Digital Cinema Package (DCP)
Creation & Distribution
Navigating DCP Creation, Step by Step.
DCP Prep
If you’re making a 2K DCP then ideally you want to export:
Likewise if you’re making a 4K DCP then it would be:
Almost all DCPs are are made at 24 fps.
There are some specialty frame rates but they are rarely used
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 it will still be converted to 24 fps which will give you a ‘stuttery’ look
While ProRes 422 HQ is a highly used standard for video exports, other codecs work equally well.
If we can play the video we can encode it to DCP but you should always strive to export at the highest quality possible.
While 5.1 sound is amazing it isn’t always feasible as you should have it professional mixed.
5.1 Audio
Stereo audio
A Digital Cinema Package (DCP) is a collection of digital files used for storing and conveying digital cinema audio, image, and data streams.
Can you convert an MP4 to a DCP? The short answer is yes..but should you? Anything you can play on your computer can be converted into a DCP.
How much does a DCP cost? PureDCP prices start at $5/min. What factors determine this?
A Digital Cinema Package (DCP) is a collection of digital files containing all the essential elements required for the digital projection of a film in theaters.
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:
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.
“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.
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.
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.
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.
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.
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.
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:
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.
DCP creation refers to the process of converting digital cinema content into Digital Cinema Package (DCP) format, which is the industry-standard file format for digital cinema exhibition.
A DCP (Digital Cinema Package) is a collection of digital files used to store and convey digital cinema audio, image, and data streams. DCP production involves the creation of these files to ensure compatibility with digital cinema projection systems.
A DCP system encompasses the hardware and software necessary for the creation, distribution, and playback of Digital Cinema Packages (DCPs) in commercial cinema environments.
DCP was introduced in the early 2000s as a replacement for traditional 35mm film projection systems in cinemas.
The time required to create a DCP depends on factors such as the length and complexity of the content, as well as the specifications of the DCP creation process. Generally, it can take several hours to create a DCP for a feature-length film.
To create a DCP, you typically need digital cinema mastering software, high-quality source files, and knowledge of digital cinema standards and specifications.
The cost of creating a DCP for a short film can vary depending on factors such as the length of the film, the complexity of the content, and the service provider.
Prices area based on turnaround time ranging from $5-14/minute for a standard 2K delivery. 4K resolutions are slightly more.
DCP is often the preferred format for film festivals due to its high-quality digital presentation and compatibility with modern digital cinema projection systems.
You need a DCP (Digital Cinema Package) to exhibit your content in digital cinema environments, as it is the industry-standard format for digital cinema exhibition.
A DCP (Digital Cinema Package) is a collection of digital files contained within a specific folder structure, designed to meet the requirements of digital cinema exhibition.
Yes, DCPs can be sent electronically over secure file transfer protocols or delivered via physical media such as hard drives or USB flash drives.
DCP files contain digital audio, image, and data streams encoded according to specific digital cinema standards. These files are ingested by digital cinema projection systems for playback on the cinema screen.
Yes, it is possible to convert MP4 files to DCP format.
It is generally frowned upon as MP4 video files are highly compressed so you’re compressing and already compressed file which can lead to artifacts in the final picture.
It’s always best to start with the highest quality possible.
DCP is a digital file format used for digital cinema exhibition, while film refers to traditional celluloid film stock used in analog projection systems.
While it is possible to play DCP files on a computer using specialized software, DCPs are primarily intended for playback on digital cinema projection systems.
DCP resolution typically adheres to industry standards such as 2K (1998×1080 or 2048×858 pixels) or 4K (3996×2160 or 4096×1716 pixels).
A digital release refers to the distribution of content in digital formats, such as DCP, for exhibition in cinemas or streaming platforms, as opposed to traditional analog formats like film.
The two main types of DCP are Interop DCP and SMPTE DCP, which differ in their encoding standards and compatibility with digital cinema projection systems.
SMPTE is the new standard although there are some venues that still use Interop.