Updated post. First published on November 21, 2018. Although we have been working with DCP for a long time, I still encounter directors or producers who are not entirely clear on what a DCP is, and above all, many questions arise regarding distribution. The DCP is the digital format that replaces 35mm. … Read more
Although these weeks have been very intense, we are keeping up our work pace and preparing the addition of new films now that the year is beginning. In this process, it is very important to generate the screening and viewing copies properly. For viewing copies, we have gradually been changing the way … Read more
The production date is one of the most important festival requirements, along with others such as runtime limits. Although at first you may think it is an objective piece of information, in reality, when preparing your distribution strategy it is relative and may be subject to changes. The most prominent festivals, and … Read more
For festival distribution, it is essential to burn in subtitles and have your film’s videos in several languages. In a previous post I explained how to do it using HandBrake, which is one of the best programs available for video conversions and is also free. The most commonly used file type for … Read more
One of the greatest fears when we start moving a film is having problems with the projection copies, especially with the DCP copy. It must be acknowledged that this format is becoming increasingly stable and has improved significantly. As its use has become more widespread, problems have decreased, both on the part … Read more
Just over a month ago, I published a post about how to easily make DCP copies. At the time, it became one of the most visited and shared posts. Despite this, some of the comments confused it with tips for making a DCP, not for making copies. When I started training in … Read more
This week I have once again discussed several times whether or not it is advisable to include festival laurels in the DCP copy and screening copies. It is usually a very recurring topic when you start circulating a film. The laurels (and logos) are usually sent by festivals once the film has … Read more
One of the most revolutionary changes brought by DCP has been the possibility of making copies without complications and at a very low cost. The change compared to 35 mm has been impressive; a single celluloid print could cost over €400 on average. For standard festival distribution, at least 5 copies were … Read more
In May 2012, I published one of the first posts on this blog about the end of 35 mm in festival distribution. Four years later, 35 mm is a distant memory; it truly feels like much more time has passed since its disappearance. Lately, I have been thinking a lot about this … Read more
It had been a long time since I published any article related to subtitles, so it’s not bad to review some tools for embedding them in videos, which is still necessary for festival distribution. When we begin distribution, it is very important to have all materials well prepared. In the case of … Read more