European Digital Cinema Security White Book
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European Digital Cinema Security White Book European Digital Cinema Security White Book - 1 - European Digital Cinema Security White Book - 2 - European Digital Cinema Security White Book European Digital Cinema Security White Book Edited by J.-M. Mas Ribés - 3 - European Digital Cinema Security White Book Table of Contents ACKNOWLEDGEMENTS.........................................9 FOREWORD........................................................11 EXECUTIVE SUMMARY........................................13 AUTHORS AND CONTRIBUTORS..........................15 CHAPTER 1 INTRODUCTION TO DIGITAL CINEMA AND SECURITY...........................................................17 The Long Transition to Digital....................................20 Digital and Security in the Film Industry....................37 Goals..........................................................................45 CHAPTER 2 EUROPEAN CINEMA SPECIFICITY.........................47 Introduction...............................................................47 About European Cinema Fragmentation....................47 American Homogeneity versus European Fragmentation...........................................................47 A Pan-European Future?.............................................49 - 5 - European Digital Cinema Security White Book CHAPTER 3 FROM CELLULOID TO DIGITAL IN EUROPE .........51 The Cinema Chain......................................................51 The Cinema Chain by Pairs........................................53 Pros and Cons with the Transition to Digital...............62 New Digital Distribution Models.................................65 CHAPTER 4 END-TO-END EUROPEAN DIGITAL CINEMA TRUST MODEL................................................................69 Introduction...............................................................70 European Digital Cinema Model.................................78 Digital Cinema Security System Model.......................92 Conclusions..............................................................104 CHAPTER 5 DIGITAL CINEMA STANDARDS AND SPECIFICATIONS...............................................111 DCI & SMPTE Functional Model................................111 DCI Security Specifications and SMPTE Standards...115 Trust Model with DCI/SMPTE....................................154 (Un)Completeness of DCI/SMPTE and Other Issues..158 - 6 - European Digital Cinema Security White Book CHAPTER 6 THREAT ANALYSIS OF EUROPEAN DIGITAL CINEMA .........................................................................163 Introduction.............................................................163 Context Analysis......................................................169 Threat Identification and Attack Trees.....................186 Conclusion...............................................................204 CHAPTER 7 BEYOND DCI & SMPTE: FULFILLING EUROPEAN NEEDS..............................................................207 Financing and VPFs in European Context.................207 Europe Beyond DCI & SMPTE...................................213 End-to-End Digital Cinema Security.........................218 Watermarking and Fingerprinting............................223 Anti-Camcording......................................................228 DRM and Interoperability.........................................233 Archives...................................................................235 CHAPTER 8 CONCLUSIONS AND RECOMMENDATIONS........237 Top Security Priorities for European Digital Cinema.238 Recommendations...................................................239 - 7 - European Digital Cinema Security White Book REFERENCES....................................................249 - 8 - European Digital Cinema Security White Book Acknowledgements This book results from the work of the Enhanced Digital Cinema (EDcine) project established by the European Commission in the context of the Networked Audio Visual line of the 6th framework of IST (Information Society and Technology). The world of digital cinema has been led by Hollywood initiatives. The Digital Cinema Initiative (DCI) is under standardisation by a subgroup of the Society of Moving Pictures and Television Engineers, namely the DC28. EDcine was launched in this environment to maintain the European industrial leading edge in the field and to develop new tools and best practices beyond the Digital Cinema Initiative (DCI). Economic, cultural and technical aspects are more complex in Europe. There is a clear need to go beyond DCI. In its initial functional analysis, EDcine included end-user groups, such as small production studios, local post-production facilities, small and big distribution networks from large multiplexes to small arthouse cinemas, and cinema archives. It was then deemed necessary to settle the key digital cinema security questions in a “White Book”. The authors of this book would like to thank the whole EDcine consortium and its project officer, Georgia Efthymiopoulou, for the fruitful discussions which were held during the consortium meetings. We would also like to thank all the associated partners and practitioners from the world of cinema for their useful input. - 9 - European Digital Cinema Security White Book - 10 - European Digital Cinema Security White Book Foreword The Shannon model of digital communications is very appealing: the move from analogue to digital allows a compromise between compression rate and quality, and allows communication to be made resilient to error. Digitisation is also an effective means to migrate towards secret communications by establishing ciphered communications. The digital cinema communication chain follows the classical model of compression, ciphering and error protection. The ongoing progress in electronics makes a real-time flexible hardware implementation of the whole chain achievable at the high rates required for digital cinema. Electronic circuits do not solve all the open issues for the deployment of digital technology. Among others are the security models and tools for key distribution, the audit of content use and the deployment of trusted hardware. This is the topic of this book. Such issues are at the frontier of technology and business models. For this reason, the landscape of digital cinema is described in the first part of this book. Afterwards, a functional model of digital cinema is proposed, inspired by many interviews with European cinema stakeholders. A security model is derived and analysed using a formal method. The book concludes with some recommendations for the security of digital cinema in Europe. - 11 - European Digital Cinema Security White Book - 12 - European Digital Cinema Security White Book Executive Summary A white book is an authoritative publication whose purpose is to educate stakeholders and to help them make decisions. The “European Digital Cinema Security White Book” deals with different security aspects in the field of digital cinema in Europe. Security is a difficult area in that it cuts across many different levels, from legal, financial and organisational to systems design, implementation and testing. In security, one requires a global view of all the aspects surrounding a specific issue in order to define an appropriate solution. In this white book, we cover many of the different areas which have an impact on security and its design and implementation in digital cinema systems. Although the focus is on Europe, most of the contents apply to other markets. The book begins with a general introduction to digital cinema and security (Chapter 1). The chapter covers the recent history of digital cinema and its financial and technical aspects, as well as including an introduction to general security principles. Europe is a highly fragmented market in the area of cinema. This contrasts with the homogeneity of the American market. In Chapter 2, we analyse the European market and its different facets, specificities and uniqueness. The transition to digital cinema is already changing the industry as we know it, and will undoubtedly continue to do so. Chapter 3 analyses these changes with respect to the players in the cinema chain from production to exhibition, and the relationships between them. When designing security systems – and digital cinema is no exception – one needs to fully understand the organisation in which they are going to operate. In Chapter 4, we model the European digital industry as an organisation, with its own - 13 - European Digital Cinema Security White Book processes and players. This model is then used to identify the functional requirements and security constraints of a security system which protects digital films, end to end. Today, there are two organisations working on digital cinema standards in general, as well as on security: SMPTE and DCI. In Chapter 5, we provide a detailed description of the SMPTE standards and DCI specifications which are currently available, and also cover work in progress. DCI and SMPTE partially define a security system and architecture for digital cinema. A very important part of security engineering is the analysis of the threats a system must protect itself against and the measures in place to mitigate them. Although threat analysis is usually performed on an existing system (which is not the case in digital cinema), in Chapter 6 we base the analysis on the architecture of a system compliant with DCI and SMPTE. With the transition to digital having just begun, and with technology, standards and financial models