DCP

Yes. The DCP will be compiled under the SMPTE standard, which supports that frame rate.

There are two types of DCP compilation: Interop (DCI) and SMPTE. SMPTE is the newer standard and gives us more flexibility with different frame rates and other advantages.

Interop was the original DCP compilation defined by the DCI association and is only compatible with 24 fps base frame rates. It remains a legacy format supported by cinema servers worldwide.

Yes, we can handle that process. The frame rate must be reviewed, along with any conversion that may be required.

Yes. Export it in a format that preserves the highest possible quality at 1920x1080 and we will take care of the rest.

The best option for creating a DCP is an image sequence such as TIFF or DPX, known as DCDM. Color depth is also important, and 16-bit is preferable to 8-bit.

From experience, we can confirm that banding and lack of color depth may appear in formats below 10-bit.

We can also create DCPs from almost any image or video format, but final quality will depend on the source material.

Audio must be at least 24-bit / 48 kHz for each channel, as specified by the DCI standard.

Not always. One advantage of DCP is that Dolby encoding is not required for 5.1 or 7.1, as the compilation supports up to 16 linear PCM tracks.

Dolby encoding is only required for multichannel Atmos systems.

The delivery media will be a hard drive or USB drive depending on the size of the DCP files.

Trailers and works under 10 minutes are usually delivered on USB drives because of their lower cost, while longer productions are usually delivered on hard drives.

Online delivery is also possible when accepted by the recipient.

Usually not. DCI recommends EXT3 as the file system for distribution hard drives, because most digital cinema server platforms are Linux based.

Some servers can also read NTFS and FAT, but most DCP copies are delivered on EXT3.

Yes. You will have a DCP with several CPLs, one for each audio version.

Yes. You will have a DCP with several CPLs, one for each subtitle version.

To subtitle a DCP, our preferred subtitle format is SubRip Text (.srt).

If your subtitles are in another format, contact us so we can verify their validity. We can convert almost any subtitle format for later use in a DCP.

Yes. We can add any subtitle versions you need over an existing DCP.

To work on encrypted DCPs, we will need you to send us the KDM file for the public key of our authoring software.

Most of our clients work in independent cinema, where open DCPs have lower management and copy costs. Encrypted copies require generating a KDM code for each copy, depending on the destination projector.

Encryption and KDM were required by Hollywood studios to prevent piracy and control film screenings. For maximum security, data encryption was established under the AES128 algorithm.

A DCP is a large package of files that moves through a closed distribution network. Cinema venues delete DCPs from their servers when the screening period ends, the color space and gamma are specific to this system, and multichannel multiplexed audio is difficult to extract. An unencrypted DCP is already hard to pirate by itself.

In most cases, pirated material comes from a video camera recording in a cinema or from a copied DVD / Blu-ray.

Archiving is another aspect to consider. Over time, an open copy can always be played by any server, while an encrypted copy carries the risk of no longer having the encryption keys needed to generate a new KDM for the destination projector.

DCP encryption is necessary when required by the distributor contract, as it allows dates and screenings to be controlled in the venues where the film is shown. For independent productions, it is common to avoid KDM in order to save that cost.