DCP Prep
File Export Recommendations
If none of this makes sense or you have any questions or special situations please contact us for clarification.
Ideal
If you’re making a 2K DCP then ideally you want to export:
- 1920×1080 23.98 ProRes 422 HQ
- 5.1 mix (embedded in ProRes file)
- Stereo Mix if 5.1 is not available
Likewise if you’re making a 4K DCP then it would be:
- 3840×2160 23.98 ProRes 422 HQ
- 5.1 mix (embedded in ProRes file)
- Stereo Mix if 5.1 is not available
Frame Rate
Almost all DCPs are are made at 24 fps.
There are some specialty frame rates but they are rarely used
- 25 fps
- 30 fps
- HFR (High Frame Rate) 48, 60, 60 fps
Unless you really know what you’re doing you should export your file at 23.976 fps.
We will do the conversion to 24 fps.
If your film is 30 fps or 29.97 fps we will contact the venue to ensure they can play a 30 fps DCP and if so we will make a 30 fps DCP. If not your film will be converted to 24 fps which will give you a ‘stuttery’ look
Codec
While ProRes 422 HQ is a highly used standard for video exports, other codecs work equally well.
- DNxHR (444, HQX, HQ)
- DNxHD (175)
- H.264/H.265
- Not Recommended but are still workable
If we can play the video we can encode it to DCP but you should always strive to export at the highest quality possible.
Audio
While 5.1 sound is amazing it isn’t always feasible as you should have it professional mixed.
A stereo mix is perfectly fine.
Separate audio stems are also acceptable.
5.1 Audio
- Embedded with the video file
- L R C LFE Ls Rs
Stereo audio
- 48K 24bit Uncompressed Stereo
- Embedded with the video file
FAQ
What is a DCP (Digital Cinema Package)?
A DCP (Digital Cinema Package) is a standardized digital file format used for storing and delivering digital cinema content to movie theaters for projection. It’s the digital equivalent of a traditional 35mm film print. DCPs contain all the audio, video, subtitle, and metadata elements necessary for the presentation of a movie in a theater.
Here are some key features of DCPs:
- High-Quality Content: DCPs typically contain high-resolution video and audio files, ensuring excellent picture and sound quality for theatrical projection.
- Standardized Format: DCPs adhere to specific technical standards established by organizations like the Digital Cinema Initiatives (DCI), ensuring compatibility with digital cinema projectors and servers worldwide.
- Security: DCPs often include encryption to prevent unauthorized access and piracy. Key Delivery Messages (KDMs) are used to unlock encrypted content for playback in authorized theaters.
- Flexibility: DCPs can accommodate various aspect ratios, frame rates, and audio configurations, allowing filmmakers to deliver their content in different formats for international distribution or special screenings.
- Metadata: DCPs contain metadata that provides essential information about the movie, such as title, runtime, aspect ratio, audio format, subtitles, and encryption keys.
Overall, DCPs have become the standard format for distributing movies digitally to theaters worldwide, offering improved efficiency, consistency, and quality compared to traditional film prints.
Is DCP a video format?
What is a 2K DCP vs. a 4K DCP?
A 2K DCP and a 4K DCP refer to Digital Cinema Packages with different resolutions, specifically relating to the horizontal pixel count:
- 2K DCP: A 2K DCP has a resolution of approximately 2048 pixels horizontally by 1080 pixels vertically. This is the standard resolution for most digital cinema projectors and is widely used in theaters worldwide. It provides high-definition quality suitable for most cinematic experiences.
- 4K DCP: A 4K DCP has a resolution of approximately 4096 pixels horizontally by 2160 pixels vertically. It offers four times the resolution of a 2K DCP, resulting in sharper and more detailed images. 4K DCPs are often used for premium screenings, large-format theaters, or films shot in ultra-high-definition formats.
The choice between a 2K DCP and a 4K DCP depends on various factors, including the resolution of the original film, the intended audience and viewing environment, and the capabilities of the theater’s digital cinema equipment.
While a 4K DCP provides higher resolution and detail, it may not be necessary for all films or venues, and 2K DCPs remain the standard for most theatrical presentations.
What is DCI?
What is INTEROP?
“Interop” is short for “interoperability,” which refers to the ability of different systems, devices, or software to work together smoothly and effectively. In the context of digital cinema, “Interop” often refers to the Interop DCP (Digital Cinema Package) format.
Interop DCP (or simply “Interop”) is one of the two main types of DCP formats used in digital cinema, alongside SMPTE DCP. Interop DCP was developed initially as a transitional format before the adoption of SMPTE DCP. It follows slightly different specifications and is primarily used in older digital cinema installations or in regions where Interop DCP is still prevalent.
In essence, Interop DCP ensures that digital cinema equipment from different manufacturers can communicate and play back content consistently, maintaining interoperability across various systems within the digital cinema ecosystem.
Will my image have to be cropped?
Ultimately, whether your film’s image needs to be cropped for the DCP will depend on factors such as the aspect ratio of your original footage, the desired aspect ratio for theatrical projection, and any specific requirements or standards for DCP creation. It’s advisable to work closely with a post-production facility experienced in DCP creation to ensure that your film is properly formatted for digital cinema exhibition while preserving your creative vision.
Should I do stereo audio or 5.1 audio for my DCP?
The decision between stereo and 5.1 audio for your Digital Cinema Package (DCP) depends on several factors, including the nature of your film, your artistic vision, and the capabilities of the theaters where your movie will be screened. Here are some considerations to help you make an informed choice:
- Nature of the Film: Consider the audio requirements of your film and how you want the audience to experience the sound. If your film relies heavily on immersive soundscapes, dynamic sound effects, or spatial audio elements, 5.1 surround sound may enhance the viewing experience by providing a more immersive and engaging audio environment. However, if your film’s audio is primarily dialogue-driven or doesn’t require extensive spatial effects, stereo audio may suffice.
- Artistic Vision: Think about your artistic vision and how you want the audio to complement the visual storytelling. Consider whether surround sound adds depth and dimension to your film’s narrative or if stereo audio better aligns with your creative intentions.
- Audience Expectations: Consider the expectations of your target audience and the types of theaters where your film will be screened. Larger theaters or premium screening venues may have sophisticated sound systems capable of delivering 5.1 surround sound, while smaller venues may rely on stereo playback systems. Tailor your audio format to meet the expectations and technical capabilities of your target screening locations.
- Technical Considerations: Evaluate the technical aspects of producing and delivering stereo versus 5.1 audio for your DCP. While 5.1 surround sound offers enhanced spatial effects and immersion, it also requires additional audio production and post-production work. Ensure that you have the resources, expertise, and equipment necessary to produce high-quality audio in your desired format.
Ultimately, the choice between stereo and 5.1 audio for your DCP should align with your artistic vision, the nature of your film, and the expectations of your audience. Consider consulting with audio professionals or post-production experts to assess the best audio format for your project and ensure that your film’s audio enhances the overall viewing experience.
What is KDM?
KDM stands for Key Delivery Message. In the context of digital cinema, a KDM is a digital encryption key used to unlock encrypted content within a Digital Cinema Package (DCP).
Here’s how it works:
Content Encryption: The content of a movie, stored in a DCP, is encrypted to prevent unauthorized access or piracy.
Key Generation: A unique encryption key is generated for each DCP. This key is necessary to decrypt and access the content.
Key Delivery Message (KDM): The KDM contains the necessary decryption keys and associated information. It is sent securely from the content distributor (such as a film studio) to the exhibition site (such as a movie theater).
Unlocking Content: When the DCP arrives at the movie theater, the KDM is used by the digital cinema server to decrypt the content for playback. The KDM typically specifies which screens or playback devices are authorized to play the content and for how long.
In summary, a KDM is a critical component in the secure delivery and playback of encrypted digital cinema content, ensuring that only authorized theaters can access and exhibit the movies they have been licensed to show.
What is a distribution KDM (DKDM)?
A Distribution Key Delivery Message (DKDM) is a type of Key Delivery Message (KDM) specifically used in the digital cinema distribution process.
In the context of digital cinema, a KDM is a digital encryption key used to unlock encrypted content within a Digital Cinema Package (DCP) for playback in a theater. The KDM ensures that only authorized cinemas or playback devices can access and play the content, and it often contains information about which screens or devices are authorized to play the content and for how long.
A DKDM is essentially a master key that authorizes the creation of KDMs for a particular DCP. It is typically generated by the content distributor (such as a film studio or distribution company) and sent securely to the facility responsible for generating KDMs, such as a digital cinema mastering facility or a trusted third-party service provider.
Once the DKDM is received, the facility can use it to generate individual KDMs for each theater or playback device where the DCP will be shown. These individual KDMs are then sent to the respective theaters or devices, allowing them to decrypt and play the content securely.
In summary, a Distribution Key Delivery Message (DKDM) is a master key used to authorize the creation of individual Key Delivery Messages (KDMs) for decrypting and playing encrypted digital cinema content in theaters or playback devices.
What is SMPTE?
SMPTE stands for the Society of Motion Picture and Television Engineers. It is a professional organization that develops and publishes technical standards for the motion imaging industry, encompassing both film and television.
SMPTE standards cover a wide range of topics, including video compression, digital cinema, audio synchronization, color representation, and file formats, among others. These standards are crucial for ensuring interoperability, consistency, and quality across various aspects of the motion imaging workflow, from content creation to distribution and playback.
The organization, founded in 1916, is composed of engineers, technologists, researchers, and professionals from the film, television, and related industries. SMPTE standards are widely adopted internationally and play a significant role in shaping the evolution of motion imaging technologies.
What is DCDM?
A DCDM (Digital Cinema Distribution Master) is a high-quality, uncompressed digital version of a movie created specifically for distribution to theaters in the digital cinema ecosystem. It serves as the source material for generating the Digital Cinema Package (DCP), which is the standardized format used for distributing movies to cinemas digitally.
A DCDM typically contains the film’s audio and video elements in their highest quality, often in formats like JPEG 2000 for video and PCM (Pulse-Code Modulation) for audio. Unlike the DCP, which may undergo compression and other modifications for distribution, the DCDM retains the original, pristine quality of the movie.
The DCDM is used as the basis for creating the various versions and formats required for distribution, ensuring consistency and preserving the integrity of the content throughout the digital cinema distribution process. It serves as a master copy from which DCPs are created for exhibition in theaters.
WHAT IS X’Y’Z’?
In the context of Digital Cinema Packages (DCPs), the X’Y’Z’ color space is significant primarily because it is one of the color spaces commonly used for encoding the color information of the digital cinema content.
When a movie is mastered for digital cinema distribution, it undergoes a process where its color information is converted into a digital format suitable for projection in theaters. During this process, the color space used for encoding the movie’s color information is often X’Y’Z’.
Here’s how X’Y’Z’ relates to DCPs:
- Color Encoding: The color information of the movie is encoded in the X’Y’Z’ color space within the Digital Cinema Distribution Master (DCDM) or Digital Cinema Package (DCP). This encoding ensures that the colors are represented accurately and consistently across different digital cinema projectors and theaters.
- Playback: When a DCP is ingested by a digital cinema server at a movie theater, the color information encoded in X’Y’Z’ is decoded and used for projection. The projector in the theater interprets the X’Y’Z’ color data to reproduce the colors as intended by the filmmakers.
- Consistency: By using a standardized color space like X’Y’Z’, DCPs ensure consistent color reproduction across different theaters and digital cinema systems. This consistency is crucial for maintaining the artistic integrity of the movie and providing audiences with a high-quality viewing experience.
Overall, the X’Y’Z’ color space plays a vital role in the color encoding and playback of digital cinema content distributed via DCPs, contributing to accurate and consistent color reproduction in theaters.