DCP Authoring - Services and Software

A DCP ([Digital Cinema Package](https://en.wikipedia.org/wiki/Digital_Cinema_Package)), is the digital equivalent of an exhibition film print-- A standardized digital version of your film, which is formatted to play specifically on Cinema Servers and Projector systems. You may use a Mezzanine-quality source of your film (Apple ProRes 422 HQ or DNxHR-HQ, but ⚠️ ***not*** H.264), with either the integrated 2.0 Stereo Mix, or sidecar 5.1 Surround Mix .WAVs, to create a DCP via a number of methods... ## PROFESSIONAL AUTHORING SERVICES [DCPMagic](https://www.dcpmagic.com/) by [CineSend](https://www.cinesend.com/) (a service local to Toronto), is highly recommended, especially if time constraints and other priorities present an obstacle to you. In addition to authoring DCP's to industry standards, CineSend conducts a rigorous QC process to ensure optimal compatibility across standard cinema projection systems. A description of DCPmagic by CineSend... *"The process is fairly simple to navigate as all it requires is the initial source file submission and technical specifications configured by the filmmaker. Through DCPMagic, Filmmakers do not run into challenges regarding account setups or fixed recurring payments since this way it cements it as a one-time transaction."* *"An additional incentive which CineSend provides through DCPMagic is that a festival usually provides (the filmmaker) a unique upload link. Filmmakers can attach the unique upload link while submitting their file and CineSend simply forward it directly to the Festival on behalf of the filmmaker."* Remember to [[#FILE RETENTION - BACKUP YOUR DCP\|download a local copy]] if you choose to commission a DCP. ## DIY SOFTWARE [DaVinci Resolve *Studio*](https://www.blackmagicdesign.com/support/family/davinci-resolve-and-fusion) is capable of transcoding to the DCP format. This entails a more advanced and involved process, but is capable of achieving satisfactory results. [DCP-o-Matic](https://dcpomatic.com/) is also a popular tool among independent filmmakers to author DCP's. ⚠️ Either of these DIY options require the filmmaker to personally review and QC the authored DCP, which may be particularly challenging for films with 5.1 Surround Mixes. ## TECHNICAL CONSIDERATIONS ### RESOLUTION DCP's may be authored to either 2K-DCI or 4K-DCI specifications. However, most cinemas (Cineplex 'Regular' cinemas, etc) are currently equipped with 2K projectors. Generally, 4K DCP's may be 'downscaled' and projected by 2K-DCI Projectors. ⚠️ 4K-DCI Projection is generally supported only in premium exhibition spaces (TIFF Lightbox Cinema, select IMAX Digital Screens, UltraAVX, etc.). Inquire with your film festival for details on the capabilities of their cinema partner(s). ### EXHIBITION ASPECT RATIOS DCP's are authored to conform to a Container Aspect Ratio of either DCI-Flat (1.85:1) or DCI-Scope (2.39:1) for exhibition in either 2K or 4K Container Resolutions (See [[#RESOLUTION\|above]]). ⚠️ DCI-Full (1.90:1) is an *origination* and mezzanine format, and is not widely-compatible as a cinema exhibition format, where most screens are masked to either 1.85:1 or 2.39:1. #### DCI-Flat (1.85:1) For most films, including Mezzanines mastered in aspect ratios such as 2K-FHD (1.78:1), 4K-UHD (1.78:1), or 2K/4K-DCI-Full (1.90:1), scaling to an exhibition aspect ratio of DCI-Flat (1.85:1) is optimal. Depending on your Mezzanine's Aspect ratio, this will require either slightly cropping the left and right of your frame, or slightly 'matting' at top and bottom with a slim additional letterbox if you wish to preserve the entire image area without cropping. #### DCI-Scope (2.39:1) DCI-Scope (2.39:1) is generally suitable only for productions which were either originated or mastered, in their interitely, in an anamorphic or scope aspect ratio (2.35:1 and wider). For such expansive widescreen films, the DCI-Scope (2.39:1) format preserves detail and encoding quality in your frame's image area that would otherwise be consumed by significant letterbox 'blanking'. ### 2.0 STEREO AUDIO MIXES ⚠️ DCP's are optimized for 5.1 Audio Mixes. When authoring a DCP for a film which has only a 2.0 Stereo Mix, it is highly advisable to 'nest' the 2.0 Stereo Mix into the L and R channels of a 5.1 Surround DCP. #### AUDIO 'UPMIX' CONVERSIONS Prior to DCP Authoring, you may wish to prepare an entire remix from 2.0 Stereo to an alternate standard, if you have retained your original mixing sessions and source files, or if the Audio 'Stem' files (Dialogue, Music, Effects) are available from a prior mix. Although not ideal, an alternative compromise is to convert a mix from Stereo-to-Surround using an 'upmix' plugin, available for some Audio Mixing platforms such as ProTools, Nuendo, and others. ### 5.1 SURROUND AUDIO MIXES If your Mezzanine sidecar files already include a prepared 5.1 Surround Mix, then you may 're-stripe'-- Replacing the 2.0 Stereo Mix reference integrated in your Mezzanine .MOV, with the sidecar 5.1 Surround Mix .WAVs. '2-pop' head leaders and Timecode tracks may be utilized to synchronize your .MOV Mezzanine and sidecar 5.1 Surround Mix .WAV files. Remember, Program Start begins at either 01:00:00:00 or 10:00:00:00, depending on the duration of your film's run-time. ⚠️ Authored DCP's must 'trim' head and tail leaders once synchronization is attained so that bars, tone, countdowns, and 2-pops are are not included during projection. ### COMPOSITION NAMING SCHEME (ISDCF Standard) The [ISDCF Composition filename convention](https://registry-page.isdcf.com/) is required for a DCI-compliant DCP, and cannot be changed after a DCP has been authored (doing so will break the DCP, much as it would an AVIDMC Project Folder). [[#DCP AUTHORING SERVICES\|DCPmagic]] will generate compliant naming schemes as part of their DCP Authoring Service. DaVinci Resolve Studio includes a Composition Name tool to assist in manually generating this naming convention in compliance with ISDCF standards. DCP-O-Matic will also generate a suitable filename convention, based upon the files and configuration you use to generate your DCP. ### FILE RETENTION - BACKUP YOUR DCP Remember to retain a local copy of an authored DCP on a drive (or three), and preserve the folder structure and filenames so that the authored DCP may serve you in future exhibitions. ### COMPARISON - VARIOUS FORMATS > [!CAM]- DCI - ORIGINATION, MEZZANINE, and SPECIALTY FORMATS > > | STANDARD NAME | CONTAINER RESOLUTION | CONTAINER ASPECT RATIO | COMMON USE CASE | COLOUR SPACE | BIT DEPTH | COMMON FRAME RATES | > | --------------------- | -------------------- | ---------------------- | ------------------------------------------------------------------ | ----------------------------------------------------------------------- | ------------ | ------------------ | > | 2K-DCI-Full Container | 2048 x 1080 | 1.90:1 | - DCI Camera origination - Digital Mezzanines - IMAX Digital | - LOG (Camera) - Rec.709 (Mezzanine) | 10 / 12 bits | 23.976, 24, 48 fps | > | 4K-DCI-Full Container | 4096 x 2160 | 1.90:1 | - DCI Camera origination - Digital Mezzanines - IMAX Digital | - LOG (Camera) - Rec.709 (Mezzanine) - Rec.2020 (Mezzanine) | 10 / 12 bits | 23.976, 24, 48 fps | > [!FILM]- DCI - DCP CINEMA EXHIBITION FORMATS > > | STANDARD NAME | CONTAINER RESOLUTION | CONTAINER ASPECT RATIO | COMMON USE CASE | COLOUR SPACE | BIT DEPTH | COMMON FRAME RATES | > | ------------------ | -------------------- | ---------------------- | ---------------------------------------------------- | ------------ | --------- | ------------------ | > | 2K-DCI-Flat | 1998 x 1080 | 1.85:1 | - Digital Cinema - (Image Aspect Ratios ≤ 2.30:1) | DCI-P3 (XYZ) | 12 bits | 24, 48 fps | > | 2K-DCI-Scope | 2048 x 858 | 2.39:1 | - Digital Cinema - (Image Aspect Ratios ≥ 2.30:1) | DCI-P3 (XYZ) | 12 bits | 24, 48 fps | > | 4K-DCI-Flat | 3996 x 2160 | 1.85:1 | - Digital Cinema - (Image Aspect Ratios ≤ 2.30:1) | DCI-P3 (XYZ) | 12 bits | 24, 48 fps | > | 4K-DCI-Scope | 4096 x 1716 | 2.39:1 | - Digital Cinema - (Image Aspect Ratios ≥ 2.30:1) | DCI-P3 (XYZ) | 12 bits | 24, 48 fps | > [!iMAC]- HDTV / UHD TV - ORIGINATION, BROADCAST, and STREAMING FORMATS > > | STANDARD NAME | CONTAINER RESOLUTION | CONTAINER ASPECT RATIO | COMMON USE CASE | COLOUR SPACE | BIT DEPTH | COMMON FRAME RATES | > | ------------- | -------------------- | ---------------------- | ------------------------------------------------------------------ | ----------------------- | ----------- | -------------------------------- | > | 2K-HDTV | 1920 x 1080 | 1.78:1 | - Consumer camera origination - HDTV Broadcast - Streaming | Rec.709 | 8 / 10 bits | 23.976, 25, 29.97, 50, 59.94 fps | > | 4K-UHD-TV | 3840 x 2160 | 1.78:1 | - Consumer camera origination - UHD TV Broadcast - Streaming | - Rec.709 - Rec.2020 | 10 bits | 23.976, 25, 29.97, 50, 59.94 fps | > | 8K-UHD-TV | 7680 x 4320 | 1.78:1 | - UHD TV Broadcast - Limited Streaming | - Rec.709 - Rec.2020 | 10 bits | 60, 120 fps | ## ALSO - [THE ARK - Understanding DCP Aspect Ratios](https://theark.uk.com/wp-content/uploads/2024/09/TheArk_DCP_AspectRatios_Document_10_09_24.pdf) - [REFRESH MEDIA - Aspect Ratio Cheat Sheet](https://refresh.media/toolkit) - [WOLFCROW - Is Scope 2.40:1, 2.39:1 or 2.35:1?](https://wolfcrow.com/is-scope-2-4-2-39-or-2-35-to-1/) %% ## [[NETFLIX - DCP Specifications & Requirements]] ## [[NETFLIX - DCP Best Practices]] %%