Note: Descriptions are shown in the official language in which they were submitted.
. .
CINEMATOGRAPHIC METHOD AND METHODS FOR PRESENTATION AND
DISTRIBUTION OF CINEMATOGRAPHIC WORKS
FIELD OF INVENTION
[0001] The present invention relates to cinematic works, and more particularly
to the
presentation and distribution of cinematic works.
BACKGROUND
[0002] In the film "Vantage Point" (U.S. Copyright Registration No.
PA0001592994), the
fictional story of a conspiracy against a fictional U.S. president is told and
re-told from the
perspective of a variety of different characters, with each re-telling
revealing different aspects
of the story and gradually exposing more details of the plot and its eventual
outcome. While
this remains an intriguing approach to story-telling, the order of the
unfolding perspectives
will always be the same for all viewers.
SUMMARY
[0003] The present disclosure is directed to implementing an arrangement in
which two or
more individual stories share a common feature or "knot" so as to combine to
form a larger
overall story, and where the individual stories are presented in different
orders to different
audiences, with the order of presentation affecting the audience perception of
the larger
overall story. For example, two different movies sharing the same release
schedule and each
telling its own story may have a commonality or "knot" that combines them into
a larger story
and may be presented as a "double header" with different audiences seeing the
two movies in
different orders. The present disclosure is directed not to the artistic
concept, but to specific
technical approaches to implementing it, as will be described further below.
[0004] In one aspect, the present disclosure is directed to a method for
presenting
cinematographic works. The method comprises imposing authorization limits
which limit
authorization to present a first complete cinematographic work and a second
complete
cinematographic work. The first complete cinematographic work and the second
complete
cinematographic work are unreleased when the authorization limits are imposed.
The method
further comprises disseminating at least one communication containing
information linking
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the first complete cinematographic work to the second complete cinematographic
work. In
addition, the method comprises substantially simultaneously removing the
authorization limits
so as to authorize presentation of both the first complete cinematographic
work and the
second complete cinematographic work, and, after removing the authorization
limits so as to
authorize presentation of the first complete cinematographic work and the
second complete
cinematographic work, causing to be presented, using at least one
cinematographic
presentation device, a first synthesis cinematographic work and a second
synthesis
cinematographic work. The first synthesis cinematographic work comprises the
first
complete cinematographic work followed by the second complete cinematographic
work, and
the second synthesis cinematographic work comprises the second complete
cinematographic
work followed by the first complete cinematographic work. The first synthesis
cinematographic work is presented to at least one first individual and the
second synthesis
cinematographic work is presented to at least one second individual different
from the first
individual. Using at least one cinematographic presentation device is
essential.
[0005] In one embodiment of the method, imposing the authorization limits
further comprises
limiting authorization to present a third complete cinematographic work that
is unreleased
when the authorization limits are imposed, and the at least one communication
contains
further information linking the third complete cinematographic work to at
least one of the first
complete cinematographic work and the second complete cinematographic work. In
such an
embodiment of the method, substantially simultaneously removing the
authorization limits
comprises substantially simultaneously authorizing presentation of the first
complete
cinematographic work, the second complete cinematographic work and the third
complete
cinematographic work, and the method further comprises, after authorizing
presentation of the
first complete cinematographic work, the second complete cinematographic work
and the
third complete cinematographic work, presenting, using at least one
cinematographic
presentation device, a third synthesis cinematographic work. The third
synthesis
cinematographic work comprises one of the first complete cinematographic work
followed by
the third complete cinematographic work, the second complete cinematographic
work
followed by the third complete cinematographic work, the third complete
cinematographic
work followed by the first complete cinematographic work and the third
complete
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cinematographic work followed by the second complete cinematographic work. In
this
embodiment, the third synthesis cinematographic work is presented to at least
one third
individual different from the first individual and the second individual.
[0006] In another aspect, the present disclosure is directed to a method for
theatrical
presentation of cinematographic works. The method comprises organizing a
plurality of
patrons into a first group of patrons and a second group of patrons. The
method uses at least
one cinematograph to present, to the first group of patrons, a first synthesis
cinematographic
work, and using the at least one cinematograph to present, to the second group
of patrons, a
second synthesis cinematographic work. The first synthesis cinematographic
work comprises
a first complete cinematographic work followed by a second complete
cinematographic work,
and, the second synthesis cinematographic work comprises the second complete
cinematographic work followed by the first complete cinematographic work. The
use of the
at least one cinematograph is essential.
[0007] In some embodiments of the method, presentation of the first synthesis
cinematographic work temporally overlaps presentation of the second complete
cinematographic work.
[0008] In some embodiments of the method, the first synthesis cinematographic
work is
presented in a first movie theater in a movie theater multiplex and the second
synthesis
cinematographic work is presented in a second movie theater in the movie
theater multiplex.
[0009] In other embodiments, the first synthesis cinematographic work and the
second
synthesis cinematographic work are presented in a single movie theater. In
such
embodiments, the method may further comprise, before presenting the second
complete
cinematographic work, presenting the first complete cinematographic work while
the first
group of patrons is in the single movie theater and the second group of
patrons is absent from
the single movie theater, presenting the second complete cinematographic work
while both
the first group of patrons and the second group of patrons are in the single
movie theater, and,
after presenting the second complete cinematographic work, presenting the
first complete
cinematographic work again while the second group of patrons is in the single
movie theater
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. .
and the first group of patrons is absent from the single movie theater. In
such embodiments, a
single presentation of the second complete cinematographic work is common to
presentation
of the first synthesis cinematographic work and presentation of the second
synthesis
cinematographic work.
[0010] Organizing the plurality of patrons into the first group of patrons and
the second group
of patrons may be carried out, for example, by random selection, by
algorithmic selection or
by individual patrons selecting one of the first synthesis cinematographic
work and the second
synthesis cinematographic work.
[0011] In a further aspect, the present disclosure is directed to a method for
transmitting
cinematographic works to remote cinematographic presentation devices. The
method
comprises organizing a plurality of remote cinematographic presentation
devices into a first
group of remote cinematographic presentation devices and a second group of
remote
cinematographic presentation devices and transmitting, to the plurality of
remote
cinematographic presentation devices, a first complete cinematographic work
and a second
complete cinematographic work. The method further comprises causing the first
group of
remote cinematographic presentation devices to present a first synthesis
cinematographic
work and causing the second group of remote cinematographic presentation
devices to present
a second synthesis cinematographic work. The first synthesis cinematographic
work
comprises the first complete cinematographic work followed by the second
complete
cinematographic work, and the second synthesis cinematographic work comprises
the second
complete cinematographic work followed by the first complete cinematographic
work.
[0012] The remote cinematographic presentation devices may comprise, for
example,
televisions and/or computers.
[0013] In some embodiments, organizing the plurality of remote cinematographic
presentation devices into the first group of remote cinematographic
presentation devices and
the second group of remote cinematographic presentation devices is carried out
by a
transmission system that transmits the first complete cinematographic work and
the second
complete cinematographic work. In other embodiments, organizing the plurality
of remote
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,
,
. .
cinematographic presentation devices into the first group of remote
cinematographic
presentation devices and the second group of remote cinematographic
presentation devices is
carried out by the plurality of remote cinematographic presentation devices.
[0014] The transmitting may comprise at least one of Internet streaming,
television
broadcasting and cable transmission. The transmitting may also or
alternatively comprise
transmitting storable media data for storage on the plurality of remote
cinematographic
presentation devices and later playback thereon.
[0015] In a still further aspect, a method for transmitting cinematographic
works to remote
cinematographic presentation devices comprises transmitting, from a
distribution system to a
plurality of remote digital cinematographic presentation devices, digital
copies of a plurality
of complete cinematographic works. The complete cinematographic works are
conjoinable
according to at least two unique permutations to form at least two unique
synthesis
cinematographic works.
[0016] In preferred embodiments, a first one of the remote cinematographic
presentation
devices presents a first one of the unique synthesis cinematographic works and
a second one
of the remote cinematographic presentation devices presents a second one of
the unique
synthesis cinematographic works. The first one of the remote cinematographic
presentation
devices is different from the second one of the remote cinematographic
presentation devices
and the first synthesis cinematographic work is different from the second
synthesis
cinematographic work.
[0017] The permutations may be specified locally on the remote digital
cinematographic
presentation devices.
[0018] The digital copies of the complete cinematographic works may be
transmitted by at
least one of Internet streaming and transmitting storable media data for
storage on the
plurality of remote cinematographic presentation devices and later playback
thereon.
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BRIEF DESCRIPTION OF THE DRAWINGS
[0019] These and other features of the invention will become more apparent
from the
following description in which reference is made to the appended drawings
wherein:
Figures lA to 1C schematically illustrate a method for presenting
cinematographic works
according to an aspect of the present disclosure;
Figures 2A to 2E show, in schematic form, implementation of an exemplary
method for
theatrical presentation of cinematographic works using a single movie theater;
Figure 3 shows, in schematic form, implementation of an exemplary method for
theatrical
presentation of cinematographic works in a multiplex theater environment;
Figure 4 schematically illustrates a first exemplary method for transmitting
cinematographic
works to remote cinematographic presentation devices; and
Figure 5 schematically illustrates a second exemplary method for transmitting
cinematographic works to remote cinematographic presentation devices.
DETAILED DESCRIPTION
[0020] The term "cinematographic work", as used herein, refers to the recorded
form of a
motion picture, either with or without sound, and the term "motion picture" is
used in its
broadest sense to include, without limitation, live action, traditional
animation, stop motion
animation, computer animation, motion comics, and any combination thereof. The
recorded
form may be any form capable of reliable reproduction, including traditional
film and digital
media of any kind.
[0021] A "complete cinematographic work", as that term is used herein, refers
to a
cinematographic work which tells a self-contained story or part thereof (i.e.
a
cinematographic work that ends with "to be continued" may still be a complete
cinematographic work). For example, each of "Back to the Future" (U.S.
Copyright
Registration No. PA0000266708), "Back to the Future, Part II" (U.S. Copyright
Registration
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No. PA0000451911) and "Back to the Future, Part III" (U.S. Copyright
Registration No.
PA0000473604) would individually be considered a complete cinematographic
work.
[0022] The term "synthesis cinematographic work" refers to the unified whole
that results
from placing at least two complete non-sequel cinematographic works back-to-
back (although
there may be an intermission between presentation of the individual complete
cinematographic works) where the complete non-sequel cinematographic works
share a
common feature or "knot" so as to combine to form a larger overall story. The
combination
of "Back to the Future", "Back to the Future, Part II" and "Back to the
Future, Part III" (or of
either "Back to the Future" and "Back to the Future, Part II" or "Back to the
Future, Part II"
and "Back to the Future, Part III") would not be considered to be a synthesis
cinematographic
work because "Back to the Future", "Back to the Future, Part II" and "Back to
the Future, Part
III", although combining to tell a larger overall story, share a sequel
relationship with one
another. Because of the sequel relationship, these films are to be presented
in their predefined
order. Thus, the term "synthesis cinematographic work" excludes the back-to-
back
arrangement of two or more sequels.
[0023] In accordance with the present disclosure, two or more complete
cinematographic
works can be used to form at least two different synthesis cinematographic
works by
presenting the complete cinematographic works in different back-to-back
arrangements. Each
of the back-to-back arrangements tells a larger overall story than any of the
individual
complete cinematographic works. The different ordering of the complete
cinematographic
works results in viewers of the different synthesis cinematographic works
having different
perspectives of the larger overall story even though all viewers will have
seen the same
individual complete cinematographic works. The term "back-to-back" is not
intended to
exclude pauses between or during individual complete cinematographic works,
and likewise,
advertisements or other filler elements may be inserted within or between the
individual
complete cinematographic works that form a synthesis cinematographic work.
[0024] For example, each of the complete cinematographic works might show one
side of a
conflict against the other (family versus family, gang versus gang, business
versus business,
and/or any combination across any of these), with the perspective of which
side is "right"
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depending on the order in which complete cinematographic works are presented
as part of the
synthesis cinematographic work.
[0025] Alternatively, two seemingly unrelated complete cinematographic works
may share a
commonality. One example of a commonality is a common occurrence/event (a
fire, a
shooting, a fight, an explosion, a shared interaction of seeming
insignificance such as a
passing of two characters in a mall, park or other common area). Another
example of a
commonality is shared supporting characters across the two complete
cinematographic works
(i.e. assistants, a musical component, fire department/police department,
gang,
protagonists/heroes, restaurant staff, etc.). A further example of a
commonality is a common
object (i.e. a weapon with uniquely identifying features, a tattoo, a
souvenir, photo, stuffed
animal with repaired stitching, unique quilt, etc.) that may be shared between
complete
cinematographic works.
[0026] As another alternative, one complete cinematographic work could show an
experience
and its impact on the characters while the other complete cinematographic work
shows how
forces outside the characters' knowledge are impacting the outcomes (i.e.
ghosts,
angels/demons, universal energy, God-like intervention).
[0027] Still a further alternative would be to have one complete
cinematographic work show
an experience and storyline in the third person, with one or more other
complete
cinematographic works recounting the same experience in the first person
(possibly across
multiple characters with three or more complete cinematographic works).
[0028] The complete cinematographic work may, but need not, share a common
timeline.
[0029] Importantly, while each complete cinematographic work tells a complete
story and can
be enjoyed independently, where the two (or more) complete cinematographic
works are
viewed as part of a synthesis cinematic work, the viewer's perception of the
characters/events
involved will be impacted by which complete cinematographic work is seen first
(i.e. a
character may be positioned as the villain in one complete cinematographic
work, but as a
hero in the other complete cinematographic work). Thus, when used within the
terms "first
complete cinematographic work" and "second complete cinematographic work", the
words
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. .
"first" and "second" do not imply an order of presentation within a synthesis
cinematic work
but merely distinguish between two different complete cinematographic works.
For example,
a synthesis cinematic work may comprise a second complete cinematic work
followed by a
first complete cinematographic work.
[0030] Certain non-limiting examples will now be provided to illustrate sets
of complete
cinematographic works that can be combined into different synthesis
cinematographic works.
[0031] In one example, a first complete cinematographic work and a second
complete
cinematographic work relate two different storylines about the American
Revolution. One
complete cinematographic work tells a story from the British perspective, in
which those loyal
to the Crown cannot understand why anyone would want to be independent from
the British
Empire, while the second tells a story from the traditional America
perspective. As a self-
contained story, in the first complete cinematographic work the characters
vary in their stance
and stature and in their reasons for being involved ¨ those who are staunchly
loyal to the
Crown, those who got involved to feed their greed and those who were left with
no choice as
their only means of employment or to feed their families and keep their homes
on both sides
of the conflict. Some did the job solely to protect their families at home in
England ¨
protecting them from the ridicule of their neighbors, being ostracized or even
taken into
custody as traitors. Similarly, the second complete cinematographic work
outlines the
American story ¨ the quest for independence and the impact of the British on
the lives of the
colonists in general. The drama shows the back-and-forth between those that
still wanted a
relationship with the Crown and those that wanted radical change, as well as
the business
benefits to some of those driving the movement for independence. While there
is a
commonality in that both complete cinematographic works depict an aspect of
the same
historical event, the primary commonality or "knot" between the two stories is
a love story
between a British soldier and a colonist loyal to the patriot cause of
independence. Viewers
watching the first complete cinematographic work before the second will tend
to be
sympathetic to the Crown, and view the independence movement as ungrateful for
the
military protection and commercial opportunities provided by membership in the
British
Empire. Viewers watching the second complete cinematographic work before the
first will
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tend to take the American side, viewing the Crown as arbitrarily suppressing
the basic rights
of the colonists as Englishmen.
[0032] In another example, two complete cinematographic works outline an
ongoing conflict
between the local police and the mob as to who will control the streets. One
complete
cinematographic work outlines the struggles of the police force to gain
control of the streets.
Loyalty to brother and sister officers is prime, and there is a strong sense
of family and
camaraderie. The officers are portrayed as honest and self-sacrificing public
servants trying to
protect the public from a brutal criminal organization, a theme which drives
the viewer to
want to proudly belong to their organization. The other complete
cinematographic work
outlines the struggles of the mob to keep some semblance of control on the
streets in the face
of an onslaught from a police force pursuing its own agenda. The mobsters are
portrayed as
good guys in their own right, trying to suppress more violent gangs and
working to ensure
that their own are safe and well kept, including random acts of kindness,
getting kids the
education they need (for example, the money needed for a bright neighborhood
kid to attend
college mysteriously appears, provided anonymously by the mobsters). Loyalty
to fellow
members of the organization is prime, and there is a strong sense of family
and belonging, a
theme which drives the viewer to want to proudly belong to their organization.
In both films,
loyalty and respect is earned and returned. The commonality or "knot" is
common characters
across both complete cinematographic works. The two complete cinematographic
works
show the same characters living by the same set of rules, but on both sides of
the law, driving
the question of true right versus wrong, justice versus survival. Legal guns
versus illegal guns.
Legal cash versus illegal cash. The exact same emotions run through characters
perceived as
distinct opposites. Viewers watching the first complete cinematographic work
before the
second will tend to side with the police and view the mobsters as a ruthless
criminal
organization to be destroyed. Viewers watching the second complete
cinematographic work
before the first will tend to be sympathetic to the mobsters, and view the
police as corrupt in
the sense of pursuing their own interests rather than protecting the public.
[0033] In a further example, a first complete cinematographic work presents a
fictionalized
or semi-fictionalized account of the experiences of those who died in the
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on the morning of September 11, 2001 and the subsequent experiences of their
families and
friends, and a second complete cinematographic work presents a fictionalized
or semi-
fictionalized account of the experiences of individuals who, but for the
fickle hand of fate (a
missed train, a sick child, a firing, all of which seemed terrible at the
time) would have been
in the twin towers when they were hit. The commonalities or "knots" are the
impacts of the
first and second airplanes and the emergency response. Viewers watching the
first complete
cinematographic work before the second will tend to come away with an
appreciation for how
apparent calamities may be blessings in disguise. Viewers watching the second
complete
cinematographic work before the first will tend to feel the unfairness of
life, asking "why
couldn't the others have missed work that day?" The knots are the first and
second plane hits
and the response teams.
[0034] In yet another example, first and second complete cinematographic works
deal with
the issue of addiction from the perspective of the addict and from the
perspectives of those
close to the addict, respectively. The first complete cinematographic work
depicts the
addict's perspective and outlines the emotional turmoil of being addicted and
the perceived
cause(s) of that addiction. The characters surrounding the addict have
differing opinions of
what drove the addict to it and whether the addict is an innocent victim or is
to blame for their
actions. The story outlines the personal loss of everything as the addict hits
rock bottom. The
second complete cinematographic work outlines the emotional turmoil of
supporting an addict
and being driven to the terrible choice of supporting them while trying to
prevent them from
hitting rock bottom or having to push them away to experience rock bottom all
alone. The
commonality or "knot" may be the simple gift of a bottle of cognac at
Christmas - a welcome
gesture in one complete cinematographic work is raw torture in the other
complete
cinematographic work. Viewers watching the first complete cinematographic work
before the
second will tend to have sympathy for the addict and view those around the
addict as
unfeeling or unsympathetic. Viewers watching the second complete
cinematographic work
before the first will tend to have sympathy for those around the addict and
view the addict as
selfish and self-centered.
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[0035] Yet a further example provides first and second complete
cinematographic works
relating to the decision whether or not to pursue a dream. In the first
complete
cinematographic work the protagonist decides to pursue the dream, and in the
second
complete cinematographic work the protagonist decides not to pursue the dream.
The first
and second complete cinematographic works are constructed so that viewers
watching the
first complete cinematographic work before the second will perceive this first
synthesis
cinematographic work as a story in which the protagonist fantasizes about
pursuing the dream
but ultimately decides not to, whereas viewers watching the second complete
cinematographic
work before the first will perceive this second synthesis cinematographic work
as a story in
which the protagonist contemplates what life would be like if s/he doesn't
pursue the dream
and then decides to pursue it. The commonality or "knot" is the "fork in the
road" ¨ the path
taken or not taken.
[0036] A still further example could be first and second complete
cinematographic works
based on mythology, such as Greek mythology. A first complete cinematographic
work could
treat the gods as protagonists and deal with how they are impacted by the
actions of humans,
and a second complete cinematographic work could treat the humans as
protagonists and deal
with how they are impacted by the actions of the gods. Depending on the order
in which the
first and second complete cinematographic works are viewed (i.e. whether the
first synthesis
cinematographic work or the second synthesis cinematographic work is viewed),
a viewer
may perceive either the gods or the humans as callously indifferent to the
others.
[0037] An additional example provides first and second complete
cinematographic works in
which an outsider has infiltrated women's homes and is keeping a close eye on
their activities.
In the first complete cinematographic work, the plot explores the anguish and
horror of the
characters who perceive that they are being stalked, but are denied the
support of local law
enforcement authorities in protecting them because of their individual
histories (e.g.
prostitution, drug use, class distinctions, etc.). The second complete
cinematographic work
omits the anguish and horror, and portrays the characters as being under the
protection of the
outsider, who is keeping them safe from others in their environments like
violent husbands
and abusive neighbors. Those viewing the first complete cinematographic work
before the
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second (i.e. those viewing the first synthesis cinematographic work) will tend
to perceive the
outsider as an evil stalker, and be unmoved by the protective actions shown in
the second
complete cinematographic work. In contrast, those viewing the second complete
cinematographic work before the first (i.e. those viewing the second synthesis
cinematographic work) will tend to perceive the outsider as a selfless
protector, and react to
the anguish and horror shown in the first complete cinematographic work as
oblivious
ingratitude by those under the outsider's protection.
[0038] Reference is now made to Figures lA to 1C, which schematically
illustrate a method
for presenting cinematographic works. As shown in Figure 1A, the method
comprises
imposing authorization limits 102 which limit authorization to present a first
complete
cinematographic work 104 and a second complete cinematographic work 106. The
authorization limits 102 may include legal (e.g. contractual) restrictions as
well as
technological access restrictions. As shown by the dashed boxes 108, the first
complete
cinematographic work 104 and the second complete cinematographic work 106 are
unreleased
when the authorization limits 102 are imposed. The term "unreleased", as used
in this
context, means that the first complete cinematographic work 104 and the second
complete
cinematographic work 106 have not been made generally available to the public
(e.g. by
presentation in theaters, distribution via cable or over-the-air television or
via the Internet)
although they may have been viewed by a small number of individuals having a
duty of
confidentiality (e.g. studio employees, movie critics, theater managers,
etc.).
[0039] As shown in Figure 1B, while the authorization limits 102 remain in
place and the first
complete cinematographic work 104 and the second complete cinematographic work
106
remain unreleased (dashed boxes 108), at least one communication 110 is
disseminated. The
communication 110 contains information 112 linking the first complete
cinematographic
work 104 to the second complete cinematographic work 106. The information 112
could, for
example, indicate that the first complete cinematographic work 104 and the
second complete
cinematographic work 106 contain related stories as described above, and may
include one or
more trailers. The communication(s) 110 may include audio communication(s)
such as radio
or podcast advertisement(s), video communication(s) such as television or
Internet video
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. .
commercials, posters, billboards (dynamic or static), e-mails (with or without
links and/or
embedded content), SMS, iMessage or similar messages, public events as well as
other types
of communication.
[0040] Referring now to Figure 1C, after disseminating at least one of the
communication(s)
110, the authorization limits 102 are substantially simultaneously removed, as
shown by
arrows 113, so as to authorize presentation of both the first complete
cinematographic work
104 and the second complete cinematographic work 106. Further communications
110 may
continue to be disseminated after the authorization limits 102 are removed. In
addition, after
removing the authorization limits 102, the method causes a first synthesis
cinematographic
work 114 and a second synthesis cinematographic work 116 to be presented using
at least one
cinematographic presentation device 118. The term "cinematographic
presentation device" is
used herein to refer to any device that can present a motion picture (with or
without sound
although preferably with sound). As such, a "cinematographic presentation
device" includes,
but is not limited to, a theater projector/sound system (conventional film or
digital), a
television (alone or in combination with one or more of a DVD/Blu-Ray player,
a set-top box,
a DVR, cable tuner, computer, Internet streaming device such as Apple TV, Roku
and other
similar devices), a laptop computer, a desktop computer and monitor, a tablet
computer, and a
smartphone. The use of the cinematographic presentation device(s) is essential
to the method.
[0041] Continuing to refer to Figure 1C, the first synthesis cinematographic
work 114
comprises the first complete cinematographic work 104 followed by the second
complete
cinematographic work 106, and the second synthesis cinematographic work 116
comprises
the second complete cinematographic work 106 followed by the first complete
cinematographic work 104. In this context, the term "followed by" encompasses
a scenario
where the first complete cinematographic work 104 and the second complete
cinematographic
work 106 share one or more common scenes that are shown only once and are not
repeated in
the presentation of the synthesis cinematographic works 114, 116 despite
appearing in both
complete cinematographic works 104, 106. In some embodiments, however, scenes
that are
common to both the first complete cinematographic work 104 and the second
complete
cinematographic work 106 may be shown more than once. The first synthesis
14
CA 3066359 2019-12-31
cinematographic work 114 is presented to at least one first individual 120 and
the second
synthesis cinematographic work 116 is presented to at least one second
individual 122 who is
different from the first individual. Thus, typically, different groups of
individuals 120, 122
would see each of the first synthesis cinematographic work 114 and the second
synthesis
cinematographic work 116 and form different impressions. In particular, even
though the
different groups of individuals 120, 122 will have cumulatively seen the same
content (i.e. the
first complete cinematographic work 104 and the second complete
cinematographic work
106), they will have seen this content in a different order so as to influence
the way it is
perceived.
[0042] The above-described method can be extended beyond a first complete
cinematographic work and a second cinematographic work to apply to three or
more complete
cinematographic works. For example, imposing the authorization limit may
further comprise
limiting authorization to present a third complete cinematographic work which
is unreleased
when the authorization limits are imposed, and the communication(s) may
contain further
information linking the third complete cinematographic work to at least one of
the first
complete cinematographic work and the second complete cinematographic work. In
such an
embodiment, all of the authorization limits would be substantially
simultaneously removed so
as to authorize presentation of the first complete cinematographic work, the
second complete
cinematographic work and the third complete cinematographic work. After
authorizing
presentation of the first complete cinematographic work, the second complete
cinematographic work and the third complete cinematographic work, at least one
cinematographic presentation device would be used to present, in addition to
the first
synthesis cinematographic work and the second synthesis cinematographic work,
a third
synthesis cinematographic work. The third synthesis cinematographic work may
be the first
complete cinematographic work followed by the third complete cinematographic
work, the
second complete cinematographic work followed by the third complete
cinematographic
work, the third complete cinematographic work followed by the first complete
cinematographic work or the third complete cinematographic work followed by
the second
complete cinematographic work. The third synthesis cinematographic work would
be
CA 3066359 2019-12-31
,
,
presented to at least one third individual who is different from the first
individual and the
second individual.
[0043] Presentation of a first synthesis cinematographic work and a second
synthesis
cinematographic work may be implemented in a commercial movie theater
environment
where one or more groups of patrons view a common screen. In an embodiment
which is
implemented in a movie theater environment, the cinematographic presentation
device(s) 118
will be one or more cinematographs. The term "cinematograph", as used herein,
refers to a
projection device that can present a motion picture (with or without sound
although preferably
with sound) onto a screen in front of an audience, from behind the screen or
from in front of
the screen above and/or behind the audience, and includes traditional film
projectors and
digital projectors. In theatrical presentation, the use of a cinematograph is
essential. A
method for theatrical presentation of cinematographic works may be implemented
in a movie
theater multiplex (i.e. a complex having a plurality if individual theaters)
or using only a
single theater.
[0044] Reference is first made to Figures 2A to 2E, which show, in schematic
form,
implementation of an exemplary method for theatrical presentation of
cinematographic works
in which both the first synthesis cinematographic work 114 and the second
synthesis
cinematographic work 116 are presented in a single movie theater 224. A
plurality of patrons
is organized into a first group of patrons 120 and a second group of patrons
122 that is
different from the first group of patrons 120. As shown in Figure 2A, before
presenting the
second complete cinematographic work 106, a single cinematograph 118 is used
to present
the first complete cinematographic work 104 while the first group of patrons
120 is in the
single movie theater 224 and the second group of patrons 122 is absent from
the single movie
theater 224. As shown in Figure 2B, after presentation of the first complete
cinematographic
work 104, the second group of patrons 122 enters the single movie theater 224,
as shown by
arrow 226, while the first group of patrons 120 remains therein. This may
occur, for example,
during an intermission, and it is understood that even if some members of the
first group of
patrons 120 leave the single movie theater 224 and then return, for example to
use the
restroom or to purchase popcorn or other comestibles, it is still considered
that the first group
16
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of patrons 120 remains in the single movie theater 224. Next, as shown in
Figure 2C, the
cinematograph 118 is used to present the second complete cinematographic work
106 while
both the first group of patrons 120 and the second group of patrons 122 are in
the single
movie theater 224. As shown in Figure 2D, after presenting the second complete
cinematographic work 106, the first group of patrons 120 departs the single
movie theater
224, as shown by arrow 228, while the second group of patrons 122 remains in
the single
movie theater 224. Again, it is understood that even if some members of the
second group of
patrons 122 leave the single movie theater 224 and then return, it is still
considered that the
second group of patrons 122 remains in the single movie theater 224. As shown
in Figure 2E,
after the first group of patrons 120 departs, the cinematograph 118 is used to
present the first
complete cinematographic work 104 again while the second group of patrons 122
is in the
single movie theater 224 and the first group of patrons 120 is absent from the
single movie
theater 224. Thus, the first group of patrons 120 viewed the first synthesis
cinematographic
work 114, which comprises the first complete cinematographic work 104 followed
by the
second complete cinematographic work 106, and the second group of patrons 122
viewed the
second synthesis cinematographic work 116, which comprises the second complete
cinematographic work 106 followed by the first complete cinematographic work
104. As
illustrated schematically in Figure 2C, in this embodiment the single
presentation of the
second complete cinematographic work 106 is common to presentation of the
first synthesis
cinematographic work 114 and presentation of the second synthesis
cinematographic work
116.
[0045] Reference is now made to Figure 3, which shows, in schematic form,
implementation
of an exemplary method for theatrical presentation of cinematographic works in
a movie
theater multiplex. A plurality of patrons is organized into a first group of
patrons 120 and a
second group of patrons 122 that is different from the first group of patrons
120. A first
cinematograph 118A is used to present the first synthesis cinematographic work
114 to the
first group of patrons 120 in a first movie theater 330 in a movie theater
multiplex 332, and a
second cinematograph 118B is used to present the second synthesis
cinematographic work
116 to the second group of patrons 122 in a second movie theater 334 in the
movie theater
multiplex 332. As described above, the first synthesis cinematographic work
114 comprises a
17
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first complete cinematographic work 104 followed by a second complete
cinematographic
work 106, and the second synthesis cinematographic work 116 comprises the
second
complete cinematographic work 106 followed by the first complete
cinematographic work
104. Typically, presentation of the first synthesis cinematographic work 114
temporally
overlaps presentation of the second synthesis cinematographic work 116; i.e.
they will be
presented at approximately the same time, although they may be of different
durations and
one may start earlier than the other and/or one may end later than the other.
[0046] In both the single theater method shown in Figures 2A to 2E and the
movie theater
multiplex method shown in Figure 3, any suitable method may be used to
organize the
to plurality of patrons into the first group of patrons 120 and the second
group of patrons 122,
and the organization may be carried out by using a computer system or manually
by staff of
the movie theater(s) or by the patrons themselves. For example, organizing the
plurality of
patrons into the first group of patrons 120 and the second group of patrons
122 may be carried
out by random selection, by algorithmic selection, or by individual patrons
selecting one of
the first synthesis cinematographic work and the second synthesis
cinematographic work. It
is noted that where the cinematograph(s) are digital cinematograph(s), the
methods shown in
Figures 2A to 2E and in Figure 3 will necessarily involve a transformation of
data from digital
form to visual or audiovisual form.
[0047] Presentation of a first synthesis cinematographic work and a second
synthesis
cinematographic work may also be implemented in a digitally distributed
environment. In
this regard, Figure 4 schematically illustrates a first exemplary method for
transmitting
cinematographic works in digital form to remote cinematographic presentation
devices. As
noted above, a "cinematographic presentation device" includes a television
(alone or in
combination with one or more of a DVD/Blu-Ray player, a set-top box, a DVR,
cable tuner
and other similar devices), a laptop computer, a desktop computer and monitor,
a tablet
computer, and a smartphone.
[0048] As shown in Figure 4, there are a plurality of remote cinematographic
presentation
devices, including laptop computers 440A, 442A, smartphones 440B, 442B,
tablets 440C,
442C and televisions 440D, 442D. The generic term "computer", as used herein,
18
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encompasses desktop computers, laptop computers, smartphones, tablet computers
and other
computing devices capable of being used to present a cinematographic work. The
cinematographic presentation devices 440A, 442A, 440B, 442B, 440C, 442C, 440D,
442D
are "remote" in the sense that they are physically distant from one another,
and may be in
different homes, different cities or even different countries, and are also
physically distant
from a transmission system 438. In some embodiments, some or all of the
cinematographic
presentation devices 440A, 442A, 440B, 442B, 440C, 442C, 440D, 442D may be
communicatively coupled to the transmission system 438 or a portion thereof
via a network
(e.g. the Internet). The transmission system 438 may comprise one or more of
an over-the-air
television broadcasting system, a cable broadcasting system and/or one or more
server
computers, which may be co-located or physically distant but communicatively
coupled so as
to cooperate with one another.
[0049] The cinematographic presentation devices 440A, 442A, 440B, 442B, 440C,
442C,
440D, 442D are organized into a first group 440 of remote cinematographic
presentation
devices 440A, 440B, 440C, 440D and a second group 442 of remote
cinematographic
presentation devices 442A, 442B, 442C, 442D. The organization of the
cinematographic
presentation devices 440A, 442A, 440B, 442B, 440C, 442C, 440D, 442D into
groups 440,
442 may be carried out via logic executed by the transmission system 438 or
via logic
executed by the plurality of remote cinematographic presentation devices 440A,
442A, 440B,
442B, 440C, 442C, 440D, 442D, either individually or cooperatively.
[0050] The transmission system 438 transmits the first complete
cinematographic work 104
and the second complete cinematographic work 106 to the plurality of remote
cinematographic presentation devices 440A, 442A, 440B, 442B, 440C, 442C, 440D,
442D.
The transmissions to the plurality of remote cinematographic presentation
devices 440A,
442A, 440B, 442B, 440C, 442C, 440D, 442D may include one or more of Internet
streaming,
television broadcasting and cable transmission. This approach would be
suitable for an
embodiment which contemplates "real-time" viewing. The transmissions to the
plurality of
remote cinematographic presentation devices 440A, 442A, 440B, 442B, 440C,
442C, 440D,
442D may also (or alternatively) take the form of storable media data for
storage on the
19
CA 3066359 2019-12-31
plurality of remote cinematographic presentation devices 440A, 442A, 440B,
442B, 440C,
442C, 440D, 442D and later playback thereon. The transmissions to the
plurality of remote
cinematographic presentation devices 440A, 442A, 440B, 442B, 440C, 442C, 440D,
442D
may be substantially simultaneous or may occur at different times for each of
the remote
cinematographic presentation devices 440A, 442A, 440B, 442B, 440C, 442C, 440D,
442D.
[0051] According to the method, the first group 440 of remote cinematographic
presentation
devices 440A, 440B, 440C, 440D is caused to present a first synthesis
cinematographic work
114, and the second group 442 of remote cinematographic presentation devices
442A, 442B,
442C, 442D is caused to present a second synthesis cinematographic work 116.
The first
synthesis cinematographic work 114 comprises the first complete
cinematographic work 104
followed by the second complete cinematographic work 106, and the second
synthesis
cinematographic work 116 comprises the second complete cinematographic work
106
followed by the first complete cinematographic work 104. Presentation of the
first synthesis
cinematographic work 114 may be caused by transmitting the first synthesis
cinematographic
work 114 as a monolithic file or data stream, or by transmitting the first
complete
cinematographic work 104 and the second complete cinematographic work 106 as
two or
more distinct files or data streams and also transmitting instructions 446 for
the order of
presentation. Likewise, presentation of the second synthesis cinematographic
work 116 may
be caused by transmitting the second synthesis cinematographic work 116 as a
monolithic file
or data stream, or by transmitting the first complete cinematographic work 104
and the second
complete cinematographic work 106 as two or more distinct files or data
streams and also
transmitting instructions 448 for the order of presentation.
[0052] Because the remote cinematographic presentation devices 440A, 442A,
440B, 442B,
440C, 442C, 440D, 442D are digital, the methods shown in Figure 4 will
necessarily involve
a transformation of data from digital form to visual or audiovisual form.
Accordingly, the
term "digital cinematographic presentation device" refers to a cinematographic
presentation
device (as previously defined) in which data is transformed from digital form
to visual or
audiovisual form, and includes a digital television (alone or in combination
with one or more
of a DVD/Blu-Ray player, a digital set-top box, a DVR and other similar
devices), a laptop
CA 3066359 2019-12-31
computer, a desktop computer and monitor, a tablet computer, and a smartphone,
or other
network-enabled digital media device.
[0053] As indicated above, the methods described herein can be extended beyond
a first
complete cinematographic work and a second cinematographic work to apply to
three or more
complete cinematographic works. With only two complete cinematographic
works, there are
only two possible unique permutations: in a first permutation the first
complete
cinematographic work is followed by the second cinematographic work, and in
the second
permutation the second complete cinematographic work is followed by the first
cinematographic work. With three complete cinematographic works, the number of
unique
permutations expands to six. Increasing the number of complete
cinematographic works will
increase the number of unique permutations, as shown in the table below:
Number of Complete Number of Unique Viewing
Cinematographic Works Permutations
2 2
3 6
4 24
5 120
6 720
7 5,040
8 40,320
9 362,880
10 3,628,800
11 39,916,800
12 479,001,600
13 6,227,020,800
14 87,178,291,200
15 1,307,674,368,000
16 20,922,789,888,000
17 355,687,428,096,000
18 6,402,373,705,728,000
19 121,645,100,408,832,000
20 2,432,902,008,176,640,000
[0054] Reference is now made to Figure 5, which shows a second method for
transmitting
cinematographic works to remote cinematographic presentation devices. As can
be seen in
21
CA 3066359 2019-12-31
Figure 5, there are a plurality of remote digital cinematographic presentation
devices,
including laptop computers 540A, smartphones 540B, tablets 540C and digital
televisions
540D, 542D which are "remote" in the sense that they are physically distant
from one another,
and may be in different homes, different cities or even different countries,
and are also
physically distant from a distribution system 538. The distribution system 538
may comprise
one or more server computers, which may be located in the same facility or may
be dispersed
across two or more facilities and communicatively coupled so as to cooperate
with one
another. The remote digital cinematographic presentation devices 540A, 540B,
540C, 540D,
542D are at least intermittently communicatively coupled to the distribution
system 538 or a
portion thereof via a network (e.g. the Internet).
[0055] The distribution system 538 transmits digital copies of a plurality 550
of complete
cinematographic works to the remote digital cinematographic presentation
devices 540A,
540B, 540C, 540D, 542D. In the exemplary embodiment shown in Figure 5, the
plurality 550
of complete cinematographic works consists of four complete cinematographic
works; there is
a first complete cinematographic work 504, a second complete cinematographic
work 505, a
third complete cinematographic work 506 and a fourth complete cinematographic
work 507.
In other embodiments, there may be more or fewer complete cinematographic
works. The
words "first", "second", "third" and "fourth" do not imply an order of
presentation within a
synthesis cinematic work but merely distinguish between different complete
cinematographic
works. The digital copies of the complete cinematographic works 504, 505, 506,
507 may be
transmitted by Internet streaming, by transmitting storable media data for
storage on the
plurality of remote cinematographic presentation devices and later playback
thereon, or by
some combination thereof.
[0056] The complete cinematographic works 504, 505, 506, 507 are conjoinable
according to
at least two unique permutations to form at least two unique synthesis
cinematographic works.
In the exemplary embodiment shown in Figure 5, there are four complete
cinematographic
works which are conjoinable according to twenty-four unique permutations to
form twenty-
four unique synthesis cinematographic works. This is merely one illustrative
example, and it
is contemplated that there may be embodiments in which the complete
cinematographic
22
CA 3066359 2019-12-31
works are conjoinable according to a number of unique permutations that is
less than the
theoretical maximum number of unique permutations, i.e. there may be some
unique
permutations (viewing orders) that are prohibited, or only a subset of the
total number of
complete cinematographic works may be viewed. Preferably, there are at least
three complete
cinematographic works conjoinable according to at least six unique
permutations to form at
least six unique synthesis cinematographic works. More preferably, there are
at least four
complete cinematographic works conjoinable according to at least twenty-four
unique
permutations to form at least twenty-four unique synthesis cinematographic
works. Still more
preferably, there are at least five complete cinematographic works conjoinable
according to at
least one-hundred-twenty (120) unique permutations to form at least one-
hundred-twenty
(120) unique synthesis cinematographic works. Yet even more preferably, there
are at least
ten complete cinematographic works conjoinable according to at least three
million, six-
hundred-twenty-eight thousand, eight hundred (3,628,800) unique permutations
to form at
least three million, six-hundred-twenty-eight thousand, eight hundred
(3,628,800) unique
synthesis cinematographic works. Still yet even more preferably, there are at
least fifteen
complete cinematographic works conjoinable according to at least one trillion,
three-hundred-
seven billion, six-hundred-seventy-four million, three-hundred-sixty-eight
thousand
(1,307,674,368,000) unique permutations to form at least one trillion, three-
hundred-seven
billion, six-hundred-seventy-four million, three-hundred-sixty-eight thousand
(1,307,674,368,000) unique synthesis cinematographic works.
[0057] The remote digital cinematographic presentation devices 540A, 540B,
540C, 540D,
542D present at least two different unique permutations of the complete
cinematographic
works 504, 505, 506, 507 to form at least two unique synthesis cinematographic
works. This
is illustrated in Figure 5. A first one of the remote cinematographic
presentation devices,
namely a first digital television 540D, automatically presents a conjunction
of the complete
cinematographic works 504, 505, 506, 507 according to a first unique
permutation so as to
present a first unique synthesis cinematographic work 514. Similarly, a second
one of the
remote cinematographic presentation devices, namely a second digital
television 542D,
automatically presents a conjunction of the complete cinematographic works
504, 505, 506,
507 according to a second unique permutation so as to present a second unique
synthesis
23
CA 3066359 2019-12-31
cinematographic work 516. The first synthesis cinematographic work 514
consists of the first
complete cinematographic work 504 followed by the second complete
cinematographic work
505 followed by the third complete cinematographic work 506 followed by the
fourth
complete cinematographic work 507, and is different from the second synthesis
cinematographic work 516, which consists of the fourth complete
cinematographic work 507
followed by the third complete cinematographic work 506 followed by the second
complete
cinematographic work 505 followed by the first complete cinematographic work
504. The
first remote cinematographic presentation device, namely the first digital
television 540D, is
different from the second remote cinematographic presentation device, namely
the second
digital television 542D.
[0058] The permutations according to which the complete cinematographic works
504, 505,
506, 507 are conjoined may be specified locally on the remote digital
cinematographic
presentation devices 540A, 540B, 540C, 540D, 542D, for example randomly or
according to a
user preference, or may be specified by the distribution system 538.
[0059] The methods for presenting, transmitting and distributing
cinematographic works as
described herein represent significantly more than merely using categories to
organize, store
and transmit information and organizing information through mathematical
correlations. The
methods are in fact an improvement to technology for presenting, transmitting
and
distributing cinematographic works, as the methods provide for assembly of two
or more
distinct synthesis cinematographic works using a common set of complete
cinematographic
works as components. Thus, while some specific illustrative examples of
synthesis
cinematographic works have been provided so as to illustrate how the method
and technology
may be applied to enable creative expression, the methods and technology
described herein
are not directed to the creative and expressive elements of any particular
cinematographic
works, but rather to presentation and distribution technology which enables
that creativity and
expression. Moreover, the methods are applied in respect of particular
machines, namely
cinematographic presentation devices. As such, the methods described herein
are confined to
cinematographic presentation devices, in some cases confined in particular to
cinematographs,
24
CA 3066359 2019-12-31
,
,
and to the specific and limited field of presenting, transmitting and
distributing
cinematographic works.
[0060] Aspects of the present technology may be embodied within a system, a
method, a
computer program product or any combination thereof. The computer program
product may
include a computer readable storage medium or media having computer readable
program
instructions thereon for causing a processor to carry out aspects of the
present technology.
The computer readable storage medium can be a tangible device that can retain
and store
instructions for use by an instruction execution device. The computer readable
storage
medium may be, for example, but is not limited to, an electronic storage
device, a magnetic
storage device, an optical storage device, an electromagnetic storage device,
a semiconductor
storage device, or any suitable combination of the foregoing.
[0061] A non-exhaustive list of more specific examples of the computer
readable storage
medium includes the following: a portable computer diskette, a hard disk, a
random access
memory (RAM), a read-only memory (ROM), an erasable programmable read-only
memory
(EPROM or Flash memory), a static random access memory (SRAM), a portable
compact
disc read-only memory (CD-ROM), a digital versatile disk (DVD), a memory
stick, a floppy
disk, a mechanically encoded device such as punch-cards or raised structures
in a groove
having instructions recorded thereon, and any suitable combination of the
foregoing. A
computer readable storage medium, as used herein, is not to be construed as
being transitory
signals per se, such as radio waves or other freely propagating
electromagnetic waves,
electromagnetic waves propagating through a waveguide or other transmission
media (e.g.,
light pulses passing through a fiber-optic cable), or electrical signals
transmitted through a
wire.
[0062] Computer readable program instructions described herein can be
downloaded to
respective computing/processing devices from a computer readable storage
medium or to an
external computer or external storage device via a network, for example, the
Internet, a local
area network, a wide area network and/or a wireless network. The network may
comprise
copper transmission cables, optical transmission fibers, wireless
transmission, routers,
firewalls, switches, gateway computers and/or edge servers. A network adapter
card or
CA 3066359 2019-12-31
network interface in each computing/processing device receives computer
readable program
instructions from the network and forwards the computer readable program
instructions for
storage in a computer readable storage medium within the respective
computing/processing
device.
[0063] Computer readable program instructions for carrying out operations of
the present
technology may be assembler instructions, instruction-set-architecture (ISA)
instructions,
machine instructions, machine dependent instructions, microcode, firmware
instructions,
state-setting data, or either source code or object code written in any
combination of one or
more programming languages, including an object oriented programming language
or a
conventional procedural programming language. The computer readable program
instructions
may execute entirely on the user's computer, partly on the user's computer, as
a stand-alone
software package, partly on the user's computer and partly on a remote
computer or entirely
on the remote computer or server. In the latter scenario, the remote computer
may be
connected to the user's computer through any type of network, including a
local area network
(LAN) or a wide area network (WAN), or the connection may be made to an
external
computer (for example, through the Internet using an Internet Service
Provider). In some
embodiments, electronic circuitry including, for example, programmable logic
circuitry, field-
programmable gate arrays (FPGA), or programmable logic arrays (PLA) may
execute the
computer readable program instructions by utilizing state information of the
computer
readable program instructions to personalize the electronic circuitry, in
order to implement
aspects of the present technology.
[0064] Aspects of the present technology have been described above with
reference to
schematic diagrams showing methods, apparatus (systems) and computer program
products
according to various embodiments. In this regard, the schematic diagrams in
the Figures
illustrate the architecture, functionality, and operation of possible
implementations of systems,
methods and computer program products according to various embodiments of the
present
technology. For instance, some elements in the schematic diagrams may
represent a module,
segment, or portion of instructions, which comprises one or more executable
instructions for
implementing the specified logical function(s). It will also be noted that
aspects of the
26
CA 3066359 2019-12-31
methods described and illustrated herein can be implemented by special purpose
hardware-
based systems that perform the specified functions or acts, or combinations of
special purpose
hardware and computer instructions.
[0065] It also will be understood that aspects of the methods described herein
can be
implemented by computer program instructions. These computer program
instructions may be
provided to a processor of a general purpose computer, special purpose
computer, or other
programmable data processing apparatus to produce a machine, such that the
instructions,
which execute via the processor of the computer or other programmable data
processing
apparatus, create means for implementing the functions/acts described and
illustrated herein.
[0066] These computer program instructions may also be stored in a computer
readable
medium that can direct a computer, other programmable data processing
apparatus, or other
devices to function in a particular manner, such that the instructions stored
in the computer
readable medium produce an article of manufacture including instructions which
implement
the function/act described and illustrated herein. The computer program
instructions may also
be loaded onto a computer, other programmable data processing apparatus, or
other devices to
cause a series of operational steps to be performed on the computer, other
programmable
apparatus or other devices to produce a computer implemented process such that
the
instructions which execute on the computer or other programmable apparatus
provide
processes for implementing the functions/acts described and illustrated
herein.
[0067] Several currently preferred embodiments have been described by way of
example. It
will be apparent to persons skilled in the art that a number of variations and
modifications can
be made without departing from the scope of the invention as defined in the
claims.
27
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