Here’s what a completed DCP looks like on your system –īut in order for a DCP to actually play on a theatrical server, the drive itself needs to be formatted in EXT2 with a 128 inode – something that hasn’t been easy to do for the average editor working on a Mac. Over the past few months though, a couple of new developments in the DCP-world have shaken things up yet again, which have now made DCP creation more accessible and affordable than ever before… Both in terms of generating the DCP files themselves, and ensuring a proper Linux EXT2 format.
Even filmmakers with little background in post-production or encoding can learn how to generate the files for a DCP relatively easily. This was easier said than done though, as none of the off the shelf DCP plugins/applications solved the biggest issue – Linux EXT2 hard drive formatting – which is required for all DCP drives. Most of the other technical requirements of DCP creation – creating a JPEG 2000 image sequence, converting colorspace to XYZ, and generating the necessary XML files – can now be fully automated by software. Still, many were eager to find even more cost-effective options, which really could only be accomplished by going the DIY route. This was huge for indie filmmakers who weren’t looking to spend a huge chunk of their budget on a single deliverable. A package that once cost $20K at a major post facility could now be completed by a small shop for under $2K. Open DCP, easyDCP, Cute DCP, and the Wraptor plugin for Adobe are just a few of the tools that emerged during this time.Īll of this ultimately helped bring the cost of DCPs down dramatically. Paid software, plugins, and free/open source technology meant there were more options than ever for creating Digital Cinema Packages. This has always come at a steep price, especially in the early days when large post-houses were charging $20,000 (or more) for a feature length DCP.Īs the years went on though, new tools/software platforms hit the market and made DCP creation more accessible. While the format has many upsides – notably image quality and reliable playback – its underlying technology has often been a source of confusion and frustration, leaving many filmmakers to rely on 3rd party sources/specialists to create DCPs for them. The format was developed in the 1990’s a replacement for 35mm projection, and has since been implemented in virtually every major cinema in North America (and most of the world). DCPs (or Digital Cinema Packages) have long been the gold standard for digital feature film exhibition in theatrical venues.
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