DCP FAQ

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DCP ASSEMBLY PROCESS

SOURCE -> BUILD -> QC -> DEPLOYMENT

WHAT SPECS SHOULD MY SOURCE FILE BE FOR THE DCP BUILD?

PICTURE

We prefer your film to be delivered in the same high-quality format you used for mastering.

PRORES .MOV (422HQ -> 4444XQ)
DNxHR | DNxHD
DPX IMAGE SEQUENCE
TIFF IMAGE SEQUENCE
JPEG2000 SEQUENCE
Accepted framerates for source files:

23.976, 24, 25, 29.97, 30 for 2K or 4K

23.976, 24, 25, 29.97, 30, 48, 50, 60 for 2K

If your film was finished in 2K or 4K, we’d like to receive it at that resolution.
If your film is 1080p HD, we will still accept it, but it will require a slight upscale to 2K on our end. (Standard.)

FRAMERATE

The most universal and preferred framerates for source files for DCP creation are 23.976 fps or 24 fps.

If your project was shot or finished in a different framerate guaranteed playback will be venue-dependent.

AUDIO

All audio should be 24-bit, 48kHz, PCM (Uncompressed)

The ideal audio setup is a 5.1 or 7.1 surround mix.

If 5.1 or 7.1 aren't available, then we can create a 3.0 (L,R,C) or 2.0 (L,R) DCP, depending on your source audio.

DOLBY ATMOS

128 CHANNELS / 64 SPEAKERS
Audio deliverable for ATMOS DCP must be a contained .MXF built from licensed and validated Dolby RMU

7.1

L (music and effects)
R (music and effects)
C (dialogue)
LFE (low frequency)
Ls (left surround)
Rs (right surround)
Lrs (left rear surround)
Rrs (right rear surround)

5.1

L (music and effects)
R (music and effects)
C (dialogue)
LFE (low frequency)
Ls (left surround)
Rs (right surround)

3.0

L (music and effects)
C (dialogue)
R (music and effects)

2.0

L (full left stereo)
R (full right stereo)

COLOR

We ensure your DCP undergoes proper cinematic conversion to the standardized X'Y'Z' color space for digital cinema.

For source delivery, your color space will most likely be one of the following:

sRGB
Rec. 709 | Gamma 2.2 | Gamma 2.4
P3 DCI
P3 D65

SUBTITLES/CAPTIONS

SUBTITLES: On-screen text for language translation
CAPTIONS: On-screen text for hard of hearing
OPEN SUBTITLES/CAPTIONS: Always on
CLOSED SUBTITLES/CAPTIONS: Usually reserved for auxillary devices (i.e. Dolby® CaptiView)

The best method in regard to adding OPEN/CLOSED SUBTITLES/CAPTIONS to your DCP is to provide a properly timed subtitle file (.SRT) with your source file.

To create an .SRT file, utilize a transciption company like Verbit.com or Rev.com. It is recommended that you use the HUMAN option and not the AI option in regard to your .SRT creation.

CLICK HERE: For more information on the intricacies of creating a proper CAPTIONS .SRT file that will pass QC.

START/END FRAMES

Make sure your source file includes at least two frames of black:

Before the first frame of picture or audio
After the last frame of picture or audio

ISDCF requirements for industry standard DCP for 2025 require that your project does not begin or end on a woring frame of the movie. More black frames are acceptable, but two is the minimum.

HOW DO I SEND MY SOURCE TO YOUR LAB FOR MY DCP BUILD?

SOURCE DEPLOYMENT

The preferred method is to upload directly to our secure server here: SOURCE UPLOAD

Alternatively, you may use:

Aspera
Media Shuttle
Any secure file transfer service of your choice

You can also ship or hand-deliver drives to our lab in Burbank, CA.

HOW LONG DOES DCP CREATION TAKE?

Typical turnaround: 2–5 days, depending on project complexity.

We’ll keep you updated at every stage of the process.

TURNAROUND TIME

DO YOU CHECK THE DCP?

QUALITY CONTROL & REVIEW

Nobody knows your movie better than you. That being the case, it's advised to completely review all source materials before they are deployed for your DCP build. The QC processes we undertake are strictly for the FINAL DCP and not the source file.

For no extra charge, we run a full human eyes/ears QC from the first frame to the last to check the work in a real-world DCI-compliant environment. But before we do that, we run the following tests and checks:

Package Structure & Compliance

Folder sructure validation
Standard confirmation (IOP/SMPTE standards)
Check unique UUIDS
Complete ISDCF naming convention compliance

Asset Integrity

MXF corruption check
Full CRC checksum validation
KDM confirmation [If applicable]
Complete ISDCF naming convention compliance

Picture Check

Resolution vs CPL confirmation
Color space [X'Y'Z']
Frame rate consistency

Audio Check

SMPTE mapping validation
Level and sync compliance
Dolby Atmos fallback confirmation

Subtitles / Captions [if applicable]

Timing sync check
Format compliance (UTF-8 / UTF-16)

WHAT ARE MY DCP DEPLOYMENT OPTIONS?

CRU DRIVE | FEATURE LENGTH

Industry-standard, shock-resistant, dustproof, CRU drive delivered in waterproof case. Slot directly into cinema server.

Designed for feature film distribution and fast ingest speeds.

DCI USB Drive | SHORT PROJECTS

Used for screeners, shorts, and festival submissions where CRU is not required.

DIGITAL DELIVERY

We use Filemail for secure digital deployment, allowing you to receive your DCP anywhere in the world.
Ideal for tight deadlines or multi-venue distribution.

Most (but not all) venues now accept digital delivery for short-form content.
Feature-length acceptance is about 50/50.

Let us know your preferred method, and we’ll take care of the rest.

WHAT IF I NEED MORE THAN ONE DCP FOR MY MOVIE?

ADDITIONAL COPIES

The Archetype Company keeps your DCP safely vaulted for ONE YEAR at our lab in Burbank, California.

Extra copies:

USB HDD: $75 + shipping
CRU Setup: $250 + shipping

Digital links:

7-Day Link: $20
90-Day Link: $40

We also offer a cinema drive rental service for multi-venue deployments.

If you can’t find the answer to your DCP source question, just reach out. We’re here to help.

John T. Woods

The Archetype Company | Burbank, California, USA