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 digital cinema, I tried some free and open-source software to make DCPs. The most well-known program is OpenDCP. It was quite an experience to make a DCP of a 3-minute short film from my own computer and have it projected in a cinema. Coming from 35mm distribution, you become aware of the true impact of the digital revolution.
Based on that experience, I continued experimenting with other programs, with some successes, but also many errors. If you are interested in creating DCPs with open-source software, there are other programs like DCP-o-matic and DCP Builder that you could try.
What have I learned from that experience?
Well, that it’s not worth it; it’s only good for understanding how it works and what the process is.
There are excellent professionals for making DCPs, with increasingly competitive prices, who are truly the best option. It makes no sense to save money on DCP creation.
However, once it’s made and tested, you can create your own copies to send to festivals.
Therefore, I’m not going to write a post about how to make a DCP. But I will offer some tips I’ve learned for working with labs, which can save you some headaches.
#1 A DCP copy can have multiple subtitles
I have encountered some directors and producers who had a DCP with embedded subtitles or with only one subtitle, simply because the lab couldn’t do it any other way. Don’t settle; a DCP can have as many subtitle tracks as you want, all within the same copy.
#2 Hard drives must be properly formatted
Some DCP copies come on hard drives formatted in EXFAT and not NTFS or Linux’s EXT3. This causes problems with projectors, as they cannot read this format. Carefully check your copy and ensure it is delivered in the appropriate formats.
#3 Check that it is correctly named
Although it may seem obvious, I have received many DCP copies that labs have named with generic titles like “short film” or “project” or with title acronyms, making them unintelligible to projectionists.
#4 Make a DCP with the correct structure
There are other cases of copies with an incorrectly made structure. Pay close attention; this is the structure of a DCP with one subtitle:
If any of these files are missing (Volindex, Assetmap, CPL, PKL, image and sound in .mxf), something could go wrong and it might not ingest into the projector.
#5 Test the DCP on a projector
Before approving your copy, you must view it under the best conditions. The lab should include the viewing of the copy on a DCP projector in the price. Carefully check the color, sound, and final subtitles.
These tips are based on my personal experience, after having reviewed many DCP copies from different labs. Most of them are aimed at distribution in festivals and alternative cinemas.
I hope they help you avoid problems throughout the post-production process, which is often not simple.
Have you had many problems with DCPs? How do you usually make them?