removal rule base  720  rank  3 , which activates (the first clause becomes true) when it is less than three minutes until showtime, in which case content advertising that there is popcorn for sale in the lobby (ContentKindType==concessions) is on the chopping block. 
         [0159]    In the case that groups or other special configurations of content are supported, specific algorithms are required, such as ensuring that if any member content of a group is deleted, that all content of that same group is removed. 
         [0160]    Such special algorithms include combining image-only content (e.g. animation  112 ) with audio-only content (e.g., music_ 1   124 ) to provide a presentation having simultaneous image and sound. In a timeline, if the image and audio have different durations, the longer of the two must be deleted to shorten the timeline. 
         [0161]    When there is a section of the timeline bounded on both sides by either end of the timeline, or content having image with synchronized sound (e.g., synchronous content  140  &amp;  150 ) then if the intervening content contains overlapping image-only and audio-only content having mutual alignment and durations such that a portion of the audio-only content is unaccompanied, then the image portion of the presentation can be supplied by a rule to select image-only content having a ContentDuration shorter than the gap, or carousel content  210  is the fallback. 
         [0162]    If the mismatch results in image-only content having no corresponding audio content, then audio-only content is select until the gap is exactly closed, or moves into the image portion of the timeline. In an alternative embodiment, silence or special purpose audio-only content such as nature sound (e.g., sea shore sounds, or rain forest sounds) may be used in the same manner as the carousel images, that is, a sound track that has no particular beginning or end, nor a required duration . . . it can be played at any time, and repeated as needed. 
         [0163]    Similarly, addition rule base  730  supports lengthening steps  814  and  828  by identifying content listed in content database  710  to be added to a timeline. The rules shown in  730  show additional functions that allow the rules to reference other content relative to a candidate placement. For instance, rule base  730  row  1  is applied at the insertion point in the timeline so that the first clause looks for content in content database  710  having ContentKindType that is different from the ContentKindType of the content immediately prior to the insertion point. In this way, lengthening process will not insert two ads in a row, nor two news items in a row. That same rule also ensures that the content selected is not violating a requirement of the previous piece of content to have content with the same GroupID immediately follow. 
         [0164]    The rule in row  2  of addition rule base  730  searches for content that matches the GroupID of some piece of content prior to the insertion point, but not strictly limited to an examination of the immediately prior content. If found, the second clause ensures that the content selected for insertion is the next one of the group sequence. 
         [0165]    These two examples of insertion presume that the timeline is growing from a specific insertion point and that content following that insertion point does not need to be considered in the lengthening algorithm. 
         [0166]    In an alternative implementation, the insertion point might be permitted to occur anywhere within a specific range (e.g., anywhere prior to TRAILER  154 ). In such a case, insertion rules may also need to look forward. For example, the intent of rule  1  in addition rule base  730  is to attempt to select content having the highest ContentValue that does result in two consecutive pieces of content having the same ContentKindType. In order to achieve this in the alternative embodiment, the first clause might be replaced by the clause NOT(ContentKindType==Previous: ContentKindType OR ContentKindType==Next: ContentKindType), where Next: is a function that examines a property of the next piece of content following the insertion point. 
         [0167]    When evaluating the insertion or deletion of audio-only content, rules may include comparisons strictly against other content having like ContentType (i.e., rules for selecting audio-only may consider only other audio-only content). 
         [0168]    Other rules evaluating insertion or deletion of audio-only content may consider evaluating content of the opposite kind: for instance, the clause NOT(ContentKindType==ad &amp;&amp; Overlap:ContentKindType==ad) would prevent selection of content such that two ads, one audio and one image, would overlap. Such rules allow the construction of presentations that allow audio ads to effectively sponsor trivia and news content, while image-only ads can sponsor music, interviews, commentary, nature sounds, and other non-advertising audio. 
         [0169]    Timeline editing process  800  is initiated with step  810 . If a prior timeline is not being edited, an SPL template is preferably provided in step  812 . A template is an ideal method for implementing the policies of exhibition theatre  550  and ensuring that any essential content is included, for example INTRO  152 . Also in step  812 , the exhibitor&#39;s point-of-sale (POS) system (not shown) is queried and the CPL for feature  156  for which this SPL is being created is added. Any automation cues or commands pertinent to INTRO  152  (such as a curtain call, closing the doors, and dimming the auditorium lights), FEATURE  156  (such as bringing the lights up during the credits) are also preferably included in the template. Content database  710  is ideally queried for the properties of FEATURE  156 , for example to acquire the ContentRatingType for FEATURE  156 . Alternatively, the CPL of FEATURE  156  can be examined. 
         [0170]    The template includes one or more default durations of carousel  210  to cause the timeline to begin at an approximation of the desired duration. 
         [0171]    In lengthening step  814 , the process of building a satisfying presentation is performed, using rules such as in addition rule base  730 . Lengthening step  814  considers that some portions of the SPL designated as carousel  210  (for example, that portion of the timeline less than fifteen minutes prior to first trailer TRAILER  154 ) empty for the purpose of inserting video-only content. Such an algorithm ensures that for the fifteen minutes before TRAILER  154 , every rule in addition rule base  730  will have been tried to find image-only content that can be placed in lieu of carousel  210 . However, if no fit can be made, the carousel  210  is the only remaining choice. 
         [0172]    If after each insertion into the timeline, step  816  determines whether the timeline is sufficiently long. This determination can consider other criteria, such as “is the 15 minutes prior to the first trailer composed of less than 10% carrousel content”. If the SPL is found lacking, then timeline editing process  800  repeats lengthening step  814 . Otherwise, the SPL, CPLs, and the corresponding content files are transferred to screen server  562  in step  818  and is scheduled to play, preferably in accord with the information from the exhibitor POS (not shown). 
         [0173]    Alternatively, the candidate content can be transferred to screen server  562  earlier and all or part of steps  810 ,  812 ,  814 , and  816  can take place on screen server  562 . 
         [0174]    Shortly before playout begins and preferably even during playout, external events are monitored and the timeline, SPL and CPLs are updated to bring the properties of the timeline into conformance with goals. The most common goal is that FEATURE  156  start at a time other than originally scheduled by the POS (not shown), for example when heavy snow is delaying audience arrival in exhibition theatre  550  (in industry parlance, a ‘snow hold’). Other goals may include recognizing that more current versions of content have been delivered (for instance a newer ContentVersionDate is in content database  710 ) or that some content has expired (using ContentSunsetDate from database  710 ). In the remainder of this example of the timeline editing process  800 , the goal of dynamically adjusting the length of the timeline is considered. 
         [0175]    In step  822 , an evaluation is made whether the current SPL results in the FEATURE  156  starting later than is currently desired. If so, the shortening step  824  is performed, by, for example, screen server  562 . Such an event might occur if a snow hold had been put in place and the scheduled time had been delayed, but now the weather is lighter or the delay has been sufficient, and the timeline should be adjusted to provide a best possible start time for FEATURE  156 . 
         [0176]    If the timeline is not too long, it is tested as to whether it is sufficiently long (Step  826 ), for example, if a snow hold has recently been put into place but the INTRO  152  hasn&#39;t yet announced the start of the feature. In this case, an attempt is made to lengthen the timeline by performing step  828 . 
         [0177]    So long as the timeline could plausibly change, the monitoring process loops at step  830 . There is no need for the monitoring process to run more often than once per piece of content played. Thus, for computational economy, the looping at step  830  may wait until shortly before the end of each piece of content before determining whether the playlist requires modification. This of course can be advanced, as needed to afford adequate time for the computation. Further, step  830  may be implemented to ignore individual images within carousel  210 , or in the alternative, the examination may take place for each iteration of the slides file  212  or individual slides (e.g.,  132 ′ or  132 ″). 
         [0178]    When there is no further plausible modification to the timeline, editing process  800  ends at step  832 . 
         [0179]    The methods may be implemented by instructions being performed by a processor, and such instructions may be stored on a processor-readable medium such as, for example, an integrated circuit, a software carrier or other storage device such as, for example, a hard disk, a compact diskette, a random access memory (“RAM”), or a read-only memory (“ROM”). The instructions may form an application program tangibly embodied on a processor-readable medium. As should be clear, a processor may include a processor-readable medium having, for example, instructions for carrying out a process. 
         [0180]    A number of implementations have been described. Nevertheless, it will be understood that various modifications may be made. For example, elements of different implementations may be combined, supplemented, modified, or removed to produce other implementations. Additionally, one of ordinary skill will understand that other structures and processes may be substituted for those disclosed and the resulting implementations will perform at least substantially the same function(s), in at least substantially the same way(s), to achieve at least substantially the same result(s) as the implementations disclosed. Accordingly, these and other implementations are within the scope of the following claims.