Beyond 2015…
Great festival days lay behind us, a big thank you to all the filmmakers and to the whole team for the pleasant cooperation, the great festival mood and many inspiring conversations!
Everything worked great at the new venue:
over 50 films, 40 hours of film program and several special venues.
We’re already looking forward to the next edition!
Cinespanlol 5 will tour through cinemas from Novembre 2015 on. We will create the Digital Cinema Packages and master the subtitles.
There are 2 options for subtitling in digital cinema:
To minimize the space consumed by a Digital Cinema Package it is possible to store subtitles as text information. This text information is then rendered and displayed by the projector during runtime. There is a special .xml format and scheme in which the text information is stored (for Interop and SMPTE there are two different .xml schemes, CineCanvas™ and SMPTE 429-5 which differ slightly). The text information is stored together with the meta data (e.g. in and out points, text effects like italic or bold, and the text position and direction). It is also possible to use a custom font for the subtitles (TrueType format .ttf)
Another possibility is to master a second picture track with the subtitles in the picture (brun-in). This increases the size of the DCP as a seperate picture version is needed. For 3D Films this is until now (September 2015) the most reliable option. There will be an SMPTE standard for 3D subtitling (with depth information) in text format, but until now it is not yet completely adopted.
It is possible to convert nearly any given subtitle text format into the needed .xml format or make a picture version with subtitles burned in. Please contact us if you need further information.
An example of CineCanvas .xml subtitle format for Digital Cinema Package in .pdf format
Basically we are able to read / process any digital Picture- or Videofootage.
However, the most secure and most reliable way is to start with still image sequences in .DPX, Cineon or .TIFF file format.
Also, several digital video codecs are accepted, altough most of them have their own peculiarities that can lead to unwanted or even unpredictable results. That´s why we tend to recommend the usage of Avid (e.g. DNxHD or Avid Meridien Uncompressed) or Apple Prores Series Codecs, with any other material it’s necessary to do some further tests to guarantee a smooth workflow.
Complex conversion or transcoding of formats can result in additional costs.
We are able to handle ArriRaw and RedRaw material, but we do not recommend using this format for delivery.
We accept sound files in .WAV or .AIF format, one file per channel. Files need to be named properly, e.g. when using 5.1 Surround: Left, Right, Center, Low Frequency Enhacement, Left Surround, Right Surround. Interleaved files are also accepted but need to have the right channel order (L,R,C,LFE,LS,RS). The sound files need to have exactly the same duration as the picture. We can also handle Protools project files. We strongly recommend using 5.1 or 7.1 mixing. If you deliver Stereo material we can do an upmix to 3.1 for you.
As a result of films being shot with 25 frames per second it gets more and more necessary to adjust the audiofootage to match these, as adjusting picture frame rates results in unacceptable loss of quality.
There are several ways to adjust the audiofootage:
1. Pitch the whole material by -4%: Offers best quality with minimal effort.
The disadvantage lies in a slight change of tune that is not noticeable by the majority of the audience. Yet it may be a problem with a composed score. Also you might not be allowed to do this because of a copyright infringement concerning used licensed music.
2. Redo the whole mixing for 24 fps (either by your sound designer or by Digital Cinema Mastering): Best possible quality but high effort and cost. May be the only option with licensed music.
3. Pitch the whole material by -4% without Change in Tune by using special Protools Plugins: Good quality, works well for dialogs and effects, doesn’t work for music. May be a good compromise between cost and quality.
We accept the data on Harddrives (any file system). We recommend to use a fast interface like USB 3.0 or eSATA.
BluRays and DVDs are an option for smaller projects, we recommend to send 2 versions of every disc as these formats are not absolutely reliable.
HDCAM SR / Digibeta need to be imported in to an editing programme which might cause addtional costs.
35mm footage has to digitalised by a third party.
Wir gratulieren allen Preisträgern des diesjährigen dokKa Festivals! Hier gibt es alle Preisträger mit den Jurybegründungen auf einen Blick:
http://hoerspielkritik.de/2-dokka-festival-2015-die-gewinner/2119
Foto: Ira Konyukhova
Congratulations to Sabine Herpich and Diana Botescu!
Their Film “Zuwandern” was awarded the dokKa promotion prize documentary film! We are looking forward to support their next production with the Creation of a Digital Cinema Package.
Trailer:
Read more:
http://www.dokka.de/p/aktuell
Gestern abend wurde das dokKa Festival hier in Karlsruhe eröffnet! Wir stiften den Förderpreis Dokumentarfilm: das Mastering einer digitalen Filmkopie. Und freuen uns auf 5 tolle Tage! Programm siehe: www.dokka.de/programm
We create the DCP of “Das Geschenk” (The present) by Manuel Kolip.
Das Geschenk (The Present) Animation short Germany 2013 15 min
