Somewhere in between YouTube and 35mm theatrical film projection exists the new crossover known as digital projection/distribution. The high cost of producing 35mm film prints has been slashed by the wide acceptance and utilization of DCP hard drives and thumb drives for mainstream theatrical distribution, festival submission, large venue screenings, and transcoding down to DVD and smaller digital outlets.

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 I confess that I am just a babe in the woods when it comes to fully understanding the entire digital chain. I know a little about what the steps are, but I leave it to the experts when it actually comes time to do the encoding. What I do know is that there are enormous economic savings to be realized when producing DCP's compared to the cost of 35mm release prints. On a fifteen minute short subject film, the savings can amount to well over several thousand dollars!

Being a sound guy, the line item that strikes me prominently is that, with DCP, the filmmaker is no longer obligated to engage the services of Dolby for mastering of the soundtrack in preparation of striking Doby Digital 5.1 prints (copyright Dolby, and all that legal stuff). DCP only requires that the filmmaker provide properly formatted audio files in stereo 2-track, 3-track, or 6-track (aka 5.1). These tracks do NOT have to contain the Dolby "seal of approval" (my words, not Dolby's). That factor alone can save the small filmmaker thousands of dollars.  Audio does have to be 24fps (or 23.976 fps) and 24bit/48k.

Rather than get some of the facts about DCP wrong, I have instead gone to the internet and found a couple of good sources (Hermosa Beach Filmworks and FotoKem).  The following materials are taken directly from their public websites, and all content is their respective properties.

Hermosa Beach Filmworks (www.dcpinfo.com) offers the following simple introduction to DCP:

Q: What is a Digital Cinema Package (DCP)?

 A: Simply put, a DCP is the digital equivalent of a 35mm film print.   It is what you give to a commercial theater so that they can screen your movie on a digital ( also known as "D-Cinema") projector. Like a 35mm print, a DCP is a world-wide standard. If you walk into any D-Cinema theater, anywhere in the world, they can play your DCP without a problem.

Q: Why would I want to make a DCP instead of a traditional 35mm film print?

 A: The short answer is cost. If you want a 35mm print, and your movie was shot digitally and finished on an Avid or Final Cut Pro (or any nonlinear editing system), you'll need to do a "filmout"-- the process of converting your digital files into a film print. The cost for a feature film "filmout" is typically $40,000-$50,000 or more. Each additional print is about $1000-$1500.

 In contrast, a professionally encoded feature DCP typically costs about 80-90% less than a filmout, with additional copies running about $150-$250 each. With such large cost savings, it is easy to see why all the major film studios are moving towards digital distribution.

 Another benefit is that DCPs don't wear out like 35mm. Digital copies do not degrade, so you'll never have a broken, scratched or dirty DCP. The 1000th screening will look just as perfect as the first.

Q: Does the Academy of Motion Picture Arts and Sciences accept DCPs when qualifying for an Academy Award?

 A: Yes, but to comply with Academy rules, your DCP must meet the following specifications:

Video:                24.00 frames per second

Compression:     JPEG2000

Color Space:       XYZ

Video Format:     2K - 2048x1080 container size (1920x1080, 1998x1080 and other image sizes are acceptable)

Audio Format:     24-bit, 48 kHz uncompressed

                            Minimum 3 channels (Left,Right,Center) or 5.1 (L,R,C,LFE,LS,RS)

Audio Channel Mapping:            1:Left   2:Right   3:Center   4:Subwoofer 5:Left Surround   6:Right Surround

Encryption:         Unencrypted material only

Q: Where can I find more complete technical specifications for DCPs?

 A: Complete DCP specifications are contained in the following:

    SMPTE 428-1-2006 D-Cinema, ISO/IEC 15444-1, SMPTE 428-2-2006

    D-Cinema, SMPTE 428-3-2006 D-Cinema    

Editor's Note: I have included Hermosa's sales ptich, since it does include a lot of useful information. It is not meant as a personal endorsement nor an advertisement; but I thought that it would be respectful to include their sales information since they are letting us copy their website content for educational purposes. I have not used this company for any of my film projects, nor have any of my colleagues, so I really cannot vouch or say anything at all about their reputation. They do sound friendly and knowledgable, so just because I have not worked with them does not mean that you should not check them out.

Are you ready to make a DCP of your film?

 Hermosa Beach Filmworks is ready to help. We specialize in making DCPs for independent filmmakers at the highest quality and lowest cost possible. We can encode your film into a Digital Cinema Package, ensure that your project meets all necessary Academy specifications, quality check the final DCP, and provide you with a copy of the finished DCP on an appropriate portable hard drive.

 We will need your film in a 24p Quicktime or AVI file on a portable hard drive, with the following specifications:

Video:            23.98 or 24.00 frames per second: This is the most important part! Your film must be in 24p, without exception. If you shot your film in 60i, or another frame rate, you must convert it to 24p before a DCP can be make.

Format:          1920x1080 full screen for 16x9 material

                      (other formats such as 1998x1080 and 2048x858 are also acceptable; we can also upres standard definition 24p material)

Compression: A variety of compression codecs are acceptable: The ones that work best include: Apple ProRes, Apple ProRes (HQ), DVCPROHD, or Uncompressed

Audio:            Minimum 3 channels (Left,Right,Center) or 5.1 (L,R,C,LFE,LS,RS) - audio can be part of the QuickTime file, or provided as separate mono 16 bit/48khz WAV or AIFF files.

 Audio Channel Mapping:        1:Left   2:Right   3:Center   4:Subwoofer 5:Left Surround   6:Right Surround

**Note: DCPs can also be made from HDCAM and HDCAM-SR 24p Videotape. There is a small additional encoding charge if your project originates on videotape

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Helpful tips during Production and Post-Production

 TIP #1: Shoot and edit in 24p!

If you think you might eventually create a DCP (or a 35mm filmout) from your motion picture, the one thing you can do to make your life easy is to shoot and edit in 24p! A DCP is just like a 35mm print in that it only runs at 24 frames per second. There are no other acceptable frame rates. If you shoot in traditional interlaced 60i (or PAL, SECAM or any other non-24p format), you will need to make a frame rate conversion before you can make a DCP. Frame rate conversions generally do not look very good. You can get "acceptable" results if you have your footage professionally converted from 60i or 30p to 24p, but it will rarely look perfect. Credit crawls and rolls in particular do not look very good when converted to 24p.

Sometimes, as with archival footage, you will not have a choice. If you have 60i archival footage (or PAL, SECAM, or any other type of non 24p material), you will have no choice but to convert that footage to 24p. It's best to do that as early as possible in the editing process.

In summary, edit in 24p whenever possible. Shoot in 24p if you can. Convert any non-24p material to 24p as early in the editing process as possible so that you'll know what to expect.

TIP #2: Color correct your film!

When your picture editing is finished, have your project professionally color corrected.   Having your film color corrected, with shots adjusted to smoothly blend together will make a big difference when you see your movie on screen. DCPs and theatrical D-Cinema equipment will make well-shot and color-corrected footage look absolutely fantastic. The color gamut and contrast are far superior to anything you'll see on your computer monitor.

That nice, rich, contrasty image you see in Final Cut Pro on your monitor will look superb in a theater. But there is a downside: mistakes will also be magnified. Video noise and poor contrast will become more noticeable when you see your movie on a big, bright 30-foot theater screen. This is why it is to your advantage to invest in professional color correction as the last step in your video editing.

TIP #3: Mix audio with at least 3 channels!

Having dialog or voiceover in the center channel, and music/effects in the L/R side channels is the standard in theatrical exhibition.   It is not much more work to mix audio in three channels instead of two (simple stereo), but the result in theaters is dramatic! Simply put, audiences are used to and will expect dialog to be in the center channel.

If you are planning to have your film qualified for an Academy Award, you must mix with at least three channels of audio. This is a mandatory Academy requirement.

Of course, if you are mixing with three channels (Left, Center, Right) -- it's not much more work to mix in full 5.1 stereo. Like editing in 24p, it's best to make this decision early so that your sound editor will know to keep dialog and voiceover in a separate track.

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Still have questions?

 Call or email Hermosa Beach Filmworks and we will be happy to provide additional information, and answer any questions you may have!

 This email address is being protected from spambots. You need JavaScript enabled to view it.">This email address is being protected from spambots. You need JavaScript enabled to view it.

 (310) 897-6277

The following information comes from FotoKem (www.fotokem.com), which is one of Hollywood's (aka Burbank's) most respected motion picture labs. FotoKem works very closely with our Cinema-TV Arts Dept at California State University Northridge, and seems to have infinite patience with film students!

Digital Cinema Packages

FotoKem masters encrypted and non-encrypted DCI-compliant 2D and 3D digital cinema packages for global
theatrical distribution, from virtually any source type and resolution. Mastering content at the DCI maximum bit
rate of 250Mb/s, DCPs can be encoded with an even number of audio channels, up to 16. For MOS projects,
silent tracks can be created for maximum compatibility.

Encrypted, watermarked content can be distributed with a KDM (Key Delivery Message) that allows the owner
of the content to choose when / where the content is to be displayed.

FotoKem can add subtitles to 2D packages, either burned into picture, or overlaid at time of projection.
3D package subtitles can go through an enhanced pipeline using depth settings for each shot.

Critical quality assurance is part of the DCP workflow at FotoKem. Tools for QC include the Doremi DMS
2000 server, the largest installed base of servers in the field.

Content can be mastered to CD/DVD, Firewire, with Q/C and distribution. Additionally, FotoKem can mass
duplicate and distribute flash drives.

OFFERINGS

    2D/3D Flat 2K - 1998X1080 Resolution (1.85 Aspect Ratio)
    2D/3D Scope 2K - 2048X858 Resolution (2.39 Aspect Ratio)
    2D Flat 4K - 3996X2160 Resolution (1.85 Aspect Ratio)
    2D scope 4K - 4096X1716 Resolution (2.39 Aspect Ratio)
    Full raster 2K 2048X1080 (1.9 Aspect Ratio)
    Full raster 4K 4096X2160 (1.9 Aspect Ratio)
    2D frame rates: 24, 30, 60 FPS
    3D frame rates: 24, 30 FPS

Source Requirements to Create Digital Cinema Packages
The following is required to create a DCI compliant Digital Cinema Package:

Picture Source Requirement Options

**All elements must contain a HEAD 2 POP that matches the audio element. A TAIL 2 POP is not required, but strongly
recommended for audio verification.
• HD/2K LOG files either as 10 Bit DPX or 10 Bit Cineon files
• A video element that is at least 1920x1080 in resolution on either D5, HDCAMSR or HDCAM,
preferably @ 23.98 or True 24p
• Apple Pro Res HQ or 4:4:4 @ 24fps with embedded 5.1 or Stereo audio (please specify if picture is
Rec 709 Video Range 64-940 or Full Range 0-1023 or if P3)
• HD/2K Linear files as Rec709 10 Bit DPX, 10 bit RGB or 16 bit Tiff files

Audio Source Requirement

• DCI Compliance requires 5.1 mix for accompaniment to picture (Left, Right, Center, LFE or Sub,
Left Surround and Right Surround)
• Audio should be delivered as mono stems or stereo interleaved files
• True 24p Broadcast Wav files delivered digitally or on USB or DVD is our preference...all other
formats require additional steps and chargeable services
• Audio supplied as anything other than 24fps will require a frame conversion session in Pro Tools
and additional charges will be incurred.

For more information contact This email address is being protected from spambots. You need JavaScript enabled to view it.

DCP Image Format

The images shall be compressed with JPEG2000 ACTIVE IMAGE ONLY per the DCI specification and shall have
the following attributes:
4:4:4 12 bits per sample, X’Y’Z’ color space, DCI-P3 Color gamut Image sizes:
• 2K scope: 2048 x 858
• 2K flat: 1998 x 1080
• 4K scope: 4096 x1716
• 4K flat: 3996 x 2160

DCP Audio Format

The audio files shall have the following attributes:
• Files must be in reels matching the image file reels
• The sampling clock rate shall be exactly 48,000.000 Hz or 48 KHz at exactly 24 fps
• Reference level shall be -20dbfs

DCP Format

The DCP files shall be wrapped using the MXF Interop for DCI. The DCP shall consist of the
following types of files:
• Assetmap
• Vol Index
• Packing List (PKL)
• Composition Playlist (CPL)s
• MXF Wrapped image track file(s)
• MXF Wrapped audio track file(s)
The image and audio files shall be in sync.
Image files shall be wrapped from the JPEG2000 compressed image files or equivalent.
Audio files shall be wrapped for 5.1 sound with the following channel assignments:
• Channel 1—Left
• Channel 2—Right
• Channel 3—Center
• Channel 4—LFE
• Channel 5—Left Surround
• Channel 6—Right Surround
If two (2) channels of sound (Stereo —LtRt) are required, a separate CPL shall be used within the same DCP.

File Naming
The DCP file name must follow proper digital cinema naming convention.
Reference  http://digitalcinemanamingconvention.com for more info.
Physical Media for Final DCP
The files shall be delivered on an external hard drive with an USB2 interface using EXT2 or EXT3 Linux file system.
Trailers shall be delivered on USB Thumb Drive.
For more information contact
This email address is being protected from spambots. You need JavaScript enabled to view it.

DCI Requirements for
Digital Cinema Packages
www.fotokem.com