This is the most in depth tutorial I have seen so far so thank you. Quick question, are you familiar with adding an audio description to a DCP? I am struggling to format correctly and can't find anything anywhere that is helpful. Currently I formatted it to 7.1 surround and put the audio description in channel 7, but when the theater tested it out they said it came through the center channel 3. Any guidance would be much appreciated, thank you!
Thanks for the comment, I'm not prepared to go through the audio yet, but Blackmagic Design has certificaiton tutorials that would walk you through the Fairlight area, that allows you to set bus format.
@@danaplays I actually think I figured it out but need to confirm in DCP o matic. When I was panning the channels I put the audio description front and centered, which goes to 3. But back and centered goes to 7 and 8.
Thanks for the question, Davinci Resolve Studio versions now have automatic captions, but it is beyond the scope of this tutorial. Probably once you have created the subtitles or captions in the edit window and adjusted them, you can choose to embed or not embed, but please search for other tutorials that might cover this.
In Edit window on Left above video track one right click to add subtitle track. Place in and out marks in the timeline, go to Timelime Menu to Create Subititles, window comes up and you can choose the language in that space. For the second language, repeat process by creating second subtitle track, activate that track. mark in and out around second language and create subtitle for that language, you can switch back and forth by activating these tracks, selecting in and out marks and creating subtitles. So to separate you can do this multiple tracks with in and out points where you want subs to go.
If you are working in UHD 4K the Aspect ratio is a little bit off the DCI Flat Ration. You will need to create a timeline with the aspect ratio for DCP Flat (3996X2100 DCI Flat 1:85) then transform the movie in the edit window to fit the screen. This will avoid the "pillar boxing" Black bars on the side.
@@danaplays thank you so much for your guidance. One last question. It’s not in this video but When rendering DCP am I supposed to change the color space to P3 DCI?
Sorry, the color space depends on your own color grading. Ditto on other reply: Color space is a bit tricky depending on your original color grading. It's good to test these in a theater. We tested some DCPs made by people who used a variety of color grading processes and some of them looked flat on the screen others with robust color. I have to do more research on this to give a good answer. Please research this further through other sources. I do not have a specific answer at this time. Good luck!@@Anand_Bhatt
Keep your color management settings the same. Resolve does the DCI XYZ conversion. At 4:33, when Dana begins the render, she mentions the color change. Resolve is making the conversion on the back end. I exported my short film to scale it from 3K UHD to the 2K DCI Scope aspect ratio so I don't have to deal with the scaling in Resolve. Premiere Pro exported my short in Rec 709 2.4 Gamma, so I changed my Resolve timeline color space to Rec 709 2.4 and set my output color space to match my timeline. While in the Deliver workspace in Resolve, I left the Advanced Settings and its output color settings alone at "same as project." When you check your DCP, it will display in "DCI XYZ." UPDATE: Initially, I mentioned when you check your DCP (in Resolve by importing/previewing your new DCP export), it will display in 'Rec 709 Gamma 2.4'. That wasn't correct. Resolve will playback in the DCI XYZ color space. To check your DCP in Rec 709 (or other), you can use Resolve by manipulating its Color Management settings or downloading the free, open-source DCP application, "DCP-o-Matic." UPDATE: grammar
color space is a bit tricky depending on your original color grading. It's good to test these in a theater. We tested some DCPs made by people who used a variety of color grading processes and some of them looked flat on the screen others with robust color. I have to do more research on this to give a good answer. Sorry for the delay.
Thank you for this tutorial! Exactly what I needed.
Thank you, Dana! It's very clear! I love it when they explain it like that!👏👏👏
Great video and very thorough, I wish that there are some pointers on audio settings in audio tab, like loudness level settings . 👍
Thank you very much, Dana. your video helped me a lot. especially the tip with the black bar.
Thanks! Any chance of showing how to do Dolby Atmos DCP?
Hey your video really helped me. Thx from India. 🙏
My movie is currently 3840 x 1634 which. Is 2.35.
Am I to assume that if I select 4k DCI it will be letter boxed and that is normal ?
Thanks 🙏🏼
Thanks for this tutorial, I followed the steps exactly but my DCP folder doesn't contain VOLINDEX, why?
Is SMPTE the default out of here? When do you know if it's interop?
Can any body talk about colorspace? In project setting what should the timeline and output color spaces be set to
This is the most in depth tutorial I have seen so far so thank you. Quick question, are you familiar with adding an audio description to a DCP? I am struggling to format correctly and can't find anything anywhere that is helpful. Currently I formatted it to 7.1 surround and put the audio description in channel 7, but when the theater tested it out they said it came through the center channel 3. Any guidance would be much appreciated, thank you!
Thanks for the comment, I'm not prepared to go through the audio yet, but Blackmagic Design has certificaiton tutorials that would walk you through the Fairlight area, that allows you to set bus format.
@@danaplays I actually think I figured it out but need to confirm in DCP o matic. When I was panning the channels I put the audio description front and centered, which goes to 3. But back and centered goes to 7 and 8.
And what are the correct settings if the dcp has subtitles?
Thanks for the question, Davinci Resolve Studio versions now have automatic captions, but it is beyond the scope of this tutorial. Probably once you have created the subtitles or captions in the edit window and adjusted them, you can choose to embed or not embed, but please search for other tutorials that might cover this.
How can u create a gap between the subtitles of 2 languages
In Edit window on Left above video track one right click to add subtitle track. Place in and out marks in the timeline, go to Timelime Menu to Create Subititles, window comes up and you can choose the language in that space. For the second language, repeat process by creating second subtitle track, activate that track. mark in and out around second language and create subtitle for that language, you can switch back and forth by activating these tracks, selecting in and out marks and creating subtitles. So to separate you can do this multiple tracks with in and out points where you want subs to go.
Thanks!
What if my project is a 2:39 aspect ratio
Scope
Thank you
How can we get rid of the black bar on the side?
If you are working in UHD 4K the Aspect ratio is a little bit off the DCI Flat Ration. You will need to create a timeline with the aspect ratio for DCP Flat (3996X2100 DCI Flat 1:85) then transform the movie in the edit window to fit the screen. This will avoid the "pillar boxing" Black bars on the side.
@@danaplays got it, so basically just zoom till it fits correctly on the DCI flat timeline.
right.
@@danaplays thank you so much for your guidance. One last question. It’s not in this video but When rendering DCP am I supposed to change the color space to P3 DCI?
Sorry, the color space depends on your own color grading. Ditto on other reply: Color space is a bit tricky depending on your original color grading. It's good to test these in a theater. We tested some DCPs made by people who used a variety of color grading processes and some of them looked flat on the screen others with robust color. I have to do more research on this to give a good answer. Please research this further through other sources. I do not have a specific answer at this time. Good luck!@@Anand_Bhatt
Thank you.
Hey Dana, so there are no changes that need to be made to the color space tag or gamma tag to convert this to DCI XYZ color space?
Keep your color management settings the same. Resolve does the DCI XYZ conversion. At 4:33, when Dana begins the render, she mentions the color change. Resolve is making the conversion on the back end. I exported my short film to scale it from 3K UHD to the 2K DCI Scope aspect ratio so I don't have to deal with the scaling in Resolve. Premiere Pro exported my short in Rec 709 2.4 Gamma, so I changed my Resolve timeline color space to Rec 709 2.4 and set my output color space to match my timeline. While in the Deliver workspace in Resolve, I left the Advanced Settings and its output color settings alone at "same as project." When you check your DCP, it will display in "DCI XYZ."
UPDATE: Initially, I mentioned when you check your DCP (in Resolve by importing/previewing your new DCP export), it will display in 'Rec 709 Gamma 2.4'. That wasn't correct. Resolve will playback in the DCI XYZ color space. To check your DCP in Rec 709 (or other), you can use Resolve by manipulating its Color Management settings or downloading the free, open-source DCP application, "DCP-o-Matic."
UPDATE: grammar
@@ryanyazzen602 thank you so much that's super helpful!!
color space is a bit tricky depending on your original color grading. It's good to test these in a theater. We tested some DCPs made by people who used a variety of color grading processes and some of them looked flat on the screen others with robust color. I have to do more research on this to give a good answer. Sorry for the delay.
@@danaplays Any new findings?