Projectionist here: per the DCP standard, 2K systems are required to accept 4K DCPs and will play them at 2K. So, there is no need to have both versions for the same title. A valid 4K DCP will play just fine on any system (as will a 2K DCP). Also, "Wraptor" (the Adobe encoder) makes invalid DCPs, which will often fail to play on some (notably, GDC) servers. Don't use that. Use DCP-o-Matic or use a professional lab to make the DCP. Otherwise, there is lots of good information here. Nice job.
There is actually a free method of creating and viewing DCPs that's totally independent of everything else, and it's something I'm surprised wasn't brought up here, considering how informative this video already is. It's called DCP-o-matic, and it's a free piece of software developed by a guy named Carl in his free time. It's available on basically anything you could ever need it on, and it's decently robust, while remaining really straightforward to use. You can do as little as load up an MP4 file and hit export, or you can tweak all the metadata, remap your audio channels incase you accidentally formatted the wrong type of 5.1, move and crop your video with a live preview incase you want to better fit the aspect ratio. It's a fantastic piece of free software with absolutely zero strings attached. Considering how obscure the format is outside of cinema, I'm surprised any free software for it exists at all, much less one that's as well put together as DCP-o-Matic.
I totally agree. I've been using DCP-o-matic for years and I find it very easy to use. What I like is that I can throw almost anything at it, even standard definition video from a DVD or even from VHS tape and it will produce a playable DCP with a quality as good as the original material allows.
@@stefanlatoure30 Commercial DCPs arrive on either EXT3 formatted hard drives or, more likely these days, via the internet if the cinema concerned has an appropriate library server. Most cinema servers will also accept content from drives formatted in NTFS which is handy for locally produced content.
Thank you so much for posting such a clear and concise breakdown of all aspects of the DCP process. I have the need for this for my documentary feature
Just stumbled across your channel and can't describe how happy I am right now to find somebody making content on exactly my interests. I understand that this is a very niche genre with very difficult to get views (been there myself), but please continue making more videos. Really appreciate it 👍
This was very helpful as I have been making my first DCP. Although I've been a filmmaker for 40 years and have extensive experience with photochemical imaging and photochemical laboratory practice, I have only acquired proficiency with digital tools as I have needed to. Usually someone else has made the DCPs for me. Recently, though, I did a new scan and restoration of an old film of mine, and l was able to do all the steps. Thank you, Camon, for the care and attention to detail that you put into your work. It is cogent and not overwhelming.
This is one of the single best videos I've ever seen on RUclips. This is absolutley wonderful! I'm going to back and watch this at least ten times so I can try and learn and remember everything in it.
I just want to say you are amazing! No one makes great educational content about stuff like this. I love your channel! Keep up the great work! If i was rich, i would donate millions for you to keep doing what your doing!
I'm literally applauding as I watch this video. You got the facts right, and you explained the concepts with great clarity. Not only that, but you also have the practical chops to demonstrate how to execute the exports. Bravo. 👏🏼
13:38 That is very interesting! I have a BA in film production (and DCPs were very much a thing back in 2013-2017)... but the idea that you don't bake story driven subtitles into the actual video track is just not something we ever discussed.
FANTASTIC. You so clear, so precise (And I'm Belgian French-Talking guy, I can assure you that your english is absolutely fantastic and all comprehensible without closed caption). I really admire your work. So perfect. Question : What about IMAX format ? Can you tell us more about IMAX ? Great Thanks for all.
Thank you! Regarding IMAX, it varies depending on the format. Some IMAX theaters still use 70mm film, but nowadays most use either digital IMAX or laser IMAX. In either case, the studio uses a proprietary algorithm to take a high resolution source and convert it into two slightly different low-resolution DCPs. The two DCPs will then be played simultaneously out of a pair of DCI projectors. The idea is that when the two downsampled images are played on top of one another, it creates an effective resolution which is slightly higher than the actual resolution of either projector. So for example, the digital IMAX standard uses a pair of 2K projectors, and creates an effective resolution of around 2.9K. Its the same story with laser IMAX except it uses a pair of 4K projectors instead for better quality.
This is really one of the best channels for just facts. Just a nonstop stream of excellent facts about video! I love it. Never would have guessed movie theatres were using jpeg2000 compression. I think a h265 encoded Blu ray is probably better encoded due to that!
NGL, just binge watched all of your videos. I know about 75% of the info, learned a ton more. Thanks for the very informative, easy to understand videos.
So, selfishly, I'm glad too many people haven't discovered this channel, yet. I get a little competitive advantage until they do. At the same time, I'm confused as to how so mnay haven't discovered this channel with all this good info. It should be illegal to have such great material for people to consume. Great job. Keep it up.
This Channel is a Godsend, you guys are very detailed knowledgeable and clear. Very much appreciate all your hard work to provide us with this awesome informative content 🙏🏾👏🏽.
1:03 For the past several years, major U.S. theater chains (AMC, Cinemark, Regal) have been able to downlink most of their new DCP titles each week using a closed circuit satellite receiver. All DCPs were indeed shipped on hard drives during the first decade or so of the digital cinema age. A number of distributors still only distribute on physical hard drives, but by 2020 - even many small regional cinema chains in the United States had erected a 48-inch satellite dish at each of their locations to electronically receive the bulk of their DCP orders each week. Zoom in on the roof of your local cinemaplex using *Google Maps* _satellite view_ or *Google Earth,* and you can usually make out the 4-foot dish on the roof.
MAN! What a fortune finding this video! Thanks!! Thanks!! Question: What about proper settings when creating a project in Premiere Pro in order to later export it in DCP?
My recommendation would just be to set your timeline settings to the resolution/framerate of a DCP. You don't really need to do anything special, even if there is a mismatch Premiere will do a pretty good job of automatically converting for you
Hi, great vid. I know this video is very old and maybe you don't do RUclips anymore. I have a question about the colour management. Can you use DWG instead of ACES?
Sure you can! Resolve Color Management and ACES are both equally valid systems which fundamentally solve the same problem. I use ACES because it's what I'm familiar with and it's a more widely adopted standard, but just about everything you can do with ACES can also be done with RCM
I had to chuckle at the connection screws at 1:28 because I have a monitor that connects the same way. It's of no use to me because the laptop that it was attached to died, so I was surprised to see professional equipment that's secured the same way.
Good video but one correction. J2K is a better image per bit then prores. Prores is a real-time intra editing codec light enough to easily decode in real time on laptops with minimal CPU power.. J2K is a far heavier and typically has a hardware accelerated decoder to deal with real time decoding. As such it is a better quality per bit as it does for more calculations to obtain the image then prores. Only in recent times had j2k been realtime decoded in software like resolve using kakadu decoder that has a lot of machine code accelerated implementations to allow it. Resole also uses the GPU now to do the real time xyz to display colourspace. Second, a 4k DCP can be played in 2k and you don't need a 2k version if you have a 4k. The codex is specially designed to be able to downers the image in real time so the one dcp can service all 2k and 4k playback. 250kbit may be the max, but this is for 4k being 4x the data as 2k (4 X the pixels) and 3d at 2x the pixels (2 images one per eye). So for 2k a target 120kbit nitrate is the aeatspot for 2k encoding, and in general is imperceivable under nearly all images in a typical movie.
One issue i have working in a venue that does manly film festivals is trying to explain to directors that cinema projetors do not correct distortion due to projector tilt. so if you have more than onte aspet ratio in one movie, the smaller one will apear trapized... and if you have importante information on the bottom corners it might get cut of by the digital masking.
17:51 So this means that the resulting DCP will be in DCI (as my theater is requesting) and not in the Rec709 of my timeline, right? In other words, it automatically creates the DCI without me having to select it. Correct?
This video is amazing thanks so much. Coming from a Premiere background making a DCP in Resolve seems a lot easier. I was just wondering: If I don't select use interop packaging, does that automatically make SMPTE? Also with the 5.1 in Resolve, can I just select 5.1 mix or do I have to make the timeline a 5.1 mix timeline? Lastly does the timeline have to been Flat or Scope resolutions or can it be 1920 x 1080? Also is it possible to create a DCDM in Resolve? Thanks so much this is soo helpful.
Thanks for the video. I used it to check if I made my DCP in resolve correctly. I have one question though as my video file is Rec709 with Gamma 2.4. Do I need to change the gamma at all or does it also do that automatically?
Nice video, thanks for explaining this, question for you. I have a movie that is 2 hours long, what hard drive would you buy so I can format my movie for to this DCP formatted ? Would be 2 TB be enough ? Thanks
i have some question: how to preview a dcp file that encrypted? and how to import key delivery message (KDM) to davinci resolve, in order to preview it
Hi, great video, but missing two important points: 1. A DCP created in Premier Pro is not compatible with almost any theaters, and is rejected for use in most film festivals. 2. In most cases, if a DCP needs to be delivered on a physical drive, the drive must be formatted to Linux, which is not explained or even mentioned here.
Yes they can be, and if they are the subtitle language field in the DCP name should be in lower case rather than the upper case used for separate subtitles. Please conform to the standards when naming a DCP, the projectionists that have to handle it will thank you for doing so.
Great Video! thank you! When working with a different software to make DCP - Whats the difference between Video or Film in RANGE? Is ProRes 422 LT ok enough for screening in theater once converted to DCP? If frame rate is 29.97 and software converts to 30, will audio automatically match?
Great Tutorial. When i am rendering 2K DCI Scope, I am getting side black bars. I tried all types of scalings. Please let me know if you have any thoughts on this. TIA
What's the aspect ratio of your timeline? Off the top of my head, I think that Resolve will always scale your timeline to fit whenever there's a mismatch in the aspect ratios of your timeline and delivery format. (I could be wrong about this.) One thing you can do is render your timeline to an intermediate file (with DNxHR, ProRes, or similar) and then create a new project with the timeline resolution set to DCI 2K Scope (2048x858.) Then import your intermediate file into this new timeline and mess with the scaling until it fills the frame properly. After that, you can render the new timeline into a DCP.
![Blox Fruits Dragon Rework Update [Full Stream]](http://i.ytimg.com/vi/EqDAp8udhm0/mqdefault.jpg)
Projectionist here: per the DCP standard, 2K systems are required to accept 4K DCPs and will play them at 2K. So, there is no need to have both versions for the same title. A valid 4K DCP will play just fine on any system (as will a 2K DCP). Also, "Wraptor" (the Adobe encoder) makes invalid DCPs, which will often fail to play on some (notably, GDC) servers. Don't use that. Use DCP-o-Matic or use a professional lab to make the DCP.
Otherwise, there is lots of good information here. Nice job.
Had to make DCP for the first screening of my film. No other video helped me this much. Thank you for posting this!
Hello, which software did you used? and did you had any issues with the screening?
@@erp123erp I used Davinci Resolve
Your videos are so underrated it's insane... incredibly informative and helpful - thank you!
Indeed
As everyone else has said, these are just so good. As a content creator who realyl wants to focus on cinematic content, this stuff is gold.
There is actually a free method of creating and viewing DCPs that's totally independent of everything else, and it's something I'm surprised wasn't brought up here, considering how informative this video already is. It's called DCP-o-matic, and it's a free piece of software developed by a guy named Carl in his free time. It's available on basically anything you could ever need it on, and it's decently robust, while remaining really straightforward to use. You can do as little as load up an MP4 file and hit export, or you can tweak all the metadata, remap your audio channels incase you accidentally formatted the wrong type of 5.1, move and crop your video with a live preview incase you want to better fit the aspect ratio. It's a fantastic piece of free software with absolutely zero strings attached.
Considering how obscure the format is outside of cinema, I'm surprised any free software for it exists at all, much less one that's as well put together as DCP-o-Matic.
I totally agree. I've been using DCP-o-matic for years and I find it very easy to use. What I like is that I can throw almost anything at it, even standard definition video from a DVD or even from VHS tape and it will produce a playable DCP with a quality as good as the original material allows.
I've definitely used DCP o matic, it's great, but doing it out of resolve is 1000 times easier.
What isn't mentioned here is formatting of the hard drive. Do all theaters take Mac OS X formatted drive for DCP or does it need to be formatted EXT?
@@stefanlatoure30 Commercial DCPs arrive on either EXT3 formatted hard drives or, more likely these days, via the internet if the cinema concerned has an appropriate library server. Most cinema servers will also accept content from drives formatted in NTFS which is handy for locally produced content.
@@stefanlatoure30 as far as I know, DCP projectors are linux systems so I guess it should take mac os, the safe format is NTFS
Thank you so much for posting such a clear and concise breakdown of all aspects of the DCP process. I have the need for this for my documentary feature
I'm really glad I've been" studying movies" for 10 years to get some of this stuff lol bravo
The most selfless video ever created. Thank you!!!
Just stumbled across your channel and can't describe how happy I am right now to find somebody making content on exactly my interests. I understand that this is a very niche genre with very difficult to get views (been there myself), but please continue making more videos. Really appreciate it 👍
This was very helpful as I have been making my first DCP. Although I've been a filmmaker for 40 years and have extensive experience with photochemical imaging and photochemical laboratory practice, I have only acquired proficiency with digital tools as I have needed to. Usually someone else has made the DCPs for me. Recently, though, I did a new scan and restoration of an old film of mine, and l was able to do all the steps. Thank you, Camon, for the care and attention to detail that you put into your work. It is cogent and not overwhelming.
This is one of the single best videos I've ever seen on RUclips. This is absolutley wonderful! I'm going to back and watch this at least ten times so I can try and learn and remember everything in it.
I just want to say you are amazing! No one makes great educational content about stuff like this. I love your channel! Keep up the great work! If i was rich, i would donate millions for you to keep doing what your doing!
good lord, I have no idea how you know all this stuff but I'm so glad you do. Really amazing, clear and valuable information.
This video is everything! Thanks for such a thorough and informative tutorial.
I'm literally applauding as I watch this video. You got the facts right, and you explained the concepts with great clarity.
Not only that, but you also have the practical chops to demonstrate how to execute the exports. Bravo. 👏🏼
13:38 That is very interesting! I have a BA in film production (and DCPs were very much a thing back in 2013-2017)... but the idea that you don't bake story driven subtitles into the actual video track is just not something we ever discussed.
This is the best explanation by far that we've seen. Thank you so much. Subscribe earned
FANTASTIC. You so clear, so precise (And I'm Belgian French-Talking guy, I can assure you that your english is absolutely fantastic and all comprehensible without closed caption). I really admire your work. So perfect.
Question : What about IMAX format ? Can you tell us more about IMAX ?
Great Thanks for all.
Thank you! Regarding IMAX, it varies depending on the format. Some IMAX theaters still use 70mm film, but nowadays most use either digital IMAX or laser IMAX. In either case, the studio uses a proprietary algorithm to take a high resolution source and convert it into two slightly different low-resolution DCPs. The two DCPs will then be played simultaneously out of a pair of DCI projectors. The idea is that when the two downsampled images are played on top of one another, it creates an effective resolution which is slightly higher than the actual resolution of either projector.
So for example, the digital IMAX standard uses a pair of 2K projectors, and creates an effective resolution of around 2.9K. Its the same story with laser IMAX except it uses a pair of 4K projectors instead for better quality.
@@VideoTechExplained Thanks a lot. Continue your excellent work !
This is really one of the best channels for just facts. Just a nonstop stream of excellent facts about video! I love it. Never would have guessed movie theatres were using jpeg2000 compression. I think a h265 encoded Blu ray is probably better encoded due to that!
NGL, just binge watched all of your videos. I know about 75% of the info, learned a ton more. Thanks for the very informative, easy to understand videos.
So, selfishly, I'm glad too many people haven't discovered this channel, yet. I get a little competitive advantage until they do. At the same time, I'm confused as to how so mnay haven't discovered this channel with all this good info. It should be illegal to have such great material for people to consume. Great job. Keep it up.
Best video about this topic on YT - Thanks a lot.
Thank you so much! I need a DCP for my feature film debut and this is the best video I found! Well produced and extremely informative.
What a detailed information about DCP, thank you so much!!
One of the best videos on DCP. Thank you! You may want to list DCP on your title.
Just want say thank you always made these high quality content videos.
I’m really learned a lot from you, thanks again.
This Channel is a Godsend, you guys are very detailed knowledgeable and clear. Very much appreciate all your hard work to provide us with this awesome informative content 🙏🏾👏🏽.
Amazing video, Camon! Thank you so much for your time and hard work explaining these tips in such a great, professional, and well done video. Bravo!
Great info, very thorough! I like how your arms are older than the rest of you.
This video is totally awesome! You've explained all the information on DCPs, that I ever needed. Thanks a ton.
The best video for this topic on RUclips ❤️ well done
FANTASTIC video!! You sir, are wise beyond your years! 👍👍
You answered me my 15years old question .thank you bro never look back your videos are amazing
Fantastic video Camon!
Thanks so much for your videos. These are all very interesting and educational.
you are so knowledgeable, thank you for sharing!!!
i have to make a DCP for the Cinemas , this video helped me soo much,
,thanks for this,
Amazing video Man. Thanks a lot
Vow its detailed explanation. So clean and clear thank u
Best tech channel. Thank you so much ♥
I absolutely loved this... Amazing work!!!
This explanation... was simply brilliant!
1:03 For the past several years, major U.S. theater chains (AMC, Cinemark, Regal) have been able to downlink most of their new DCP titles each week using a closed circuit satellite receiver. All DCPs were indeed shipped on hard drives during the first decade or so of the digital cinema age. A number of distributors still only distribute on physical hard drives, but by 2020 - even many small regional cinema chains in the United States had erected a 48-inch satellite dish at each of their locations to electronically receive the bulk of their DCP orders each week. Zoom in on the roof of your local cinemaplex using *Google Maps* _satellite view_ or *Google Earth,* and you can usually make out the 4-foot dish on the roof.
MAN! What a fortune finding this video! Thanks!! Thanks!! Question: What about proper settings when creating a project in Premiere Pro in order to later export it in DCP?
My recommendation would just be to set your timeline settings to the resolution/framerate of a DCP. You don't really need to do anything special, even if there is a mismatch Premiere will do a pretty good job of automatically converting for you
Those are very great information that you sharing with us keep doing we support
You are so young to be do smart . Bravo!
insanely informative and just incredible boy..
Excellent video thank you
great job dude well explained
Fantastic video. Thank you!!!!
Hi, great vid. I know this video is very old and maybe you don't do RUclips anymore. I have a question about the colour management. Can you use DWG instead of ACES?
Sure you can! Resolve Color Management and ACES are both equally valid systems which fundamentally solve the same problem. I use ACES because it's what I'm familiar with and it's a more widely adopted standard, but just about everything you can do with ACES can also be done with RCM
Fantastic information. Thank you!
Amazing video, very helpful!
I had to chuckle at the connection screws at 1:28 because I have a monitor that connects the same way. It's of no use to me because the laptop that it was attached to died, so I was surprised to see professional equipment that's secured the same way.
Very very informative. Kudos you got a subscriber
Now I just need to understand this same question, but for Digital IMAX
Thank you so much for this!
good, clear, direct, detail enough explanation. Great Job. and I am a film director 😂😅😁
Awesome lly explained 👏
AMAZING tutorial. Thank you!
What isn't mentioned here is formatting of the hard drive. Do all theaters take Mac OS X formatted drive for DCP or does it need to be formatted EXT?
This is the answer that I’m also looking for
Wow, admirable knowledge! Congratulations and thanks for sharing this valuable information.
You inspired me to make videos, if mine are half as informative and well produced as yours, I will consider it a success. Thank You!
Good video but one correction. J2K is a better image per bit then prores. Prores is a real-time intra editing codec light enough to easily decode in real time on laptops with minimal CPU power..
J2K is a far heavier and typically has a hardware accelerated decoder to deal with real time decoding.
As such it is a better quality per bit as it does for more calculations to obtain the image then prores.
Only in recent times had j2k been realtime decoded in software like resolve using kakadu decoder that has a lot of machine code accelerated implementations to allow it.
Resole also uses the GPU now to do the real time xyz to display colourspace.
Second, a 4k DCP can be played in 2k and you don't need a 2k version if you have a 4k. The codex is specially designed to be able to downers the image in real time so the one dcp can service all 2k and 4k playback.
250kbit may be the max, but this is for 4k being 4x the data as 2k (4 X the pixels) and 3d at 2x the pixels (2 images one per eye). So for 2k a target 120kbit nitrate is the aeatspot for 2k encoding, and in general is imperceivable under nearly all images in a typical movie.
Excellent content! Subscribed!!!
Thanks for informations!
One issue i have working in a venue that does manly film festivals is trying to explain to directors that cinema projetors do not correct distortion due to projector tilt. so if you have more than onte aspet ratio in one movie, the smaller one will apear trapized... and if you have importante information on the bottom corners it might get cut of by the digital masking.
Hours of uninformative content, but then i find the video tech homie :)
This was really interesting thanks. Id like to practice this one day.
This was so helpful. Thank you for being so thorough and engaging!
17:51 So this means that the resulting DCP will be in DCI (as my theater is requesting) and not in the Rec709 of my timeline, right? In other words, it automatically creates the DCI without me having to select it. Correct?
Great work! By the way... How old are you? Man you have a great future ahead!
This video is amazing thanks so much.
Coming from a Premiere background making a DCP in Resolve seems a lot easier.
I was just wondering:
If I don't select use interop packaging, does that automatically make SMPTE?
Also with the 5.1 in Resolve, can I just select 5.1 mix or do I have to make the timeline a 5.1 mix timeline?
Lastly does the timeline have to been Flat or Scope resolutions or can it be 1920 x 1080?
Also is it possible to create a DCDM in Resolve?
Thanks so much this is soo helpful.
Thanks for the video. I used it to check if I made my DCP in resolve correctly. I have one question though as my video file is Rec709 with Gamma 2.4. Do I need to change the gamma at all or does it also do that automatically?
You are the very best!
Excellent video!
Thank you, very informative
Brilliant, thank you.
Love to see a video about DCP in Dolby Vision and Atmos.
Resolve is so fire
Nice video, thanks for explaining this, question for you. I have a movie that is 2 hours long, what hard drive would you buy so I can format my movie for to this DCP formatted ? Would be 2 TB be enough ? Thanks
Thanks for this! Is 24p frame rate the same as 23.976 ?
You are just amazing
Man this video us amazing
If using a Mac, what format does the external hard drive have to be in for the dcp files to work at theater?
Thanks for the great work!!! Would you know how IMAX dual laser (1.43:1) compares against Dolby cinema? Nits, color, compression, etc
Great stuff, thanks!!
You are great thank you!
i have some question:
how to preview a dcp file that encrypted?
and how to import key delivery message (KDM) to davinci resolve, in order to preview it
Hi, great video, but missing two important points:
1. A DCP created in Premier Pro is not compatible with almost any theaters, and is rejected for use in most film festivals.
2. In most cases, if a DCP needs to be delivered on a physical drive, the drive must be formatted to Linux, which is not explained or even mentioned here.
Good video, you forgot to mention that DCP's are often encrypted with a key and are usually limited in viewing time.
Thank you so much for this video!! I have a question, what do I do if I need the subtitles too?? I use Premiere
Thanks for the info
Thank you!
Subtitles can be burned in to video it does not has to be a seperate xml file
Yes they can be, and if they are the subtitle language field in the DCP name should be in lower case rather than the upper case used for separate subtitles. Please conform to the standards when naming a DCP, the projectionists that have to handle it will thank you for doing so.
True, and this method is often more reliable.
Great Video! thank you! When working with a different software to make DCP - Whats the difference between Video or Film in RANGE? Is ProRes 422 LT ok enough for screening in theater once converted to DCP? If frame rate is 29.97 and software converts to 30, will audio automatically match?
VLC player will play everything. 😆
What a Legend!
exlent sir , LOVE U
Great Tutorial. When i am rendering 2K DCI Scope, I am getting side black bars. I tried all types of scalings. Please let me know if you have any thoughts on this. TIA
What's the aspect ratio of your timeline?
Off the top of my head, I think that Resolve will always scale your timeline to fit whenever there's a mismatch in the aspect ratios of your timeline and delivery format. (I could be wrong about this.)
One thing you can do is render your timeline to an intermediate file (with DNxHR, ProRes, or similar) and then create a new project with the timeline resolution set to DCI 2K Scope (2048x858.) Then import your intermediate file into this new timeline and mess with the scaling until it fills the frame properly. After that, you can render the new timeline into a DCP.
How did you make the reflections in the intro (in the theater)