SOURCE FILE INFO & FREQUENTLY ASKED QUESTIONS
WHAT SPECS SHOULD MY SOURCE FILE BE?
PICTURE: I prefer whichever flavor of ProRes (422 or 4444) or DNxHD/HR you mastered your movie in. If you finished in 4K or 2K, I want that. Movies delivered in 1080p HD will require a mild blow-up to 2K. Bottom line, the best source would be a ProRes .mov file with the audio built into it for the sake of sync.
FRAMERATE: 23.976 or 24 FPS
AUDIO: A six-channel 5.1 mix is preferred but stereo will suffice. Audio should be embedded in the QuickTime file with picture or delivered as individual mono WAVs that match picture length exactly. Audio should be 24 bit, 48kHz and laid out as follows: L R C LFE Ls Rs.
SUBTITLES: If you have subtitles on your movie, make sure they are hardcoded to picture, and make sure they conform to ISDCF standards.
START/END FRAME: Make sure that your source materials don't start on the first frame of picture. It is important to have AT LEAST two frames of black before and after picture. (more is fine, but at least two frames so we don't start/end on picture.)
HOW LONG DOES THE DCP WORK TAKE?
Once your payment and source file sent my way, the work takes about 3-5 days to complete and ship your way. Updates are sent as the process moves along to ensure you're kept in the loop.
WHAT'S THE DIFFERENCE BETWEEN A CRU DRIVE AND A USB DRIVE?
The standard CRU drive (shown below) comes packed in a pelican case and is designed to slot directly into the cinema server. Your DCP will ingest much faster with a CRU drive and also gives the projectionist the option to play directly from the drive. USB drives lack these advantages but are less expensive and more convenient to transport.
CRU DRIVE IN PELICAN CASE
USB DRIVE IN TRAVEL CASE
DO YOU CHECK THE DCP FOR PROBLEMS?
I will verify an accurate conversion of your source’s image to the XYZ color space and confirm that your audio plays identically to your source. While I often catch errors within the content of a movie (errant black frames, soft sync, etc), and will alert you to this, no one will know your movie as intimately as you do. So I always recommend you review your master export before sending it to me.
WHAT IF I NEED MORE THAN ONE DCP OF MY MOVIE?
Extra copies/clones of a DCP are available for the cost of the drive setup.
$50 for shorts (Portable USB) or $250 (CRU Setup).
WHAT IF I NEED MORE COPIES OF MY DCP AT A LATER DATE?
I keep your DCP archived for six months. Within that time, just email me and we can setup your DCP to be sent out ASAP.
WHAT IF I UPDATED MY MOVIE? CAN YOU UPDATE THE DCP?
This is taken on a case by case basis. New audio mixes are able to be swapped out as long as the duration of the movie hasn’t changed. Any changes that affect the whole movie, or any new cut that changes the duration of the movie, requires an entirely new DCP conversion. Get in touch, I will be happy to help out with a recreation of your DCP at a discounted rate.
WHAT IS THE DIFFERENCE BETWEEN 1080p, 2K, and 4K?
4K and 2K are cinema standards that can have two aspect ratios: Flat (1.85:1) or Scope (2.39:1). 1080p is a broadcast standard in the 16×9 aspect ratio. This chart shows the differences in size/resolution.
Most theaters are only capable of projecting 2K at this time. Even if you have a 4K DCP these venues will be down-converting to 2K on-the-fly. For this reason I often recommend a 2K conversion unless you know the venue can truly exhibit a 4K DCP. Also, unless your movie was mastered in 4K, there’s no point in blowing up a 1080p or 2K movie to full 4K. It’s a waste of money.
Looking forward to helping out!