DCP Creation & Delivery
for Filmmakers, Trusted by Film Festivals
DCP Creation & Delivery
for Filmmakers, Trusted by Film Festivals
Most DCP orders go smoothly. But a small number of submissions arrive with issues that require a follow-up — the wrong frame rate, audio that’s out of sync, a slate left at the head of the file. Running through this checklist before you submit saves time for everyone and helps ensure your DCP is delivered without delays.
New to DCPs? Start with What is a DCP before running through this checklist
Good news: many common issues can be resolved without re-exporting your entire film. If we spot a problem after you submit, we will contact you before proceeding and let you know the easiest path to a fix.
Work through each item before placing your order. If you are unsure about any item, add a note in your order comments and we will check before encoding.
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What to check
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Frame rate
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Your film should be 23.98, 24, 29.97 or 30 fps for standard cinema delivery. 25 fps is used for PAL/European festivals. Other frame rates (48, 60) may require conversion — include a note if your frame rate is non-standard.
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Codec / file format
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ProRes 422 HQ or ProRes 4444 is ideal. DNxHR and DNxHD are also excellent. H.264 and H.265 files are accepted but higher compression means less to work with — use the highest quality version you have.
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Resolution
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1920x1080 (HD) and 3840x2160 (4K/UHD) are the most common delivery resolutions. DCI resolutions (2048x1080, 4096x2160) are also accepted. Avoid non-standard resolutions where possible.
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No slate or leader at the head
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Your file should begin on the first frame of picture. Remove any countdown leaders, slates, color bars, or production company cards from the beginning of the file before exporting.
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Clean tail — no flash frames
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Your file should end cleanly on the last frame of picture. Extra black frames at the tail are fine. Flash frames, stray frames, or abrupt cuts to noise at the end should be trimmed before export.
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Color space
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If your file is in a log or HDR color space (Log C, S-Log, BRAW, etc.), let us know in your order notes. Files should ideally be delivered in Rec.709 unless you have arranged a specific color pipeline with us.
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✓
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What to check
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Audio format
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48kHz / 24-bit WAV, or audio embedded in your video file (ProRes, MXF, etc.). MP3 and AAC are not acceptable for DCP audio.
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Channel layout
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Stereo (2 channels) or 5.1 surround (6 channels: L, R, C, LFE, LS, RS). For 5.1, deliver as six separate mono WAV files or correctly mapped audio embedded in your video file.
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Audio in sync with picture
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Play through a section of your file and verify that dialogue and audio are in sync with the picture. Sync drift that is barely noticeable on a laptop becomes obvious on a cinema screen.
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No clipping
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Check that your audio True Peak does not exceed 0 dBTP. Clipping causes audible distortion that cannot be fixed without a new mix. Target True Peak below -2 dBTP.
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Loudness level
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Aim for -18 to -20 LUFS integrated loudness for most films. If you are significantly below -25 LUFS, dialogue may be inaudible at cinema levels. See our audio levels guide for more detail.
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No slate audio
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If you removed a slate from the head of your video, make sure the corresponding audio was also removed. Mismatched audio and video start points are a common cause of sync issues.
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What to check
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Know your picture's true aspect ratio
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Is your film true 16:9 (1.78:1) with no black bars, or does it have baked-in letterboxing making the actual picture 2.39:1 or another ratio? This determines whether your DCP goes into a Flat or Scope container. See our aspect ratio guide if you are unsure.
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Baked-in black bars
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If your exported file has black bars baked into the frame (top/bottom or sides), note this in your order comments. We will identify the true picture area and master the DCP correctly — you do not need to re-export.
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Subtitles or captions
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If your film requires subtitles or captions in the DCP, contact us before ordering. Subtitle integration is an additional service and requires the subtitle file in a compatible format (SRT or compatible XML).
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What to check
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Upload time
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ProRes files are large. A 15-minute ProRes file is roughly 20GB. At a 20 Mbps upload speed, that takes 2-3 hours. A feature-length ProRes file can be 100GB or more. You will receive a direct upload link when you place your order — if you have a festival deadline, start your upload as early as possible after ordering.
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File transfer method
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When you place your order, you will receive a direct upload link to send your file to Pure DCP. Our upload service is fast and will accept your file at your maximum available internet speed — no third-party file transfer services required.
Note: If you prefer to use Google Drive, Dropbox, WeTransfer, or Frame.io, those are also accepted. Make sure your sharing link allows access before submitting. |
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File is complete
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Verify your upload completed successfully before submitting your order. Partially uploaded files are one of the most common causes of processing delays.
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These are the most frequent problems that come up after a film is submitted. Knowing about them in advance means you can either fix them before ordering, or know what to expect if we reach out after submission.
In most cases, fixing an audio or technical issue does not require re-sending the entire film. We will always contact you to discuss options before doing anything, and we will let you know the simplest path to a resolution.
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Issue
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What happens
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Audio too loud
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Audio levels that are very hot — typically from mixes optimized for streaming or headphones.
Fix: We contact you to discuss. In some cases a minor level adjustment can be made without affecting the character of the mix. |
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Dual mono (stereo file, identical channels)
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A file delivered as stereo where both channels contain identical audio — usually because all tracks were mixed centered rather than panned.
Fix: We contact you to decide how to proceed. Options are to deliver as-is, or supply a corrected audio file. You do not need to resend the entire film — just the audio. |
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Audio / video out of sync
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Dialogue and picture that don't line up — sometimes caused by frame rate mismatches or audio exported from a different timeline than the video.
Fix: We request a corrected audio file. Again, no need to resend the whole film — just the corrected audio track, which we align with the existing picture. |
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Slate or countdown at the head
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Production slates, color bars, or countdown leaders left at the beginning of the exported file.
Fix: We contact you. In some cases we can trim within the DCP creation process. For best results, export your final master starting on frame one of picture. |
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Flash frames at the tail
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Extra or corrupted frames appearing after the last frame of picture.
Fix: We can often trim these during DCP creation. If we cannot, we will contact you for a clean export. |
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Very low bitrate / heavily compressed video
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Highly compressed H.264 or H.265 files where the image quality is significantly degraded.
Fix: We will proceed if it is the only version available, but image quality in the DCP will be limited by the source. If you have a higher quality version, use it. |
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Non-standard frame rate
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Frame rates other than 23.98, 24, 29.97 or 30 fps — such as 60, 48 fps or any other variation.
Fix: We contact you to confirm the intended frame rate and whether conversion is required before proceeding. |
ProRes 422 HQ or ProRes 4444 is the preferred format. DNxHR and DNxHD are equally good. H.264 is accepted but use the highest quality version of your file you have available. Audio should be 48kHz / 24-bit WAV, or embedded in your video file with correct channel mapping.
23.98 fps and 24 fps are the standard cinema frame rates. 25 fps is used for PAL/European delivery. If your film is at another frame rate — 29.97, 30, or 60 fps — include a note with your order and we will confirm the best approach before encoding.
Not necessarily — we determine the correct DCI container (Flat or Scope) based on your file. The one thing to be aware of is whether your file has baked-in black bars from letterboxing. If it does, note it in your order comments so we can identify the true picture area and master accordingly. See our aspect ratio guide for a full explanation.
Contact us as soon as possible at info@puredcp.com or 818-843-1262. If encoding has not started, we can adjust the order. If we have already identified an issue ourselves, we will contact you before proceeding.
Usually not. In most cases where an audio issue requires a fix, you can send us just the corrected audio file and we will sync it to the existing picture. We will always discuss your options with you before requesting anything.
It depends on your file size and internet upload speed. A typical 15-minute ProRes file is around 20GB. At 20 Mbps upload speed that takes 2-3 hours. A feature-length ProRes file can be 100GB or more. If you have a festival deadline, start your upload as early as possible.
Once you’ve worked through the checklist, you’re ready to submit. Order at puredcp.com/order-dcp — upload your file, select your resolution and turnaround, and add any notes about your file in the order comments. Digital delivery and 6 months cloud storage included with every order.
Questions before you submit? Contact us at info@puredcp.com or 818-843-1262.
