[et_pb_section fb_built=”1″ custom_padding_last_edited=”on|desktop” _builder_version=”4.14.7″ _module_preset=”default” background_color=”#FFFFFF” custom_margin=”||||false|false” custom_padding=”1.5em|20%|1.5em|20%|true|true” custom_padding_tablet=”|0%||0%|false|true” custom_padding_phone=”” locked=”off” global_colors_info=”{}”][et_pb_row custom_padding_last_edited=”off|desktop” _builder_version=”4.14.7″ _module_preset=”7b1bf5ad-cc2a-4448-981c-4963d88bd6e8″ custom_margin=”||||false|false” custom_padding=”0px||0px||false|true” custom_padding_tablet=”0px|0px||0px|false|true” custom_padding_phone=”25px|0px||0px|false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n
A digital cinema package is the standard delivery format for film screenings at a digital cinema. Most major movie theatres today are digital cinemas. That means any sort of digital projection, be it a short or feature film, requires a digital cinema package (DCP).<\/p>\n
DCPs play on expensive digital projectors . And for the most part, digital cinema packages have replaced the 35mm film reels used for years by theatres. The good news is, that producing DCPs costs significantly less<\/a> than it does cranking out 35mm prints.<\/p>\n So, let\u2019s break down what is a digital cinema package, how to create a DCP, and the best way to deliver it to a theatre.<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_font_size=”26px” width=”100%” width_tablet=”100%” width_phone=”100%” width_last_edited=”on|tablet” max_width=”100%” custom_margin=”|-54px|0px||false|false” custom_padding=”0px|||0px|false|false” locked=”off” global_colors_info=”{}”]<\/p>\n Table of Contents<\/strong><\/p>\n<\/div>\n<\/div>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_cta title=”Need to Send DCPs to Multiple Recipients?” button_url=”https:\/\/app.massive.io\/en\/signup” button_text=”Try MASV for Free” module_class=”starttrial” _builder_version=”4.14.7″ _module_preset=”default” header_level=”h5″ header_font=”||||||||” header_font_size=”26px” header_line_height=”1.3em” body_line_height=”1.8em” background_color=”#202332″ use_background_color_gradient=”on” background_color_gradient_start=”#072231″ background_color_gradient_end=”#031119″ custom_button=”on” button_text_size=”18px” button_text_color=”#FFFFFF” button_bg_color=”#0472ef” button_bg_color_gradient_start=”#0472ef” button_bg_color_gradient_end=”#005dc6″ button_bg_color_gradient_direction=”90deg” button_border_width=”0px” button_font=”Roboto|700|||||||” button_custom_padding=”10px|42px|10px|42px|true|true” custom_margin=”||20px||false|false” link_option_url=”https:\/\/app.massive.io\/en\/signup” border_radii=”on|10px|10px|10px|10px” border_color_top=”#3d72e7″ border_color_left=”#3d72e7″ box_shadow_style=”preset2″ box_shadow_horizontal=”-13px” box_shadow_style_button=”preset1″ global_colors_info=”{}” button_border_width__hover_enabled=”on|hover” button_custom_padding__hover_enabled=”on|hover” button_custom_padding__hover=”|2em|||false|false” button_border_width__hover=”0px” button_bg_color__hover=”#005dc6″ button_bg_color__hover_enabled=”on|desktop”]<\/p>\n Send unlimited packages at blazing-fast speeds with MASV <\/p>\n [\/et_pb_cta][\/et_pb_column][\/et_pb_row][et_pb_row module_id=”how-did-the-role-come-to-be” _builder_version=”4.14.7″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”||||false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_id=”what-is-digital-cinema-package” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n DCPs are audio, video, and metadata digital files (e.g. subtitles) configured for cinema servers. They’re sometimes referred to as \u201cDigital Cinema Initiative Packages” because the term DCP was first used by Digital Cinema Initiatives, LLC<\/a>, a consortium of studios such as Metro-Goldwyn-Mayer, Paramount, Walt Disney Studios, Warner Bros., and Universal Studios.<\/p>\n These servers connect to a digital cinema projector. Every single frame of a film is a separate folder within the DCP. A typical DCP includes an XML file list for metadata and MXF (Material Exchange Format) files. MXF is a video file container that wraps the track files according to Society of Motion Picture and Television Engineers (SMPTE) standards.<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” header_4_text_color=”#444444″ background_color=”rgba(158,213,247,0.19)” custom_padding=”2%|3%|2%|3%|false|true” border_width_left=”5px” border_color_left=”#3d72e7″ locked=”off” global_colors_info=”{}”]<\/p>\n Note: <\/strong>You can create either an SMPTE DCP or InterOp DCP. The SMPTE standard (known as SMPTE ST 429-2 Digital Cinema Packaging \u2013 DCP Constraints) is newer and considered higher quality because it supports more features and frame rates, and plays nicer with encryption. It is commonly known as SMPTE DCP. The latter industry standard is older and supports very limited frame rates.<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n The video track is encoded frame-by-frame in JPEG-2000. This is a lossless compression codec mastered at 24 frames-per-second (FPS), with high-resolution picture quality. The audio file is a 24-bit linear PCM uncompressed multichannel WAV file.<\/p>\n Most DCPs have a bitrate of around 250 Mbps. The majority of digital projectors at theatres can\u2019t handle anything higher. Digital cinema servers run on Linux operating systems, which means DCP hard drives are formatted in Linux EXT3.<\/p>\n Because DCPs are usually encrypted, a Key Delivery Message (KDM)<\/a> is required to ingest and play the content. You can think of a KDM as a content encryption key. KDMs specify when, where, and how that version of the film can be played.<\/p>\n A digital cinema package can be around 200 GBs in size or larger. The DCP for Spider Man: No Way Home is around 500 GB and includes the 3D and 4K versions of the 2h 28m-long film).<\/p>\n [\/et_pb_text][et_pb_cta title=”Send Terabytes of Data at Once” button_url=”https:\/\/app.massive.io\/en\/signup” button_text=”Try MASV for Free” module_class=”starttrial” _builder_version=”4.14.7″ _module_preset=”default” header_level=”h5″ header_font=”||||||||” header_font_size=”26px” header_line_height=”1.3em” body_line_height=”1.8em” background_color=”#202332″ use_background_color_gradient=”on” background_color_gradient_start=”#072231″ background_color_gradient_end=”#031119″ custom_button=”on” button_text_size=”18px” button_text_color=”#FFFFFF” button_bg_color=”#0472ef” button_bg_color_gradient_start=”#0472ef” button_bg_color_gradient_end=”#005dc6″ button_bg_color_gradient_direction=”90deg” button_border_width=”0px” button_font=”Roboto|700|||||||” button_custom_padding=”10px|42px|10px|42px|true|true” custom_margin=”||20px||false|false” link_option_url=”https:\/\/app.massive.io\/en\/signup” border_radii=”on|10px|10px|10px|10px” border_color_top=”#3d72e7″ border_color_left=”#3d72e7″ box_shadow_style=”preset2″ box_shadow_horizontal=”-13px” box_shadow_style_button=”preset1″ global_colors_info=”{}” button_border_width__hover_enabled=”on|hover” button_custom_padding__hover_enabled=”on|hover” button_custom_padding__hover=”|2em|||false|false” button_border_width__hover=”0px” button_bg_color__hover=”#005dc6″ button_bg_color__hover_enabled=”on|desktop”]<\/p>\n Transfer large files fast with MASV. Sign-up today for free.<\/p>\n [\/et_pb_cta][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n For years the standard delivery of films to movie theatres was through a physical DCP. Some cinemas and film festivals still use the physical DCP format but a majority of commercial releases are delivered via satellite or \u2018terrestrial\u2019 (IP-based) methods, says SimpleDCP<\/a> CTO Garrett Sergeant.<\/p>\n A physical DCP is a secure packing crate consisting of a heavy-duty case containing a hard drive, a power brick, and any cables required for ingestion.<\/p>\n Most physical DCPs are shipped in CRU drive enclosures. These are semi-indestructible DX115 hard-drive carriages originally designed for military use. The Inter-Society Digital Cinema Forum (ISDCF<\/a>) notes that the use of USB-3 portable hard drives has become common.<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” header_4_text_color=”#444444″ background_color=”#f5f5f5″ custom_padding=”2%|3%|2%|3%|false|true” border_radii=”on|8px|8px|8px|8px” border_color_left=”#3d72e7″ global_colors_info=”{}”]<\/p>\n \ud83d\udca1 Read More: <\/b>Why SimpleDCP trusts MASV to transfer digital cinema packages on deadline<\/a><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row module_id=”how-did-the-role-come-to-be” _builder_version=”4.9.3″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”||||false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_id=”advantages” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.9.3″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n The main advantage of a DCP is that it\u2019s really the only way to get your content played on digital projectors around the world. On top of that, Sergeant says: <\/span><\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n You can make a million copies of a DCP, he explains, but if you don’t have the KDM configured for your equipment, you can\u2019t play them. KDM\u2019s also specify the date and time a DCP can be played. This has led to some…embarrassing incidents at film festivals.<\/span><\/p>\n \u201cFilm festivals need a little bit more flexibility (than movie theatres),\u201d Sergeant explains. \u201cVery famously, there was a Brian De Palma film playing at the New York Film Festival a couple years back, and they had to cancel the screening because the <\/span>keys were for the wrong time zone<\/span>.\u201d<\/span><\/p>\n<\/blockquote>\n Because DCPs are a package of files (and not one big DCP file), they can be edited without having to update the entire production. One master file can be localized for dozens of regions. For example, by adding dub tracks or subtitles as small pieces of metadata.<\/span><\/p>\n \u201cLet’s say somewhere down the line, somebody realizes \u2018Oh, my God \u2013 we forgot to credit the director of photography,\u2019\u201d Sergeant says. Instead of having to update the entire film, a small metadata update is all that\u2019s required.<\/span><\/p>\n<\/blockquote>\n As soon as a DCP gets copied onto a cinema server, a SHA265 checksum validation automatically runs to verify the content \u201cis in the same state as it left the lab,\u201d he says. This ensures no unauthorized modifications have occurred.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row module_id=”how-did-the-role-come-to-be” _builder_version=”4.9.3″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”||||false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_id=”cost” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n When it comes to DCP pricing for your short film, feature film, or other media, it all depends on how you do it and which company you use. A DCP service such as Simple DCP quotes its prices based on the final DCP size.<\/strong> Other firms start at anywhere from $5 to $15 per minute, although DCP quality may vary among providers. Most filmmakers create either a 2K DCP or 4K DCP, although you can also convert 1080p videos to DCP, typically via ProRes.<\/p>\n However, if you need a fast turnaround or a finished DCP for a 3D film, it will add to the hourly rate. Most DCP houses also offer quality control on special monitors calibrated for screenings. This is factored into the price as well.<\/p>\n As mentioned, turning your media into DCP format is far less expensive than shipping out 35mm film reels. All this to say, you still have to set aside a good portion of your budget for DCP creation and delivery.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row module_id=”how-did-the-role-come-to-be” _builder_version=”4.9.3″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”0px||0px||false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_id=”cinema-use” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n Physical DCPs are delivered to cinema managers\/operators the old-fashioned way: by ground courier.<\/span><\/p>\n Patrick Chua, a Digital Project Specialist at digital cinema provider <\/span>ProjecTech<\/span><\/a>, says that once received, physical DCPs are connected via USB or <\/span>eSATA<\/span> to the cinema\u2019s theatre management system (TMS) or playback server for ingestion. <\/span><\/p>\n Individual cinemas are then responsible for shipping physical DCPs back to distributors, says Chua. \u201cThe hard drives<\/a> are then reused for the next batch of DCPs. You\u2019ll often find those hard drives have multiple stickers on them from past DCP releases,\u201d he explains. Chua also adds that all that shipping can sometimes even lead to damaged or defective drives.<\/span><\/span><\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n The potential for damage is why cinemas now receive DCPs via satellite or over the internet, along with cost and convenience. According to the ISDCF, several present-day DCP delivery methods exist. This includes satellite, internet, and site-to-site file sharing via a secure network.<\/span><\/p>\n The Digital Cinema Distribution Coalition (<\/span>DCDC<\/span><\/a>)\u2014an initiative by industry heavyweights such as Warner Bros. and AMC Theatres\u2014handles digital distribution for the vast majority of major studio releases.<\/span><\/p>\n [\/et_pb_text][et_pb_cta title=”Stop Shipping Hard Drives” button_url=”https:\/\/app.massive.io\/en\/signup” button_text=”Try MASV for Free” module_class=”starttrial” _builder_version=”4.14.7″ _module_preset=”default” header_level=”h5″ header_font=”||||||||” header_font_size=”26px” header_line_height=”1.3em” body_line_height=”1.8em” background_color=”#202332″ use_background_color_gradient=”on” background_color_gradient_start=”#072231″ background_color_gradient_end=”#031119″ custom_button=”on” button_text_size=”18px” button_text_color=”#FFFFFF” button_bg_color=”#0472ef” button_bg_color_gradient_start=”#0472ef” button_bg_color_gradient_end=”#005dc6″ button_bg_color_gradient_direction=”90deg” button_border_width=”0px” button_font=”Roboto|700|||||||” button_custom_padding=”10px|42px|10px|42px|true|true” custom_margin=”||20px||false|false” link_option_url=”https:\/\/app.massive.io\/en\/signup” border_radii=”on|10px|10px|10px|10px” border_color_top=”#3d72e7″ border_color_left=”#3d72e7″ box_shadow_style=”preset2″ box_shadow_horizontal=”-13px” box_shadow_style_button=”preset1″ global_colors_info=”{}” button_border_width__hover_enabled=”on|hover” button_custom_padding__hover_enabled=”on|hover” button_custom_padding__hover=”|2em|||false|false” button_border_width__hover=”0px” button_bg_color__hover=”#005dc6″ button_bg_color__hover_enabled=”on|desktop”]<\/p>\n Deliver file packages of unlimited size<\/span> using MASV.<\/span><\/p>\n [\/et_pb_cta][\/et_pb_column][\/et_pb_row][et_pb_row module_id=”how-did-the-role-come-to-be” _builder_version=”4.9.3″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”||||false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_id=”how-to-make” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n You can make your own DCP<\/a> by exporting to ‘DCP’ in Adobe Premiere Pro, Final Cut, or DaVinci Resolve. Read our step-by-step instructions or watch the video below to learn how to create a DCP in Premiere Pro and DaVinci Resolve. \ud83d\udc47<\/span><\/p>\n [\/et_pb_text][et_pb_video src=”https:\/\/www.youtube.com\/watch?v=Iz3HrNzCfZU” _builder_version=”4.14.7″ _module_preset=”default” box_shadow_style=”preset2″ locked=”off” global_colors_info=”{}”][\/et_pb_video][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n You can do this one of two ways:<\/p>\n 1. Create a new sequence or modify the settings of your final cut sequence. Either way, you might need to do some manual adjustments to your edit. [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n First, let\u2019s go through how to do this by changing the sequence settings of the locked cut<\/strong>.<\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/massive.io\/wp-content\/uploads\/2023\/05\/dcp-adobe-premiere-sequence-settings-scaled.jpg” alt=”Premiere Pro sequence settings for a DCP” title_text=”dcp-adobe-premiere-sequence-settings” _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n Remember to follow the specific requirements for the festival or theater to which you\u2019re sending your film. Some settings may vary.<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n Don\u2019t see Wraptor DCP? It might be because you have an M1 Mac computer with Apple silicon.<\/span><\/p>\n If that\u2019s the case, close Premiere Pro and go to Finder. Select Applications<\/em> and find Adobe Premiere. Right-click on it and click Get Info<\/em>. In the pop-up window, check \u201cOpen using Rosetta\u201d. Relaunch Premiere.<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” header_4_text_color=”#444444″ background_color=”rgba(158,213,247,0.19)” custom_padding=”2%|3%|2%|3%|false|true” border_width_left=”5px” border_color_left=”#3d72e7″ global_colors_info=”{}”]<\/p>\n Note:<\/strong> We\u2019ve tested it out, and it seems that exporting a DCP using a Mac with Apple silicon will cause Premiere Pro to freeze or completely crash. If you can use a computer with an Intel processor, it could save you a lot of frustration.<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n If you choose not to change the sequence settings and would rather export directly from your locked cut or high res export<\/strong>, follow these steps:<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”default” text_text_color=”#000000″ text_line_height=”1.8em” header_4_text_color=”#444444″ background_color=”#f5f5f5″ custom_padding=”2%|3%|2%|3%|false|true” border_radii=”on|8px|8px|8px|8px” border_color_left=”#3d72e7″ locked=”off” global_colors_info=”{}”]<\/p>\n \ud83d\udca1 Read More<\/strong>: How to Share a Premiere Pro Project and Source Footage<\/a><\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n Not only does the easyDCP plugin let you export your DCP, but it also encrypts and produces KDMs, which are certificates that allow the recipient to play an encrypted DCP.<\/p>\n You need to have the full version of DaVinci or the easyDCP plugin to be able to make a workable DCP. If you have the free one, you will have a watermark and deal with other limitations.<\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/massive.io\/wp-content\/uploads\/2023\/05\/create-DCP-davinci-resolve-scaled.jpg” alt=”davinci resolve custom export” title_text=”create-DCP-davinci-resolve” _builder_version=”4.14.7″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”default” text_text_color=”#000000″ text_line_height=”1.8em” header_4_text_color=”#444444″ background_color=”#f5f5f5″ custom_padding=”2%|3%|2%|3%|false|true” border_radii=”on|8px|8px|8px|8px” border_color_left=”#3d72e7″ locked=”off” global_colors_info=”{}”]<\/p>\n \ud83d\udca1 Read More<\/strong>: Proper Video File Naming Conventions to Improve Your Workflow<\/a><\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n If Premiere Pro or DaVinci Resolve aren’t your flavor, you can also use free online tools<\/a>\u00a0or go through a pro DCP shop for the best export quality.<\/span><\/p>\n For the highest possible DCP quality, Sergeant<\/span> recommends<\/span> starting with a DPX or TIFF image sequence<\/a> (known as a Digital Cinema Distribution Master, or DCDM). DCDMs<\/span> become DCPs<\/span> once they are compressed, encrypted, and packaged for distribution.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ custom_padding_last_edited=”on|desktop” _builder_version=”4.14.7″ background_color=”#f5f5f5″ custom_margin=”||||false|false” custom_padding=”1.5em|20%|1.5em|20%|true|true” custom_padding_tablet=”|0%||0%|false|true” custom_padding_phone=”|0%||0%|false|true” global_colors_info=”{}”][et_pb_row module_id=”how-did-the-role-come-to-be” _builder_version=”4.9.3″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”||||false|true” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.3″ _module_preset=”default” global_colors_info=”{}”][et_pb_text module_id=”how-to-send” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” global_colors_info=”{}”]<\/p>\n [\/et_pb_text][et_pb_text module_id=”physical” _builder_version=”4.14.7″ _module_preset=”2514b1ee-af07-4bc3-a96b-c9aaa32f4a18″ text_text_color=”#000000″ text_line_height=”1.8em” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n MASV<\/a> large file transfer can help filmmakers throughout the DCP creation process. From getting your DPX or TIFF image sequence files from point A to point B, to transferring your actual DCP to movie theatres or film festivals<\/a> that accept IP-based DCP transfer, MASV makes sending those 200 GB+ files as fast and painless as possible.<\/span><\/p>\n\n
What is a Digital Cinema Package?<\/h2>\n
What about physical DCPs on hard drives?<\/h3>\n
What are the Advantages of a Digital Cinema Package?<\/h2>\n
1. DCPs are secure<\/h3>\n
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2. DCPs are easily updated<\/h3>\n
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3. DCPs are verifiable<\/h3>\n
What Does it Cost to Make a DCP?<\/h2>\n
How do Cinemas Use a Digital Cinema Package?<\/h2>\n
Satellite and IP-based DCP delivery<\/h3>\n
How to Make Your Own Digital Cinema Package?<\/h2>\n
How to Create a DCP in Adobe Premiere Pro<\/h3>\n
2. Export directly from the locked editing cut or use a high-res master file<\/p>\nPrepare the sequence<\/h4>\n
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Export DCP from Premiere Pro<\/h4>\n
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Export directly from your locked cut<\/h4>\n
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How to Create a DCP in DaVinci Resolve<\/h3>\n
Use the easyDCP plugin<\/h4>\n
Select video and audio settings<\/h4>\n
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Export DCP from DaVinci Resolve<\/h4>\n
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How to Send DCPs over the Cloud?<\/h2>\n