Everything you want to know about DCPs

A DCP is the standard format cinemas use to screen films — the digital equivalent of a film print. We convert your video into a fully compliant Digital Cinema Package that plays on any cinema projector.

Upload your file (ProRes, MOV, or a high-quality MP4) through our portal — no software to install and no technical knowledge needed. We master it into a DCP and deliver it ready to screen.

No. We're the online service that creates the DCP for you — an alternative to DCP-o-matic and easyDCP, with nothing to install and no technical software to learn.

Federico Lang — technical director for film festivals since 2016 and a member of SMPTE, the organization that defines digital-cinema standards. We know what we're doing: every DCP goes through professional-grade processes and double quality control.

We accept most common video formats — ProRes, DNxHD/DNxHR, H.264/H.265 in MP4 or MOV, and high-quality exports from Premiere, Final Cut or DaVinci Resolve. For subtitles, send an .srt file. If you're not sure your file will work, send it anyway — our quality control checks it before we build anything.

We work with stereo and 5.1 audio, and with separate stems if you have them. If the audio is too hot or clips, we bring it to cinema levels during mastering.

We support subtitles as a DCP track (VF, in XML/SMPTE) or burned into the picture (burn-in), plus multi-language versions. You send a corrected .srt and we build the track.

DCPs use standard cinema frame rates (24, 25 or 30 fps). If your material comes at another rate, we catch it in quality control and convert it properly so it projects without issues.

Digital cinema uses the XYZ color space, which is different from the Rec.709 of your video file. We handle the color conversion during mastering so what you see on your screen translates correctly to the cinema screen.

Ideally your video at the best quality you have (ProRes, DNxHD, or a high-quality MP4/MOV), at its original frame rate, plus a corrected .srt if you want subtitles. The better the source, the better the DCP — and our quality control catches problems before we build anything, so if something's off, we tell you first.

Short films are usually ready in under 24 hours and features in under 48. We offer express turnaround and email you at every step.

Pricing is simple and per-minute: HD from $3/min and 4K from $4/min, with a $45 minimum — $35 for ads and trailers under 3 minutes. A subtitle track is included. You get an instant estimate before you upload.

Yes. Upload an .srt file and we build a subtitle-track DCP. For multiple language versions, KDM encryption, or lab services, just contact us.

Yes. We convert commercials and ad spots into DCPs for on-screen projection — ideal for campaigns and cinema advertising.

Before building your DCP we check resolution, frame rate, color space, audio levels (loudness and true peaks), channels and subtitle sync. After encoding we re-verify the finished DCP against the SMPTE standard and against your order — only then does it go out for print traffic. You get a quality-control report with every delivery.

They're two DCP standards. Interop is the older format and SMPTE is the current, recommended one, compatible with virtually every modern theater. We deliver SMPTE by default; if a specific venue requires Interop, just contact us.

A KDM is an encryption key that lets an encrypted DCP play only on a specific projector for a set period — used to protect content (premieres, commercial distribution). Most festivals and screenings don't need one; if yours does, we generate it. Contact us to arrange it.