Digital Cinema Mastering – On location in Berlin or via online transfer
Please get in touch for a price estimate. Costs depend on length, specs and services needed.
DCP has been the international digital cinema standard since 2002. This is what cinemas usually show and it needs to be perfect to fulfil the high standards and strict guidelines. Many believe it’s easy to create DCPs yourself but the fact is, many cinema servers are old and outdated. Cinema equipment in expensive and not everyone invests in software updates. This is were I come in: I offer professional and high-quality DCP-Mastering and have the experience to guarantee 100% playability worldwide – I will stick to the conservative IOP specs as much as possible (depending on your needs and wishes).
I provide special pricing solutions for independent and student productions as well as short content like ads.
Don’t hesitate to get in touch and ask if anything is unclear. Looking forward to mastering your movie!
Basic services include:
- Conforming to worldwide DCI-interOP specs (2K or 4K, 5.1 or 7.1 Surround)
- Frame rate conversion to 24p (IOP safe) and resizing to scope or flat
- Optional DLP XML subtitles (soft) made from subtitle files like SRT/STL/SSA/…
- Or subtitles burned-in (hardcoded) following universal formatting standards
- Color and gamma space conversion for DCI P3 standard to match your source master
- Unencrypted only for best compatibility and instant access
- DCP-Masters on HDD (CRU optional) in 100% compatible Linux ext2 format
- DCP will be thoroughly tested and validated to ensure compliance
Extra services include:
- Complete subtitles generation (+ mastering) based on a dialogue list or transcript
- BluRay as backup in 23,98, 24 or 25p, optionally with hardcoded subtitles
- Copying: DCP-Clones in Linux ext2 of master (+ validation)
- DCPs up to 20 minutes can be hosted on my high-speed server for download (zip)
- HDD 2.5″ or 3.5″ (nude) with either CRU DX115 carrier or external USB3/eSata interface per master/clone
- Subtitle file or track per language, synced to picture timecode (no formatting)
- ProRes 422 HQ or 4444 | 10 or 12 bit recommended | GoPro Cineform or DNxHR as MXF | in 1920×1080 (16:9) or 2K/4K equivalents
- Screenshot proof “as you see it in your software” | Information about range, color and gamma space used
- Surround mix (out of a sound studio) embedded in video file or separate mono channels in PCM 24bit 48Khz
You can either bring by or send me a hard drive with the needed files via courier or postal mail – if you want me to use that HDD as the DCP-master, make sure it fulfils the specifications. Alternatively you can provide me with a download link of your source master and have me take care of the rest, adding purchase costs of needed hardware to your bill. Short content can be delivered fully online as well as separate audio mixes.
- Avoid padding, try not to resize or conform yourself
- Give me the native frame rate and format (no compressed MP4-files)
- Let me recommend the best subtitle practice for you
- If you don’t have Surround, providing 3.0 (dialogue separated on a mono track) is recommended
- Stereo is possible but not recommended for feature films (only trailers and commercials)
- No need for a special Dolby audio mix but consider at least R128 and a max. total volume of -6 db
- Map and name audio channels according to Surround guidelines: name_channel.wav
- If you can (Premiere Pro, Avid MC) switch on “Render at Maximum Depth” and “Max Render Quality”
- A professional audio mixer can help bringing your movie to life on the big screen, as does a professional color grader
- You cannot watch a DCP at home, please go to a (certified) cinema near you and arrange for a test screening
- SSD media like memory keys is not recommended for DCI delivery.