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5.1 Cinema Soundmix finished: “Woanders.Überall”

We were busy and created a sound mix in 5.1 for Werkraum e.V.: “Woanders.Überall” In addition to the DCP / Digital Cinema Package, the film was played out as an H.264 version with stereo sound. We were also allowed to edit the credits. The source material was the sound cut version from Premiere Pro, which was edited and mixed using AAF transfer to Davinci Resolve / Fairlight.

The film is about violence against women and will be shown at various locations in Karlsruhe as part of the Orange Days.


Will my DCP run in any digital cinema worldwide?

Yes, the DCI InterOp specification ensures exactly this. We create DCPs that comply with this specification. This means we can guarantee that DCPs created by us can be played in any DCI-compliant movie theater worldwide. The Fraunhofer Validator Tool ensures that your DCP meets all specifications. Every DCP created is examined with this tool and a report is generated.

For films that exploit the technical possibilities of digital cinema (HFR, 4K with high bitrates, 3D with HFR…) we also create DCPs in accordance with the SMPTE standard. These can already be played on many cinema systems. We maintain a database of all compatible systems and can therefore rule out incompatibilities in advance of a film release.

Every DCP intended for distribution is also subjected to an import check in the cinema, i.e. it is imported and tested on a DCI cinema server.

At the same time, we use our quality check to ensure that your film not only plays as intended, but also looks and sounds as desired.


How does HFR (high frame rate) work in digital cinema?

HFR / High Frame Rate refers to frame rates of more than 24 frames per second.

For decades, a standard of 24 images per second (frames per second, “fps”) was specified in the cinema. This was initially maintained during the transition to the digital age.
The DCI Interop standard, which regulated the transition to the digital age, only allowed frame rates of 24 or 48 frames per second (48 for 3D films).

For some time now, there has been an SPMTE standard that also allows other frame rates. For example, it is now possible to show silent films in the original recording format of e.g. 18 fps or 3D films with up to 60 frames per second per eye (=120 fps) in the cinema.

Digital Cinema Mastering offers you the creation of DCPs / DCDMs with the following frame rates:

    2k 2D   4K 2D2K 3D (je Auge)
16 fps16 fps
18,18 fps18,18 fps
20 fps20 fps
24 fps24 fps24 fps
25 fps25 fps
30 fps30 fps30 fps
48 fps48 fps48 fps
60 fps60 fps
120 fps

Die Abspielbarkeit im Kino hängt vom verwendeten System ab:

Grün:  These frame rates can be played in all cinemas without any problems.
Orange: These frame rates can be played in cinemas with the latest projector / server firmware without any problems (SMPTE update).
Rot: These frame rates can only be played in special HFR-capable cinemas with the latest hardware.

Ready for HFR?

We provide comprehensive advice on the subject of HFRContact us!

 

Picture aesthetics:
Higher frame rates bring with them a change in image aesthetics and ergonomics. Shorter exposure times result in less motion blur in the image. Critics also see this as a loss of “cinematic look”, the picture looks more like a video recording (“soap opera effect”). However, HFR also offers better ergonomics, less flickering and, especially with 3D, a more relaxed viewing experience.

The spread of HFR:

Peter Jackson’s “The Hobbit: An Unexpected Journey” of 2012 was the first major release in HFR. When this film was released, several cinemas in Germany were already equipped with HFR-capable projectors / cinema servers, including Cinestar, KINOPOLIS, Cinemaxx, UCI Kinowelt and the Cineplex Group. Many cinemas with more than 3 screens now have at least one screen equipped with HFR-capable technology.

 


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