In 2011 and 2012 ( and 2013) I converted all the short films (30) for a film festival that were not DCPs to the DCP format. In 2012 I used Easydcp Creator 2.0 that supports Quicktime files so the process was very simple. The DCPs was mostly 25 FPS SMPTE DCPs, but there were also some 24 FPS and some 30 FPS SMPTE DCPs.
Here are some tips if you want to do this for your festival:
- When using only DCPs the people who make the films can know that their film will not be shown on different equipment. Instead of using time and money on scalers and videocassette decks you can make sure the screen follows DCI specs, is 14 ftl, has good enough intra frame contrast ratio and that the sound follows the 85 dbc per channel standard. The main advantages is that Scope films will be shown in Scope and will not letterboxed and that 5.1 sound is not a problem.
-Ask for 24, 25, 30 FPS 1998×1080, 2048×858 or 1920×1080 Prores 422 or 4444 Quicktime files. The stereo track or 5.1 track from the Quicktime could be used to make the DCP. But I prefer separate 5.1 mono 24 bit 48 hz audio tracks. Scope should be 2048×858.
We accepted videocassettes that we captured with HD-SDI, but I don’t see why a festival should accept them anymore.
Videocassette formats like HDCAM is only 8 bit and do not have 2K resolutions and are often in stereo. The Prores codec can be bought cheaply with Apple Motion from the Apple App store and is 10 bit, has 5.1 sound, is 4444 and has 2K resolutions. This makes it better than HDCAM SR masters which are usually 1920×1080. There are hardware players for 422 Prores files (AJA KI) and Prores files can be converted directly to DCPs in Fraunhofer Easydcp Creator 2.0.
I also converted h264, DV and other formats. But I don’t see why a festival should accept them either, they involve a lot of extra work in Adobe After Effects.
-Ask them to upload the films using a filemail corporate account or FTP server.
Why use a physical medium at all, downloading the films is much easier. Zipping the files and using a fast wired connection to the internet is recommended.
-Have a deadline for submissions so you have enough time to convert and test the DCPs.
-Stereo DCPs should be played with Dolby Prologic 1 or 2 like stereo videocassettes. Alternatively you can tell the people on the submission form that films with stereo soundtracks will be normalized and converted to 5.1 with the DTS neural upmix Pro Tools plugin on the auto setting. Note: You should not make a fake center channel by mixing the right and left channels, this will make the movie sound like it is in mono. The volume setting for each film should be checked and written down.
-Fraunhofer Easydcp Creator 2.0 can convert Prores Quicktime files to DCPs in 2-3x real time on cheap quad core computers. If you buy a quad core computer together with a non profit license for easydcp creator, the cost could be justified because videocassette rental fees would be less for the festival or the quality of the screenings would be better.
I have run Easydcp Creator on a Quad core Mac similar to this:
I have also run it on a pc with quad core CPU similar to this one:
Quad Core PC Parts for building your own Quad Core PC:
Motherboard – ASUS P8Z77-V PRO/THUNDERBOLT
CPU – Intel Core i7-3770K Quad-Core Processor 3.5 GHz 6 MB Cache LGA 1155
CPU Fan – Cooler Master Hyper 212 Plus
Ram – Corsair Vengeance 16 GB DDR3 SDRAM Dual Channel Memory Kit
Case – Cooler Master HAF 932 Advanced Full Tower Case
Harddrive – Western Digital 2 TB Caviar Black
This is the text I used with the submission form:
Deliver on mac or windows hard drive or send it with this corporate file mail account:
(link to corporate filemail upload page)
SD file: Deliver as a 10 bit Prores 422 HQ Quicktime file and it will be converted to a 24 or 25 FPS Digital Cinema Package (DCP).
HD file: Deliver as a 10 bit Prores 422 HQ Quicktime file and it will be converted to a 24 or 25 FPS Digital Cinema Package (DCP).
DCP: ZIP file with the DCP.
File format: Prores 422 HQ 10 bit Quicktime.
Image sequence: DPX 10 bit linear (After Effects), TIFF 16 BIT (After Effects).
Frames per second: 23.97, 24, 25, 29.98 fps.
1:1.77 = 1920×1080
1:1.85 = 1998×1080
1:2.39 = 2048×858
Color space: Rec.709/SRGB or Adobe After Effects DCDM/ DCI XYZ 2.6 gamma
Quicktime with 5.1 sound: 24 bit, 48 hz, L, R, C, Lf, Ls, Rs
mono wav files: 24 bit, 48 hz
Quicktime with stereo: 24 bit, 48 hz,
If you deliver a 24 FPS or 25 FPS Prores/image sequence you can supply a SRT file with the subtitles.
Do not have text too close to edges of the picture
More info: firstname.lastname@example.org
-To make it easier to convert all films, only accept 1920×1080, 1998×1080 and 2048×858 Prores Quicktime files with separate mono 24 bit, 48 khz audio 5.1 tracks.
-3D LUTS can be bought from MJB COLOR Consulting Services to convert to DCI XYZ .