ONLINE TRANSFER

Here are some common mediums that you can share your material with us.

FTP
Aspera
Signiant
Dropbox
WeTransfer
Google Drive

TURNAROUND

Upon the source material is ready in our server, the amount of time it takes to complete the mastering process. In other words, the time it takes after we complete the download of source material. We are using 1Gbps broadband but our download time highly depends on the actual Internet bandwidth between both of us. Thus, we accept the common digital mediums such as Aspera, Signiant, Google Drive which can provide fast and stable speed. Aspera is fast and stable and I have used it for transferring digital prints over 10 years. Nowadays, we have more options which are less expensive as the rapid growth of the Internet. Google Drive is much faster than Dropbox in our location (Hong Kong). Our FTP is very fast but again it depends on the actual Internet bandwidth between both of us, especially for international transfer.

VIDEO FORMATS

Preferred Formats
ProRes 4444
ProRes HQ

DNxHD
DNxHR

Other Accepted Formats
We accept most common formats such as H.264, MPEG-2, MPEG-4. As a rule of thumb, the higher the bitrate, the higher the quality of the encoded video. Low bitrate will lead to obvious signs of compression artifacts to be visible on theater screens.

VIDEO RESOLUTION

We accept SD, HD, 2K, UHD, 4K.

In digital cinema, there are two major aspect ratios – FLAT and SCOPE.

FLAT
SCOPE
Aspect Ratio2K DCP4K DCP
Flat 1.85:1
Scope 2.39:1
1998 x 1080
2048 x 858
3996 x 2160
4096 x 1716

Therefore, all resolutions will be formatted in FLAT or SCOPE containers. If your material does not fit in either one, it will be letterboxed, pillarboxed, or rescale to fit. By default, SD and HD content will be fitted in 2K FLAT containers with pillarbox while UHD content will be fitted in 4K FLAT containers with pillarbox.

HD/UHD content fits in 2K/4K FLAT screen
SD content fits in 2K FLAT screen

Don’t want black bars? If the aspect ratio of your content is 16:9 (HD/UHD) and you don’t want black bars on both sides. We can help by a 4% video scaling that will crop the picture slightly from the top and bottom edges. If this is what you wish, you can fill in “No black bars” in the text area.

AUDIO

  • Stereo, 5.1, 7.1
  • 48kHz, 24 bit uncompressed PCM
  • In discrete channels or deliver as separate files
  • The channel assignment must be well labelled
  • The audio files must match the picture length exactly
  • The correct loudness specification of a cinema trailer is between 82-85 db LEQ(m)
5.1 Channel Assignment7.1 Channel Assignment
1. L - Left
2. R - Right
3. C - Center
4. LFE - Low Frequency Effects
5. Ls - Left Surround
6. Rs - Rigth Surround
1. L - Left
2. R - Right
3. C - Center
4. LFE - Low Frequency Effects
5. Lss - Left Side Surround
6. Rss - Right Side Surround
7. Lrs - Left Side Rear
8. Rrs - Right Side Rear

Occasionally we will receive movie content in 3.1 audio from film festivals, we will keep its original channel assignment.

COLOR SPACE

The images inside of a DCP are stored in XYZ colorspace. The colorspaces could be RGB rec709, RGB P3, or XYZ and the gamma options could be 2.2, 2.4 or 2.6. The common practices are P3 gamma 2.6, Rec709 gamma 2.2, Rec709 gamma 2.4. If there is no colorspace info provided, we will assume your project be graded in Rec709 with gamma 2.4.

FRAMERATE

To keep it simple, we master 24 fps Interop DCP on this platform, which is the universal standard of digital cinema. If you want your DCP in other frame rates, please contact us.

Technically speaking, DCP can be made in many frame rates. Indeed, not all cinemas can play them. The major and the highest compatibility is 24 fps Interop format. We recommend you to convert any content to 24 fps to avoid unnecessary playback issues with cinema equipment except you have already checked with your theaters or festivals that you know there is no problem to play at 25 fps or 30 fps.

Changing frame rate has never been a good idea but is necessary almost always. Converting films for television broadcast and vice versa. Please bear in mind that the native frame rate is the best and must look better than the converted frame rate. There are several ways to handle frame rates. In most cases, it will change the speed and duration of your content, e.g. converting a 60-second video from 25 fps to 24 fps will result in a 4% decrease in video speed, the duration of DCP will be 62.5 seconds.

24 is perfect.
23.98, 25 looks fine after frame rate conforming.
29.97, 30, 50, 59.94, 60 you should expect a slight difference in the “look” between your native frame rate and the converted frame rate.

SUBTITLE INSERTION

Please provide your subtitle file in SRT or STL format with an accurate timecode and appropriate subtitle length. For those subtitle languages other than English and Chinese, please tell us your preferred font. Fonts can be free or licensed for commercial use. Please take care of the copyright law and it varies by country.

ENCRYPTION

Please ask the theaters to provide their server certificates for KDM creation. You can send us the certificates at a later stage. No DKDM will be provided.

ADDITIONAL INFORMATION

The following info can help us for appropriate DCP naming.

Film Name
Content Type
Spoken Language
Subtitle Language (apply for both burn-in and external subtitle)