440 The Digital Filmmaking Handbook, 4E

Digital Cinema Masters

A DCP is a set of files stored on a hard drive that can be projected in a theater using a digital projection system. As with all other things video, there is a set of standards for digital cinema delivery, known as the Digital Cinema Initiatives, or DCI.

The rules for DCI-compliant DCPs are pretty straightforward:

nJPEG2000 compression (JP2K)

n2K or 4K resolution with 12-bit color in an XYZ color space

n24 bits per sample, 48 or 96kHz PCM audio (usually .WAV format)

n.MXF file format with XML wrapper

nOptional encryption with security keys (KDMs)

Typically, the files are saved and delivered on hard drives, and similar to DVDs and Blu-ray Discs, they consist of a group of files without subfolders.

Creating a digital cinema file-based master is cheaper, easier, and better than 35mm film or videotape. At the time of this writing, software apps for creating digital cinema file-based masters are just starting to become available on the market (see Figure 18.13). Probably the most challenging issue is quality control because the DCP files need to be tested on a digital projection system, which involves renting a theater or using a postproduction facility. For that reason, most filmmakers prefer to have a postproduction facility handle the creation of their digital cinema master.

Expect lots of changes as this technology evolves.

Figure 18.13

The Doremi CineAsset plug-in lets you export a DCP directly from Final Cut Pro.

Archiving Your Project

The final step in the entire digital filmmaking process is to archive your project. The best way is to simply dedicate a drive (or set of drives) and save your project and all your uncompressed media files on it. Disconnect it from your computer and store it somewhere safe. To be truly secure, you should make a second backup and store it at another location.

It’s also a good idea to store a full version of your file-based master somewhere on the Internet. Many Web hosts let you have unlimited storage via FTP, so we recommend storing a full copy of your film on your film’s Web site in a secure folder that is not accessible to the public. This will take a while, but you’ll always be able to access it if needed.

Believe it or not, over these last 18 chapters, we’ve been covering the easy part of film production. Now the hard part begins: selling your product. Hopefully, you have some idea of who might be interested in your final product. Or perhaps you have backers who are already committed to moving your project forward.

Odds are, though, that you have no idea what will become of your piece. Now is the time to make something happen. With new delivery technologies on the Web, and inexpensive DVD/Blu-ray self-publishing, there are any number of avenues you can pursue to sell your feature or documentary.

No matter what, remember that getting feedback from a live audience, other directors, and actors can be an invaluable and fun experience for improving your current project or starting your next one.

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