Digital Cinema Mastering
Digital Beach provides DCP conversion and mastering for filmmakers around the world. Whether it's for a film festival or a regional / national release of your production, Digital Beach will convert your project to DCP with guaranteed compatability for the target marketplace. Digital Beach will meet or beat any competitors price and deadline. We guarantee our quality and stand behind every DCP project.
Filmmakers often ask what is a DCP.
In the simplest terms, DCP is the digital equivalent of a 35mm film print. Designed as a worldwide standard, a Digital Cinema Package (DCP) can be used in any digital projector anywhere in the world.
Film projectors have vanished.
Virtually every new or modern movie theatre has replaced their film projectors with new Digital Cinema projectors and are digital only. That means you’ll need a DCP. Digital copies don’t degrade, so the last screening will look identical to the first.
You get what you pay for.
Many DCP encoding solutions have popped up in the last couple years. Many filmmakers feel they can cut costs by encoding a DCP themselves. But, to their disappointment, the quality of the DCP often leaves something to be desired, if it works at all. Quality DCP’s require specialized software and techniques, and a bit of finesse. There is to much that can go wrong in the mastering process. Have your DCP professionally encoded.
DCP Master Specifications (AMPAS)
|Frame Rate:||24FPS, 48FPS (HRF) DCI|
|Frame Rate:||24, 35, 30 (SMPTE), 48, 50, 60 (HFR, SMPTE)|
|Video Format:||HD - 1920x1080 (HD)|
|2K - 1998x1080 (1.85 Flat)|
|2K - 2048x858 (2.39 Scope)|
|2K - 2048x1080 (1.9:1 Full)|
|4K - 3996x2160 (1.85 Flat)|
|4K - 4096x1716 (2.39:1 Scope)|
|4K - 4096x2160 (1.9:1 Full)|
|Audio Format:||24-bit, 48Khz uncompressed|
|Audio Mapping:||1: Left|
|5: Left Surround|
|6: Right Surround|
|Encryption:||KDM Encryption, Non-Encrypted|
Shoot and edit in 24p.
If your intention is for D-Cinema release and theatrical screening, always shoot 24p. Since most buyers and festivals only accept 24p DCP’s, this will make your eventual DCP creation that much easier.
Color correct your film.
DCP and digital projection will make well-shot and color corrected footage look absolutely amazing. However, the flip-side applies as well. Poorly shot and uncorrected footage will magnify your films flaws. Ask how Digital Beach Studios professional colorists can help your film reach it’s full potential.
To properly create your DCP, films should be provided to us with the following specifications:
|Image Sequences:||16-bit TIFF
|Video Codec:||Quicktime .MOV or .AVI
Apple ProRes 4444 XQ
Apple ProRes 4444
Apple ProRes 422 (HQ)
Apple ProRes 422
H.264 (High Profile)
|Other digital formats can be accepted as well, but will have to be converted / up-converted prior to DCP encoding.|
Rec709 2.2 gamma
Rec709 2.35 gamma
Rec709 2.4 gamma
|It is the filmmakers responsibility to check the source material before delivery and specify the color space of their film. All films where a color space is not given shall be assumed sRGB at Rec709 2.2 gamma. All source material should be delivered in an RGB target color gamut. Only source material timed to P3 DCI color space will be accepted in XYZ color gamut.|
|Frame Rates:||24 or 23.98|
|For best results use a frame rate of 23.98 or 24p. Frame rates of 50i or 60i are acceptable, but will need to be converted to 24p or 25p before a DCP can be made|
|Audio Format:||5.1 Surround (Preferred), Stereo|
|Audio Mapping:||1: Left
5: Left Surround
6: Right Surround
Mix audio with at least 3 channels.
While creating a DCP with stereo audio is acceptable in most situations, having 3 channel audio (L, R, C) is the standard for theatrical exhibition. If you are already mixing stereo audio, it’s not much more work to create three channels instead of two, the results will be dramatic. Audiences are simply used to dialog in the center channel
Frequently Asked Questions
In the simplest terms, DCP is the digital equivalent of a 35mm film print. Designed as a worldwide standard, a Digital Cinema Package can be used in any digital projector anywhere in the world.
DCDM is an acronym for Digital Cinema Distribution Master. This is the final format of your film before the DCP is created.
Virtually every new or modern movie theatre has replaced their film projectors with new digital cinema projectors and are digital only. That means you’ll need a DCP. Digital copies don’t degrade, so last screening will look identical to the first.
Due to the emergence of D-Cinema, 35mm film has all but vanished and nearly all modern movie theatres have moved to digital cinema. Making a 35mm film print is unnecessary and can be very costly.
KDM stands for Key Delivery Message. Primarily used for feature films and shorts with apromise for distribution, it is intended to prevent piracy and copyright theft. Encrypted DCP’s require a special key that is needed to play the file. This special key is encoded into a KDM. KDM’s allow you to specify with D-Cinema facilities are able to view and play your film and can be sent out at your discretion.
Many DCP encoding solutions have popped up in the last few years. Some filmmakers feel they can cut costs by encoding a DCP themselves. But, to their disappointment, the quality of the DCP often leaves something to be desired, if it works at all. Quality DCP’s require specialized software and techniques, and a bit of finesse. There’s to much that can go wrong in the mastering process. Have your DCP professionally encoded.
Every project is different. Digital Beach recognizes that filmmakers often overlook the need for a DCP until they actually need it and fail to budget for it. This is why Digital Beach works with every filmmaker on a one-to- one basis to make sure your DCP is created properly and with the quality you would expect.