Preparing Your Source Files

As soon as we receive your files, we will thoroughly test, check and verify your source material, looking for potential problems in regards to DCP production – free of charge!

In addition to software-based tests, each file you send us will be manually inspected and screened by our team, making sure that your DCP will live up to the highest quality standards possible.

If our team finds any potential problem in your source files we will contact you directly by email.

Yes. We ask you to always ZIP your source files into a single zip package before upload.

Zipping your files minimizes the risk of errors during data transmission.

You don’t have to use a high compression rate when zipping your files. The simple fact that we will be able to immediately check one single ZIP file for possible errors will quicken the process.

We accept all common file formats and video / audio containers.

In order to produce a DCP we’ll extract all video and audio assets from any container format you send us.

VIDEO:

Common video file formats / containers we recommend: MOV, MXF, MP4, AVI
Alternatively you can of course deliver your video stream as a DPX or TIFF (linear) image sequence.

AUDIO:

We recommend embedding your audio track(s) in your container format along with the video track to ensure that video and audio are perfectly in sync.

Alternatively you can send your audio track(s) separately. Recommended audio file containers are WAV and AIFF (accurately synced to the video track). If you plan to send us your audio tracks as separate files, please make sure to use distinct file names for each track, so that we can clearly identify each track’s designated channel mapping.

SUBTITLES:

If your video source is 24 frames/second, we can add dynamic subtitles to your DCP. We recommend you deliver your subtitles as ‘D-Cinema CineCanvas Interop 1.0 XML’, including the referenced TTF file. Alternatively we also accept SRT subtitle files.

If your video source is 25 frames/second or higher, we recommend that you pre-render (hardcode) your subtitles into your video stream.

Yes, there are. We reserve the right to refuse to work on your project, if your content violates our content rules, as set out in our Terms of Service.

First and foremost, you need to have the proper rights necessary to order DCP production for the content you intend to upload.

Furthermore we explicitly reserve the right to refuse working on material that:

• is unlawful, promotes racism, violence or hatred;
• infringes or misappropriates third party Intellectual Property Rights and/or privacy rights or any other kind of rights;
• constitutes ‘hate speech’, whether directed at an individual or a group, and whether based upon the race, sex, creed, national origin, religious affiliation, sexual orientation or language of such individual or group;

Your source material’s video codec is a key aspect in mastering your DCP.

Therefore we recommend using industry standard high quality codecs like Apple ProRes, Avid DNxHD or Avid DNxHR.

If you deliver your source video as an image sequence we recommend using linear uncompressed TIFF or DPX 12bit/16bit linear.

Your source video’s field order should always be progressive.

‘Interlaced’ simply doesn’t exist in the world of digital cinema. Only in case you shot and finished your film interlaced, we’ll accept interlaced material and de-interlace it.

We recommend a minimum video bitrate of 62,5 Mbit/s.

Your source video’s bitrate should be as high as possible since it’s another important quality factor in mastering your DCP.

For your source video’s color space, we recommend DCI X’Y’Z’, BT.709 or BT.1886.

Using the right color space is important. It ensures that the look of your film on the big screen exactly matches the look you defined for your film in post production.

If your source material’s color space isn’t DCI X’Y’Z’, BT.709 or BT.1886, it’s important to let us know, which color space you used.

You should also tell us your source video’s gamma, if you know it.

You can use the message field (‘Additional Info’) in our upload form to tell us your project’s color space and gamma.

If your film is 3D, make sure to upload two separate video tracks for DCP production.

If you want 4K resolution for your DCP, your source material will have to be in 4K as well.

Simply upscaling your source video won’t lead to better results.

24 Frames Source Video:

If your video source is 24 frames/second, we can add dynamic subtitles to your DCP.

We recommend you deliver your subtitles as ‘D-Cinema CineCanvas Interop 1.0 XML‘, including the referenced TTF file.

Alternatively we also accept SRT subtitle files. Since SRT files don’t include information on vertical positions, we’ll use the common standard if you don’t give us other instructions: Line 1 = 9% from bottom / Line 2 = 15% from bottom

Other recommendations regarding your subtitles:

• Maximum of 2 lines
• Recommended Character Limit per Line:  42

25 Frames or higher:

If your video source is 25 frames/second or higher, we recommend that you pre-render (hardcode) your subtitles into your video stream.

Though it’s possible to integrate dynamic subtitles in (Interop) DCPs, we don’t offer this feature as part of our mastering services at DCP Manufaktur.

Our recommendations for pre-rendering subtitles:

• Max. number of lines: 2
• Horizontal Position: Center
• Vertical Position: Line 1 = 9% from bottom / Line 2 = 15% from bottom

We won’t make any changes in your source audio’s sound field configuration (=channel setup). For your DCP we’ll use the exact sound field configuration (Stereo / 5.1 / 7.1 etc.) that we find in your source files.

If you plan to send us your audio tracks as separate files, please make sure to use distinct file names for each track, so that we can clearly identify each track’s designated channel mapping.

The most commonly used sound field configuration in digital cinemas – especially for ads and trailers – is still 5.1 (surround sound). That’s why we recommend a proper 5.1 configuration for your source audio.

A stereo setup is possible as well – but be aware that a stereo setup will create unwanted side-effects in cinemas:

Not everybody in the audience will be positioned in the stereo center. Therefore listeners on the left side of the cinema will miss out on the right channel of your stereo setup and vice versa.

5.1 upmixes from stereo are possible – but the results aren’t really convincing. If possible, rework your stereo mix and create a professional 5.1 mix.

Your source audio’s resolution should always be

• 48 KHz (Samplerate)
• 24bit (Bitrate)

These are the values your DCP audio stream will have.

Resampling your audio files is possible. But since resampling will always result in quality loss we don’t recommend it.

Your source audio’s mix levels are of course completely up to you.

Your DCP is meant to be played in the cinema – so you can (and should) use the wide dynamic range available for your audio mix.

But – be aware that in certain countries (like the US or Germany) there are rules regarding the overall loudness of commercials and trailers.

Common Leq(m) values:

• Commercials / Ads / Spots: Leq(m) 82
• Trailers: Leq(m) 85

We’ll measure the Leq(m) values for any audio track before we create your DCP. In case we find extrem deviations from the norm, we will contact you directly.

If you plan to send us your audio tracks as individual files we recommend industry standard file formats like WAV (or AIFF).

We won’t accept your source audio as MP3 (or similar compressed formats) since the resulting quality wouldn’t be able to meet professional cinema standards.

If you plan to send us your audio tracks as separate files, please make sure to use distinct file names for each track, so that we can clearly identify each track’s designated channel mapping.