Create your DCP for free (for Film Festivals submission & Cinema screening) | Film VFX | Skillshare

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Create your DCP for free (for Film Festivals submission & Cinema screening)

teacher avatar Film VFX

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

5 Lessons (1h 52m)
    • 1. Introduction

      0:36
    • 2. What is a DCP and why you need it?

      41:50
    • 3. Prepare your film - export settings in Davinci and Adobe Premiere

      10:58
    • 4. Create your DCP with the free DCPoMatic

      43:59
    • 5. Test your DCP with Cinema projection software

      14:09
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About This Class

You want to submit your film or documentary to film festivals

You want your film to be screened in Cinemas

Then you need a DCP (Digital Cinema Package)

Welcome, in this course you will learn:

- What is a DCP?

- Why you need it?

- How to export your film from Davinci and Adobe Premiere or any other Editing software

- How to make a DCP for free in DCPoMatic

- How to test your DCP for free using the same software that cinemas use for projecting films

- And a lot of tips and hints to make sure your DCP plays in any Cinema projector in the World

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Film VFX

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Transcripts

1. Introduction: you want to submit your film to film festivals, you want your film to be screened in cinemas, then you need a disip e. Welcome. In this course, you will learn what is a DCP why you need it. How to export your film from DaVinci and Adobe Premiere or any other editing software. How to Make a DeSipio for Free in DeSipio Matic. How to Test Your Disappear for Free using the same software that cinemas use for projects in films, on a lot of tips and hints to make sure your DCP plays in any cinema projector in the world . 2. What is a DCP and why you need it?: what is a DCP and why you need it? Well, digit DCP stands for digital cinema package sometimes referred to as digital cinema. Print of the most accurate term is digital cinema package and why you need it is the most important question. Simple answer. Because cinemas have moved from the 35 millimeter film to digital. Okay, Do you remember the 35 millimeter film? Okay, the production off that thing has stopped already before 2014 the last factory in the UK that made this thing has stopped. So there's no more production. Um, and already back in 2015 90 more than 90% off the cinemas worldwide had already moved to digital. That is a long time ago. It's already in 2015. So by now we're almost We're almost at 1%. Okay, so what am I really saying? What I'm saying is dcp is becoming is becoming the only way. Okay? It already was a way to protect your film in cinemas, but now it is becoming the only way. It's not yet the only way because you can still use 35 millimeter if you choose to. It is possible you need to be aware of which cinemas use it. We still has, uh, have put the 35 millimeter film projector in a corner. And it's filled with Dawson Dado and longer using. So it just be aware about Okay, Should you choose 35 millimeter, it is still possible. But the city is the only ways becoming. The only way to protect your film is in us. So what does that really mean? But you must know what it is regardless of whether you want to do it yourself or you want to outsource that to somebody, you want to pay them to do it for you. Honestly, I wouldn't know exactly why you want to do that. I'll explain to you why, but in both cases you need to know it. How can you be a filmmaker and do something like make a film and then not know how to give it cinemas? Because that's also if you want to submit it to festivals, we'll talk about that. So if you choose to give it to somebody or some company to make the desipio for you and you paid them, there are some things that you're going to need to know they're there. They will ask you questions. Okay. On the assets of these questions, if you know them, and in each one of them is takes you almost there like you're almost able to do it yourself . So I know I know how to do it yourself. This is why there's this course to show you how debt easy. It is very tricky. A bit technical would simplify it. But how easy it is to make a DCP with a free software. So everything in here is free. Good. Okay, let's now move to the next part. If the reason. Like Lex, let's now, um how do you say that split this reason this big reason into multiple reasons. Okay, we said cinemas have moved. That's the main thing. Now it's like explaining it. If you want your film to be seen in cinemas, you need a DCP. If you want to submit your film or documentary to film festivals, you need a DCP Okay, on. If you want your film to be considered nominated for Academy Award consideration for a north car, you need a DCP. Okay? This is one of the cases where 35 millimeters is still there. OK, the Academy Awards still accept 35 millimeter. I'm not sure for how long. Okay, so you better work with the future oriented medium Mississippi. Ok, good. So talking about the most carpet where it flows from the first from the 2nd 1 when we say submit film or documentary to film festivals. Well, some festivals have been handpicked by Academy Awards to be the only ones who have the right to nominate. So initially, today it flows from the second. It's because you have submitted to a from listed mosque are listed festival that you end up on the Oscar nomination. Well, of course, if they happen to like your film and nominated, but you need a DCP for that. Okay, good. Well, next one is 35 millimeter costs here. That 1500 to $2500 to print one. How many cinemas are you going to cover? Okay, good luck with the budget. Especially if it's ah independent film, right? And it is becoming less available and the courts the cost of a DCP. Now, if you do it on your own, basically, just okay, if you do it on your own and you upload. If it's a matter just a film festivals and you upload, they give you a link to upload. Basically zero almost. Yeah, kind of zero. Okay, um, if you want to send it to cinemas, then it's a matter of getting the hard disk, making sure it's formatted in the right format and then ship in it. It is just a hard disk, and the whole of this car must way cheaper than the so from a cost perspective than the 35 minute across from a film. From a cost perspective, it makes sense. Let's look now at some other, another angle, the quality of perspective. Now the DCP copy. If, say, for example, you're covering 500 cinemas worldwide just picking a number. The number 500 off the 35 millimeter that you are copy and from the master is gonna look rubbish. It's only rubbish, but the quality is degraded every time you make a copy. Okay, about the DCP is as pristine as the original cause it's digital. Okay, so these these thinks you want to take into account, let's move to the next bit explaining what it is. The DCP is a collection off files, not a single file. There are some technical things that you may be thinking. Why is he telling me this? This is the area where you want to be familiar with a few things. Because once you export it and you look at the exported 70 thing called Amendment, I've got hundreds or thousands of files. What is this? Well, that's your DCP. I know. Disappear is is not plural, but it comes in plural in terms of files. Really a lot of files, depending on your, uh, how long your feeling is. Okay. It's a collection of funds, not a single file. And the video separate the audio. Separate subtitles are separate. And if they go, that already. Sounds like a lot of work. Don't worry, It's the deceit. Is software that does this for you? Okay, But you want to be aware of that. Why am I telling you this? Why am I starting with video separate or your separates of that'll separate because I am hot. I'm hinting to the next bit, which is convenience. It's much better 35 millimeter film because you can repackage with different versions of audio and subtitles in the same hard disk. This is what studios do. They just don't. But it's like something to Scandinavia. Also that Teoh Azure stuff, okay, or a country that has several languages say, Belgium, you've got the front side got the Flemish side, which is like the Dutch site, or you've got Switzerland that's got the German and then the French or whatever. You don't bother with the 35 millimeter sending so many. You just send one hard disk and you can have different, um, subtitles Or it's all in the same hard, hard disk. Okay, And then there's the playlist file that tells the cinema server because we said, What did you say? His collection of files, sometimes hundreds, thousands and tens of thousands. Some people even say so they could reach hundreds of thousands. The sizes are huge, really huge, and I'll explain to you why the sides here is huge. Uh, but how does the cinema server No. Which one to play? There's something called C P L composition playlist, which is just a normal playlist like you have your song playlists. That's how the song software knows where to take the 1st 1 and what it ends. And when it goes to the 2nd 1 it's a playlist. Yes, that's how does the most ever finds out and which find to play for how long and in what order. Nice, important. I'd like to emphasize the fact that the disip e aims too much three or surplus the quality off 35 millimeter film Digital cinema projectors. I'm sorry, digital cinema projectors, and this is extremely important because I really want to clear the confusion in your head. Sometimes you may have, um questions as to order a moment I've got this Progress is very high quality progress that plays brilliantly on my excellent four k monitor or on this proud new high tech television . The digital cinema projectors are able to reproduce a broader array off course than computer monitors or televisions. This is very important to realize made only two do much about it other than make sure that when we come to D. C. P o Matic because that's the software, the result will be using that we're going to say what um ah, color space we have been using. I mean, it is going to do it for you automatically. But if it's if you notice it's not the case or you notice you've done it differently, then you can pick the right color space. So your TV, your money, your money, computer monitor, our aim a different color space. Dan um thin. The cinema project was okay, so that's why you get more. And we'll also talk about the data rate later. It's coming good. Next bit is now we're getting technical, right? So when I am saying we're getting technical, I need you to stay with me because this is dead easy. Stop that easy stuff. But at the same time, it is very important to know extremely important to know because you may have the tendency , um, to go to make choices, thinking they are better, but they're worse. Resolution. Okay, first thing. What's the position of a DCP? It's either two K or four K now, Actually, this could also be a question mark. We already know it's either to kill four K. Nothing else. That's one. Number two is Which one should you go for? Okay or four k? Maybe attempted to say four K's great. Let's go with four K It's also impressive in terms off quality, but also my son four k. It looks a bit more seriously, more professional. Maybe four K. Now, my dear can be a disaster. And I'll tell you when it's a disaster, it's actually in front of you. But I'll explain bit by bit. Okay, now number one most cinema projectors. This is the most important part I want you to keep. I mean, if you keep something from this whole course, I wanted to keep everything, actually, but you keep one thing from this whole course is most cinema projectors. That's the most important part, because this is what you're following. You don't follow what you like. You don't follow what you think is the highest. Um, quality. Don't follow what you think is the latest technology you follow. What's the majority off cinema service worldwide? Do? The majority is two k. There are some that are four K. So if you send to K, it's great if some four k well, what's gonna happen? What is going to happen if the majority's let's say 90% is two K and then you send in four K? Okay, Now the two K's go into Oh, sorry, Diem. The If you saw the four K, it's gonna be a problem. Let me start with the with the sending a two K to a four K, because that's not as bad as four. K two took it. If you go for two K and this is what I'm recommending, I recommend this is the safest choice. If you're starting to get lost, the safest choice is to K. Why? Because if you send for two K to a four k projector, it will upscale it. Well, upscale it like, but you're not going to lose bait up. Um, you're not going to lose data, okay? It's gonna upscale it. But if you send four k to A to came server, the problem is this was gonna happen. But you've been looking looking at this for a while already, but this was gonna happen. So if it's two que two case 250 megabits per second and we come into this one, come into this one later. Okay, Um, what is going to do is going to resize it back to two k. It's a four k on the projector. Only does two k fine. It will resize it, but it's not only going to resize the big souls, it is. It's not gonna It's not going go, not precise, because it's not only going to resize the resolution by dropping the pixels, 75% of the pixels are going to go away. That's not the only back a bit. The real bad thing is that it kills the data that comes with them as well. So you're losing 75% if the year the data that you're getting some the megabits per second drops to 62.5. Do you know how much normally the DeSipio is the maximalist to 50? You're going to do it at 1 50 Okay, we will talk about this later. It's hidden in the next in the next bit. So the other two CPIs are 1 50 and yours is 62 because you have chairs and four K because you thought it was better. Be careful with this place. So summary go for two K. It's safer, and it is because most protectors worldwide are two K. This is why we do it okay for Carrick Street, but not in this case, good Let's move to the next bit. This next technical bit, um, there aspect ratio, these things you want to know before you start filming on. Actually, same story for the resolution. You need to know before I start filming. Let's go back to the hospital issue. Um, cinemas in the world are in two categories. Either the one you see on the left or the one you see on the right. That's it. Right? Aspect ratio is either 1.85 or 2.39. Do you want to know this before filming? Absolutely. Because if you if you choose an exotic aspect ratio because you think it's artistically beautiful. Fine. Now you want to take into account the fact that at some point in time you're gonna have to use biller boxing or letterbox in to make it matched the cinema. Initially, your film is meant for cinema. Okay, so start from the cinema, please. If you can use any one of these flat or scope, honestly, it doesn't matter what 20 choose. You could go for a flat or scope whatever. There are plenty off high quality films in both, it's it's an artistic choice. Whatever you want, she's flat or scope flat. Um is going to work in scope Cinema on Scott is going to work in flat cinema. Well, simple. There are pillar books in and let the boxing directory they the perfectionist will take care of. So the question. What should I do? If I'm sending a flat aspect ratio to a scope cinema, that's not for you to worry about. That's one bit I don't want to even to think about, because that's the project's projectionists job. They know what they do. Sometimes they could miss up really badly on just end up. Yeah, end up trouble. But a production stuff knows what he's doing. Um handles flattened school very well. Okay, when I talk about studying, stop that they really know what they're doing. So what do you do when you have already shot your film? And then it think, Oh, I've got 10. 80 p cause I had in mind I've got 16.9 16 by nine aspect ratio. And then, um, I am What do I do now? Because initially I meant it was meant for TV or because I didn't know. So what do I do now? It's quite simple. If you want to go for a flat, use Peeler books. And if you want to go for scope, use letter books in. Okay, let the box in. Basically means you put on top like this. And then pillar box in men's the The bars are gonna be like a pillar's. Okay, Vertical cool. Good. So I hope this clarifies a bit, um that there are some things you need to know before I start filming. All right, so it will make your life much easier. What is going to happen now? This is just a small bit, but quite important. What's going to happen if you miss up really badly with using letter books here instead of peeler books or using bigger boxing instead of letterbox in? Well, you're not a lot. Not a lot is gonna happen. Just you're gonna lose 40% of the screen, Which sounds really about okay. When I said not a lot of was be sarcastic world like, just joking. It's really bad. Don't use letterbox in with flat. Do not use biller boxing with scope because you are going to lose 40%. That's almost half 40% off the cinema screen. Which means your film is gonna be somewhere in the center a tiny bit. Don't do that, please. Okay, good. OK, but a Safeway is always start with flat and scope. Nice bit. Um, off summary now is going to be for the video resolution to K off. Okay, before the green is gonna be to k prospector issue, we don't care as long as its father scope. But you want to know this before? Um, and there's Jay Peak 2000 compression. What is this? Now, I want you to be careful with this because you don't want to care about it in the beginning . Because when you're filming, when you're exporting your arm, your your file and when you're important actually into DCP on a DeSipio Matic it needs to be an compressed, the absolute highest quality, your computer, your equipment, what other things is achievable? That's what you want to give to D C P. O Matic. The absolute best and compressed. Yeah, that's why Dick 2000 compression. It's only telling you that the software that makes the DCP is gonna take care of that. Because if it's goes and compresses gonna be phenomenally incredibly difficult to play for service for cinema service for protectors. It's gonna be crazy too big. They need to compress it. So what you see in cinemas are compressed files, but we're not talking about the stupid H 264 compression that kills everything in the film in the film. Basically what you seen YouTube? Um, the complete depict 2000 depression. It does retain a lot off fidelity in terms off information. So it's going for a softer compression, but it's still compressed. You don't do the compression, the software does it. Okay, The Mexico trait is 250 megabits per second. Why? Why is it even in? Why are we even talking about it? Why is it even mentioned there? One simple reason. Don't put 2 50 there, please. That's why we've seen it's Max. So when we talk about the DeSipio Matic, don't do not put 250. You need to have an extremely valid reason why you've gone for 250 and there could be right . You could You could go for 200 if you have visual effects. We talk about that, um, later in DeSipio Matic. But for now don't reach 250 place, because if you go beyond Jordan 50 megabits per second, the cinema servers, cinema cinema projectors are going to have an extremely hard time playing it. It's too heavy. Do you know what is 250 megabits per second? That is almost 10 times blue Ray Blue Ray, which looks like great and stuff, and quite that is 10 times that. That's what cinemas. So if you're asking already more than 10 times you begging for trouble. So let's not go beyond two and 50 megabits per second on the color space. This is one of the fun ones to talk about. The color space is the C I. T. Three map to exquisite What? What what? Say that again. Um, I know that you may have been used two wrecks of Northern, right? So if you are using car space, if you've already from come across this time, if you have to make choices, you always go for X seven ona. And because that's what you see everywhere, that's what's also in TV. Uh, that doesn't fly in cinematic. That's that's not gonna cut it in cinema. So Rex have no nine isn't gonna work because cinema is not art rgb based its exploit Zed based. Okay, So this is also why I remember when we talked about difference between your computer on your TV from one side and the cinema from another side. Remember the color can project project a broader array of colors. This we're now in a much in the richer color space. Okay, don't worry about this. This this color space think Don't worry about it. You may go with Okay. I've made my film and off color great dates and exported it as Rex of No. Nine. What should I do now? My, my in the wrong color space? Yes, you are in the wrong course space, but doesn't mean you shouldn't have done it. You could start from the beginning of the C I. P three. Uh, if it was just for cinema, because if you need it for TV, he's got to go back to Rick seven or nine. Okay. Yes, I know. I know. If you want When tv and cinema are going to agree on something, then everybody's lives gonna be easier. But if you want TV, it's rec seven or nine if you want cinema hands D. C I. P. Three. Cool. Don't worry about that. If it's direct seven or nine, you give it to deceive Illmatic. It's gonna realize by itself it's gonna look at the video file and think this stuff is Rex of known. I don't worry about it. I'll take over. It would convert for you. That's why I'm seeing think twice before you give this to somebody and a lot of money for something you could do so did easily. But you've already noticed that quite few tricky things to keep in mind anyway. These things they got the asking you these questions. We better know them, and you better know how to do it yourself. Next. It is full container except well, it's just technical detail, which basically means that if you get those hundreds or thousands of dollars and you see extension of acceptance, your video, that's not your own Okay, that the desire videos nice. The next bit is audio and compressed linear PCM what it comes. What's the difference between audio and video in this case in terms of compression? But if you say for video, Jay Peak 2000 compression for audio this in compressed. Why? Because the fines are so odious. Funds are tiny, are very small. We were talking here in terms off in comparison to the big, humongous files off video. So they notifies, taken end up really big, but it's not. They would never match the video in compressed size. So it comes in in compressed and it goes in and compressed. In your case, remember what one think You always give this diplomatic and compressed things with their video, aren't you? I'm telling you what comes out off the C B is compressed video and un compressed linear PCM audio. Okay, separates is 48. Um, well, you can go for 96 but, um, you don't need it. Okay, B depth 24 bit. You can waste your time going for higher, but that's all they can do for you. 24 bit. OK? Semi protectors do only, um I mean, sorry. The system only plays 24 bit, so that's for the DCP. Ask maximum. Don't need to waste your time with her 5.1 channels. Okay. This is the fun one. Quite few points are fun to talk about. We know that was in the better for makers. You may have Bean, um, working with studio for long on on all time. Okay? And many think, Well, I've got stereo video we've done the post production with It's It's I'll just quickly open a small bracket here. It's not really dizzy people. It's it's it's an attitude, but we see a lot in the film makers community that we pay very, very little attention to sound first production to sound Okay, so that this is one of the results of this attitude is that you end up with steady and everything is this something is some sort of a joke you're sending steady go to cinema. Like what? You just can't do that. Okay, um powerful discipline Matic. It's OK because it knows you're an independent filmmaker. It knows you coming from steady over there. Okay, this guy's lazy. We're gonna take his stereo, Andre, get a converted into 5.1 child. So there's a good news. That is bad news. The good news is, if you've done stereo and then you think, well, older moments are don't need to go back and redo the hopeless production. My advice between the two of us go back to it. Okay. With a 5.1. But if you say no, I want to go to Lazio route the laser route and lazy is not good quality. So you need to know that you're gonna give the studio to diplomatic and this diplomatic is gonna do something. Give you something. 5.1 child. I'm insisting on something because it's not the real 5.1 channel quality. It will never be as good as your proper 5.1 mix that you will do yourself on. It's all the attitude that we don't spend we don't have. We don't care enough about, would you? This weapon and open stereo. Good. Well, steady or sometimes is what's required for TV. So this is not necessarily always the case for the the attitude, but police very in mind that when he do you your son press production go with a 5.1 channel for cinema for theatrical release. All right, there is There are there are sound postproduction. If you look at the profile, you see that there are I have sound. Post production, of course, is whether you choose audition. I've got one for addition. Whether you choose the Vinci Fair light, I've got one for fair light as well. Okay, but it doesn't cover the cinema. Part of things covers most the TV. But for cinema, I will come to a point where I will talk in detail now about this part. Okay, but first the encryption. Okay, this encryption is great for protecting your film, but it can be headache, and it could turn into a nightmare. I just need to be blunt with you. Transparent, Fully honest. It's great for protecting her stuff. It can come back and bite you. Okay, let me start with how it works. I should have started with. Do you need it or not? But let me start with how it works. Then you understand why I'm talking about. Do you need it or not? Okay, there's a KTM file key delivery message is that that you send by email to the cinemas? Um, that is specific to the film version. Own specific to the server on specific to the time. Okay, that you did to you Define. Okay. So what does that mean? Film version. Oh, if it's, um if it's a friend's version you wanna played, um, the Dutch one. It's not gonna work. It's just for your French film version. It's not for the Dutch one. Okay, um, if it's specific, it is specific to server, which basically means, and this is the This is where it starts to become a nightmare. It could specific to server, which is actually quite good in terms of protection, but it's too aggressive. It means that if a cinema has two or three protectors and they because that's what you do normally you need to get the serial number for the server. Okay, so that's how you you can't send the KTM before you receive the serial number from the cinemas. Obviously, we'll talk about that. It's for feature films, so if you have a short film is different story. And if you're sending it to a young um, festivals, you don't want to encrypt that thing. It's just gonna be headed for everybody. Um, but it's it's ah, specific to the server. So what happens? What if that server breaks down and the cinema is has warranty and they just contact the supplier and say, Oh, we're gonna moments where protection from just have broke down on whatever stuff that happened. We need maintenance. They immediately ship replacement wall. It could be replacement for a period or replacements forever as a defense until they repair that one for them or whatever. They just got a new server with a difference serial number. The KTM is not gonna work, so you need to send another G. It is so aggressive that it does help a lot in protecting against piracy. But as you know, every security measure becomes a headache. It slows down things it does. It could cause some issues. The beauty is also it's valid for specific window of time. So when you say this cinema can only projected between the state on that date, you give them the hard disk. Fine, they can play it. Only one that period stars, and they can play it only up till the end. After that, it's useless. Que pasa beautiful comes optional or required when it is obviously optional. Okay, but it becomes required when somebody else tells you you have to do it. So it's optional. But missed Distributor's will require encryption for feature films to secure the inter intellectual property. Did you see that? I underlined feature films. So what does that mean? Do you have a short film? Please do not bother with encryption. This is just on advice. Yes, I know. It's your little baby. It's your It's your production. You've been working on that so hard. Do you think this piracy another want to lose that stuff? Just get it known. Get it Screen. Could it projected? Um, the encryption is just gonna hurt it. Okay, Especially when we're talking about festivals. When we talk about festivals, you will notice that when it comes to how you send your disip e, they will insist on having it not encrypted, because no one wants to go through the pain off the KTM in the projection side, because sometimes they may even not have chosen where to do the best protection. They know exactly which cinema is gonna be the festival, but it could be they could be hiring a different, cheaper status cinema place for checking whether you you are accepted or not. Okay, So for submissions, they could be doing it much faster in a different one. And if it's different one much faster and means that they're not gonna. They may not even know which server would say its serial number to send you, and they will not do that. So for festivals, forget about entropy. Okay? Especially when we're talking about the short term from in any way. It is your choice. It's your responsibility. It's your intellectual property. Okay, Good. Let's move. So the next bit watch out because the journey for DCP is all about watching out. Just making sure you don't fall into any traps. Number one is 24 frames per second. What did I say? If you remember only one thing from this course, let it be the majority off projector cinema projectors worldwide. This is what drives everything. So what? What does that mean? The majority off cinema projectors worldwide do 24 frames per second. The majority do not do 25 23 24. Yeah, they don't do 25. So if you are in Europe and we know in Europe is 25 in the US is 24. Um, if you are in Europe, they think Oh, do you want to do that, then? Well, you could go with 25 Bart. Chances are he could not. It could be that it doesn't play in some in some cinemas. It's gonna be a pain if you do all the work, and then you some the hard think and then it doesn't play. It really feels bad. Um, it's also reputation thing. You don't want to send something that people can't play. Okay, um, so needs to be 24 frames per second. Unfortunately. Yeah, I know. In Europe, we like to have the 25 but it could be shooting. I mean, don't get me wrong. Cinema protectors. Some of them do play plenty off French per second. Your problem lies in the golden rule. The majority off cinema projectors. What they do, we're stuck with 24 friends. Second for now. Okay. And that has also impact on what? Um um what murder to choose? Because there are two is old. One in the new one in D. C. P. Always go for the old stuff. Just save us always. If in doubt. And you know, something is old and some things you go for the old. Always good sound. Too loud or too quite compared to other content played in the cinema. Can you imagine you're sitting in cinema and then, well, you as a filmmaker? No, But let's say the audience, the office is sitting there. They want something, a trailer and trailers than to be much longer. Anyway, there was something. And then there comes a film, and it's too loud. It's too quiet compared to the other ones because you have done it, not knowing what cinemas do. Well, um, I do notice. No taters is a course sound production for Adobe additional for the visuals or fair lights in general in general. But when it comes to cinemas, off film in cinemas, not TV TV, is quite strict in terms of cloudless is very strict. It's actually quite simple. You have very little creative freedom, and it's so simple that it's completely described in this industry courses. If you go for Adobe Audition or Devonshire is all for light, it will explain to you everything. But when it comes to cinema, which is not addressing, these courses will need to be honest with this. Why is it no interest for one simple reason? There are no limits. There are no rules. This is why it is an area for debate. And this is one of the areas where I think we listen. Just make sure it's not too too quiet. Uh um, it's not too loud What is? Quite a loud, but, you know, TV stops at minus six. Db Uh, that could be a bit too quiet for cinema, so it just check a bit walked. The majority off films do. And I think if you go for it, go for minus four, minus five. Ministry you could go up, could go up. There is no room. There are no rules. There was back something a few years ago, I think in Belgium a legal case. I'm opening this this this bracket. But it's something you want to be aware off. There's legal case in Belgium where a person got I don't remember the name of that disease stuff because she she went to the cinema and the movie was too loud and was really It's not just somebody is complaining. It was physical damage to her ear and that cause an issue. So the few legal ramifications happened. I don't think there's a lot of came out yet, but you could see something coming out. Um, I don't think it's gonna be soon, but all I'm saying is up to now, there's no rule, which basically means it could be too loud. And it could be to quite and just make sure it's It's a little above TV, that's all. Okay, because TV is regulated and we know it. Next bit. Cinema servers are Linux based. Let me repeat it the second time Cinema service our clinic spate. So I repeated the third time cinema service are Lennox paste. So what does that mean? Don't put your hard disk using your Mac or your windows, and then you go into cop. Copy the DCP on that hard disk because it's not going to fly. It's not going to work. Your hard disk must be formatted in x three x t three format, which can be done by Linux. It can only be done by Lennox. Okay, so what does that mean? It means that you need to install Linux besides your operating system, and that's easy to do. Um, e justice and then format that hard disk and then place your find there but formatted as X'd from the Lennox. They could also do it with virtual machine inside that your windows or you're my quest stuff operating system. But it needs to be promoted to 63 4 months. I really do not know how many times I've repeated already. Three times. I think gonna hate me if I go four times. Let me go. Four time cinema service are limits based, which basi 3. Prepare your film - export settings in Davinci and Adobe Premiere: before proceeding any further. It's important to know how to export your film before important it into disappear. Matic. Okay, so here I have DaVinci resolve, I shall we have to do it with DaVinci resolve. Because for now, it is the rial complete package for filmmakers. It's got everything. If you are still using Adobe Premiere Final Show, you have to do it there. But I think that filmmakers have moved on to the injured result because it's not the most complete film makers package on this Imo state of serious one. Okay, how do you do that? Well, simple. When you open the render the deliver, the deliver of page, Once you finish your all editing and everything, you are left with a few settings to choose. Okay, Now what did we agree? We have agreed that for the format, um, we are going to give the DCP the absolute highest quality. There can be okay, which initially suggest that you have filmed it with very high quality. If if your output film is h 264 from the camera, it's not even worth submitting. Actually, for us for film festival or forcing them over anything. H 264 Coming out from the camera is a massive criminal compression, right? So, um, I hope you got row footage from the camera or forest footage or some high quality footage. High bit rate. That's what you want to get out of the camera can. And once you process it in your and edit it in your timeline in your DaVinci or in a lovely premier, if you're still there, then you keep it very high. Onda and compressed So in DaVinci resolve, when you go to this page bite. If all you get format Quick time Codec h 264 Which is kind of the quick and dirty thing. If you want to drop something in YouTube or or if you may, or anywhere else, it's it's It's the market old style critic. You We don't do that cinema, right? We don't work without, so you can keep it. Quick time, which is fine. But I need you to go and compressed. Okay, So the highest quality and compressed Just choose that one good. And then you choose the highest bit rate. Now the highest betrayed here is, then it's, um is this high enough where This is the highest weaken Get here. We know that. Did DCP runs at 12 bit. Okay. So it could go with this one. There is another option which would be going with Deion. It's hr and then go in 12 bit. Right? So it's It's up to you. It's up to you. Okay? We can go it and compressed on dumb stuff here. Okay? When it comes to the resolution, what have we agreed when we talked about the cinema categories? There are two categories of cinemas. There's the flat under the scope known. This this 19 by 2010. 80 p does not exist on cinema, right? It doesn't exist. No, it's no incident, but I have deliberately chosen this project because I know it is the wrong one. And it's important to give you the wrong example. I mean the example that because I honestly think that most people are gonna end up making their film and only then thinking, Oh, let's do the dcp and then realize Oops. I'm stuck with a 10 80 p resolution on aspect ratio of 16 by nine. And then they and then what? What now what now We'll show you What Now if that if you have gone the wrong route, if you've got the right route, then there's no problem. Good. Um, you keep it as is okay? You keep it as it is. Don't mess with anything Here. We will look at the aspect ratio and the discipline. Discipline Matic. Okay, now frame rate. What have you said? The majority, Not the majority actually alone. Cinema projectors work with 24 frames per second. Some cinema projectors can handle 25 or other. Okay, And I'll show you the two modes that are in D C. P. But if you've already done it 25 and you want to move to 24 you could either do it here with 24. But then initially, when you click in the victories over, you won't find the choice. Because your timeline has been set to 25 saying to change your timeline to 2024 or if you decide, you could say, Well, I'm bringing it as 2014. Even I'm gonna change that 24 thinking in D C P. O Matic. That's also valid choice. Okay, let's move toe audio. What have we said about the audio and compressed. Right? So linear PCM Good on then. The big step Waas What was it exactly? 24. Oh, we have 32 here. Let's go with higher. What is no point going with? Higher? Because the DCP doesn't handle hired in 24. You could put 32 but it's not going to give you more than 24. So why waste our time? 24. Okay, good. We're almost done. Just because here there's output track Main one stereo. I need to give you another reminder that we do not make films with stereo. But of course, I had to pick the wrong example to explain it. The right example. It is the wrong film, Um, to explain it, Um, if you have already done everything that I think so should I do now? Like, I'm stuck with a 16 by nine project which is 25 b 25 frames per second. And to make it even worse, it's a study of project in terms of old you. What do I do now? Uh, my advice. Go back and make your odio first production in 5.1. This is my advice. Now, if you think. Thank you for your advice, but I just have two or three hours. Um, okay, let's say today I only have today as the deadline for submitting the DCP. And I'm thinking, hold on a moment. Do you wait till the last day anywhere? Whatever. Whatever. I need to submit a copy today for their assessment on. Then when they say when they say send when I'm selected for the festival. And they say, son, the real copies and the real that the Final One forum and your India. And if you have the chance, then then I will go back and change the 5.1. But in any case, go back and do your proper sound prospection. I will talk again about Sampras production when we are in this diplomatic, and I will be really blunt because this is one area where there is no mercy. Okay? Sound is where I'm really blend. There's no no respect off four forms of talking. It really needs to go straight to the point. Steady. Oh, go back to your homework. It needs to be 5.1. I'm gonna take you to study rude now because I need to show you what the CBO Matic's going to do, So I'm gonna keep it a stereo, taking the example that you have very strict deadline. OK, so this is how you do it now in DaVinci resolve should you be one of those who are who are still left in the legacy software called Adobe Premiere? Let's go. Where's Adobe Premiere? Here we go. Okay, um, other premier is I mean, it's it's been around for for some time, But, you know, I'm gonna talk too much about the quality of the software exposing the company. That's wrong. The majority of the company that's wrong, By the way, it has let us in the middle off a TV production. We had a massive loss due to this adobe firm. So that's why we have moved completely from the venture from a adobe premiere to Da Vinci. Now we have a much more stable a wonderfully stable production workflow brilliance. But if you are still stuck with these guys, I'll show you how to do that. Now you come here format, quick time, go to preset custom. Okay, so it needs to be custom. Um then sometimes when you click on the preset, which is one of the yeah, rubbish things in it. Always like you can't find custom by default. You need to start messing around here with things, the data and and then you go back and you find all it's actually turned into custom. Whatever. Then you come here and it chews on compressed. Seaga's a huge list. You could go with, um, other wounds. But are I recommend and compressed highest one which is attended. Okay, this is what you choose. And then same story for the audio. Same story for the expectation of written. Good. Ready. Ok, now, now that you've done your you have rendered everything with the highest and compressed video and uncompressed audio. And hopefully you've done your homework and then changed the young Steady on to 5.1 in your post production. If not, then we'll take your stereo. Then we're going to go to get D C P O Matic. And then everything can hold on a moment. Go back. Go back. Go back. Go back, Go back! Yes. Go back at the premiere. There is a DCP maker here in Adobe Premiere. Why did you skip it? Let's look at this. There's a rafter DCP. Come on. It's adobe. I mean, what do you think it's gonna be? It is unreliable. Okay, so if you want something that works in every cinema projector, it needs to be something dedicated to that. When you go to the venture resolve and this check for you, I mean, I think this version could have When you go to the Venturi's off, there is a possibility I don't use it directly. DaVinci resolve. But there is a possibility of its from the victories off. But then activating 1/3 parties authorities specialist for DCP. Okay, good. Let me go back. We're not going to use this. Whatever the city off Adobe, we're going to use a proper, specifically dedicated software for DCP making, which is this diplomatic and which is absolutely free. So you are going to search for D C P o Matic. And why did I say search and not just take you to disappear? Might not come because it's an opportunity to tell you that if you are sick, just like I am off Google track in your life, then you can switch to dr go dot com, which is a wonderful, powerful search engine. Duck just simply lets you, um, in peace. Okay. There's no tracking. There's no, not Then they just don't kiss, give you the search results, and that's it. Good. Okay. This diplomatic. Yeah, I know I open a few brackets from time to time, but I think I want you to benefit from every possible thing quick and come across Nice. Let's go back this diplomatic. Go ahead to download, please, and then take your version. Okay? Whatever platform you're running most like, it is going to be, um, Windows 10. 64 bit or you're running a Mac. Cool. Good. Now, once you've done that, install it and then we'll come back and then go straight inside this software. 4. Create your DCP with the free DCPoMatic: right Here we are. This diplomatic is open installed Fine. When you open it for the first time you get something like this which looks totally blank and all Everything is great. It is so simple and debt easy that you might be thinking once we go through this, why would I even bother wasting money and giving it to other people to make it for me when you can do it yourself? And it's so did easy. There are two parts. Yes, I know. I will upload. We were at the film and everything and create the project. But for now you need to know two things. There is the content part. And that's the deceit DeSipio part where that's obvious. It's the only two thoughts we have. But I need you to be really careful. And I'm gonna cut you when we're talking about content and I'll catch you thinking about the DCP. No, no, no, no. It's the content. It's the source. Think you think of it in terms off the input. So don't talk to me when we talk about in the content. Do not talk about the output, so yeah, we know discipline needs to be this distant. That compression 2000 compression, Jay Peak 2000 compression needs to be this and that, Uh, we're talking about the input. It needs to be totally and compressed. So this is how your input is. You're describing the incoming film. And this city is where you are. Describe in the out. Put off your, um, the city. Good. Right. Let's go back. File new. Go ahead. New on your going to bro's to wherever you wanna do that, I'm just create just another full or let's call it eight on the select folder. So this is the foolery. Want to create a stuff in that give a file name. Okay. Fine name. I'm just gonna call it. Ate. Whatever. Call it whatever you want. OK? You present and you get a black screen, which means that OK, yeah. The cinema is ready. Just bring me your, um your files at files. You click on that. What I will do is the following. Listen, um, this is, um, demonstration. I am teaching you how to do things. No, I do not want you to sit and wait for a feature film to get transported into a DCP right. So I have to have a trailer, which is three minutes, 3.1 minutes and we will talk about these 10 seconds later Trailer. And this is just 10 seconds of it. That's a trick for later. But for now, we're going to upload this trader. You select your film. Uh, I actually recommend you start with your with a trailer or something, but otherwise you could still do it with the will with the full size feature film. Or it's your short film finds. Go ahead and then you click on open. When you do that, it starts examining one, because it's just three minutes. He hasn't taken to much time. But if it's 11 minute Sorry. One hour and 1/2 or longer. Um, then it will take a bit of time, but it looks at the Thea source and then starts populating the content for you. This is why I'm saying every time I'm going to repeat that, you're gonna ask yourself, why should I even give it to others to do for me? Desipio Matic has automatically recognised a lot of things from your video file. What does it? What did it look recognize that's type two D That it is 16 by nine. That, actually, cooler conversion is Rex of No. Nine. So it already has identified quite a few things. Okay, good. Let's start bit by bit. Now, you add your file here if you have to call it. If you have are these subtitles You add them as well. SRT files Adama's one here. Okay, good. So type first things for us. You have video audio on time in. Okay. Video. Um, you look at these settings. Everything go there, too many of them. Don't worry. I am going to tell you don't use most of them. I actually I'm kind off a little bit. No angry by. I prefer that the maker of this diplomatic drops so many of these because they are totally useless. That actually they shouldn't be there. There. Using them would be totally unprofessional. But let me explain. Type two the okay, it's opportunity or if you have a three d left, tried to talk. But you know your project If it's Studio three. Good. Nice left. Crop rice crop top crop, bottom crop. You don't do any of them, OK? You do not do anything. You don't crop in it. If you want to crop it, you can crop it here. You don't crawl. Basically fade in and fade out. This is the stuff you do not want to touch. Do you know what this is? It's just fade in and fade out. Like the transitions you would have in your in a davinci resolve or in Adobe Premiere or in avid Or what would you even bother doing Fade in, Fade out here? You don't want to. I really prefer that the maker of the diplomatic removes this. Just want these two. Don't touch them. Scale to map. This is one of the most I think is the most important one here in this screen is the most important. Wants scale too. What does it say? Um, good options here, then I think, Ah, I can see flat there and I can see scoop holding elements. I can already do it now See, as work. Now, I no longer have those up black of black pillars on the side. No, no, I I know. I know it might be tempting, actually to go for flatter scope, but what happens? The image gets gets stretched. OK, now you're not working on high quality film to get the image stretched in cinema. This stretching that you see on your small monitor is one thing You just put it on that massive cinema screen and it's going to go into to scream at eyes is gonna be so obvious. End is, you don't want to do that. I recommend is due north scale. You have? Yes, I know you've got those bars here. Those black bars. Fine. For now. I'll explain later. We'll see it later as well. No scale, which is a little bit the equivalent off leaving it the way it has come in because this diplomatic has already recognised that it was a 16.9, which means I could leave it as is or for safety. You just always go no escape. Just keep the think as is right filters. You don't want toe touch this thing. I wouldn if I would have preferred not explain it to you. But I have to explain it to you that you know that it's totally unprofessional to even touch it. Um, feel throws is like a blind, some sort off cinematic or something. I don't know what? I don't know what they have in here. I don't want to know what they have in here. Actually, this this kind of stuff you do individuals off the adobe premiere doing a video thing is you're editing this DCP is technical. There's no creative choices. You do not make any creative tours in D c. B. It's totally technical. This kind of stuff. We felt a great agent dependable. If you don't want to touch any of this stuff, you don't touch it. If you have applied any filters, any lots, any looks or whatever that stuff you do in the car grade in phase, um, in defence result. Cool. Don't touch this one. Call a conversion What it has done. It has recognized the congress space that you are using for your film when you exported it . When you when you've done the grading, you've worked in a chorus space. It has recognized it and it tells you this color space is Rex of No no. Okay, right. So what do we have? We have mostly it's RGB rec 709 mp three and then I think I recognize that the three, that's what should what should be choosing, right? Because p three was cinema, Remember, Disaster is D C I b three. But that's where I said I'm gonna catch you again in the content. We're talking about the incoming input. How is the input? We don't care about it. Yes, it is gonna become p three. That's much later. As in the D c. P tab. Not now. Now is just How is it Incoming. Is it coming in as Rex Avenue and I Okay, it has recognized it because if you've done it, you've done it in computer monitor and then it s RGB. Then it's gonna recognize this rgb or you need to change it to us. RGB 67 or nine is the TV standard. Okay, if you work in four TV initially, if you have a 16.9, then you have probably prepared this stuff for TV than its rhetoric. Seven. But this B three is for cinema. We don't touch it. Maybe maybe initially, you you already paper and the whole thing for cinema. And you have calibrated this stuff MP three. Brilliant. Then it needs to be three. Him appears to be three here, then I would expect disappear magic to recognize it for you. Otherwise, it's rec seven or nine. It's whatever. Sorry, whatever. In my case, it's Rex of No, no, it's Whatever has bean done has been fixed by deceit, dramatic or whatever. You know, you have has called a space for your film from your the venture Result from your adobe premiere from your event or whatever other, um, final cuts. Whatever do people see you is fine. Okay, nice. And here you have a little lovely summary off. What's going on? So what is this Contents? DeSipio have the same rate. Good. Just check noise content in D. C. But oh, content frame rate is 25. Why? Because if I come here to D c. P. You find 25 because it tells it Say's use best. Yes, I know I've jumped to the DCP top, but we were already done with this one, uh, content frame rate. This is the most important part. Now that's left is 25. It says 25. What did we say? Right? The safest way is to go with the past, not with the future. What's the past? Most cinema projectors in the world work with 24 frames per second that you want to risk. Ah, go ahead with 25. But there are blunt e Ah, a huge amount of service that will not play it. They will just simply not play it. Okay, Um but I'm gonna leave it 25 okay? And then I think What do you mean? Like we've agreed it's gonna be 24. OK, leave it. 25. For now. We'll talk about this. Move to D. C P. Have you finished here? We're finished to go. If you have any subtitles you import your your recipe, but all the moments there's told you told you obviously audio, Right. Okay. Here comes the part where I am going to be blunt, and I'm not going to be choosing my words. And I'm gonna ask you to excuse me for that, my dear, because when it comes to sound, there's no mercy. You click on show graph off your levels because once you click is going to calculate the peak. Right? Okay, So you come here, please wait or do is being analyzed and it's going to analyze your file. Something is happening. The background and it gives you here. This is the duration. Obviously it's just three minutes. So I just This is what's going on and showing you the left and right. Why is there only left and right? Because it is steady. Or remember, I've left a stereo. I have met the criminal mistake of living as a stereo. I know it needs to be 5.1, but guess what? Diplomatic is kind of forgive in, right? But it's not giving it its not going to give you any bonuses or or treat you well. It will before given say Okay. You You have given me rubbish. OK? I tried to deal with rubbish. Eso left right, But normally should be you should have six, which is 5.1. Okay, five plus 0.1 star for about These are the secret six months her and then you can visualize one of them. Whatever. Here comes the point where I am going to be brutal and you need you desperately need this brutality. Okay, my dear, if you do not understand what is going on on this screen if you don't understand what is simple peak True peak loudness in this stuff. Chances are you're not even ready to submit anything. Project to any festival. Go back and do your homework for audio postproduction, please. The crime that most filmmakers make is that they spend 99 come on 901 100% off their attention. Money, budget, time, creativity on the picture. And the sound is garbage made in half an hour ish, removing some noise and we move on. Um, And then you come to the DCP part here, and you're left not knowing what the hell is going on. Right? So let me close this one and just keep it simple. There's the speak. That's the one you want toe worry about. So I'm not going to explain or juice and post production, because this has bean thoroughly explained in specific courses. One for davinci resolve. If you're is in the fisheries off fair lights one for other people. Tradition failures in adobe audition. Um, now what I'm gonna tell you is that cinemas do not have any rules. If you are submitting to TV, they're gonna tell you. Minus 60 b. But the big here is minus 884 db. Um, many think Well, that's a bit too quiet indeed for, um, for the cinema. How by how much am I going to increase it? What's the target? Tell me the target. There is no target. This is the annoying bit that I think you will find for Straighten. Which every filmmaker France first. Frustration. Because there is no rule anything. Kill Kaka. But what's the best practice? What most people do? There is no not think. There's nothing about what most people do. That's the problem, projectionists Change it themselves. So whatever you're doing here, the cinema projectionist is gonna change it. As for his own daily habits, live with it. It's a fact you have to live with. Meaning. If I want to move it to minus tree, I will do something like five coma eight for right? Let's see. Calculate rights. Okay, Now getting calculator. I want to play this back at favor, but I have to use this failure if you don't know what I am talking about. You are not really into sound purse production stuff, right? Okay, so you've done some really McDonald sound prospection. But for now, you could completely ignore this one. You don't have to put in anything. Okay? You could completely ignore it because you just want to have to peek. Right? Um, that that one gives you the opportunity to just the favor. Okay. You using a favor? But the playback is another failure. Whatever. Um, you could do this, but then you say, Yes, I know. I'm targeting. I'm raisin. It's gonna become the peak, which is the highest sound. That's the loudest sound in the whole film is gonna move up to minus three. Which somewhat eyes. It's not. I'm over simplifying it somewhat. Kind of trying to normalize. It's not really normalizing. Its not normalizing, but it's kind of moving the whole thing by to make sure that the peak moves from the minus eight to minus tree. And then you think, Why do you want Why did I choose ministry? I don't know. You don't know? You will never know. What you know is that you start getting your own style. What's my style? You go with minus two. Okay. Say so. You have this guy who always goes with months to So whenever you get from that studio, you know that the protectionist knows that. Oh, it's coming from Disney. This is always does art ministry or something like that. But the protectionist in that specific cinema is going to two week, um, everything, as per his own daily habits. In terms off, he puts everything that certain level. So if yours is louder, that's why they start competing. That's that's why there's a problem so much that as we mentioned, there was a legal case in Belgium where AH girl think I've mentioned this one. OK, so we just move on. Um, it's too loud. The problem is that cinemas are too loud. That's why protectionists always reduced the volume down. So that's why you are going to be tempted to go even higher. Something like 7.8 and we start keep playing the mouse and the cat with the projectionist. That's what we're doing that's minus 0.4. And on the pick, and then do the color has changed. You're getting too close, my dear, to the zero. Do you know what zero. That's the Neverland. That's that's the land where you don't want to be. Zero is disaster. You don't want to do that minus one, but it's it's It's a it's a give and take it like it's a cat and mouse fight between the DCP on DeSipio makers Andy on the projectionist. It's like trying to be louder than the rest of the things that have been protected. Protected by anyway. I have to take you through this frustration off, not knowing what's the target. So you don't know what's the target. And therefore you don't know how much you need to add, and then we'll come to the world off cinema, not TV TV. You have, um, frozen rules as per TV station and sometimes per group off TV channels. Okay, some group of TV channels have decide to have This is what we go for on generally in the world. It's minus six. You could go here minus six. Buck is gonna be too quiet for cinema sometimes. Okay, good. Did I explain enough enough for you not to know what to do? Didn't have done my job because that's actually the situation, is that you are not going to know exactly what you in for. But you know that you need to be just about enough loud not to be turned down by the protectionist because they always turn stuff down. Right? Delay millimeters Second, like more milliseconds. Don't Don't touch this stuff. Don't touch it. Don't touch it. This is part of Southwest direction. Don't touch it. Here is on Lee, If you have mustard your audio mixture audio for TV and you're thinking, Oh, let's raise the loudness issue raised the peak for cinema. That's all right. And then he if you have content normally, as you say, As you see, this is prepared for 5.1 six channels. 5.1. It's six channels. So and then you left with you're You're terrible, stereo. I don't think you there's only these two here. Yeah, you can change if you want the location, but this is actually where you start changing. Um, which one goes where? You don't want to do it here. Sound post production and choice off channels needs to be. Don't end the sound purse production. Don't touch anything here in the d c. P o Matic for audio. So what do you do in this diplomatic for audio? After this whole blah blah, what do you do? You increase your peak to something that is that feels over a period of time. Kind of reasonable. Okay, if you don't hear something back from the festival image, you've done it right. But the louder I feel it's a crime even to give you this advice. But the louder the better. I'm sorry for that. But that's following, like, the majority of people were gonna hear it be hurting people's ears. That's not good. But for now, there's no rule yet. And some people believe there should not be no rule that they should should not be any rules for cinema. Uh, but that's what we are. Good timing. Let's move to time in here. Um, timing have got the position. We've got the full length. This is the full and off your feel. Now, this is a trailer has got three point something minutes, actually, So really, really a trader, but off taking something that looks like a trailer. So just to explain, this technically has a different name. It's not a trailer, but yeah, whatever. Let's call it trailer for now. Dream from from start dream from and I think at least some sort of jokes or something. Playland, This is the lump video frame rate. Okay, this is this is the only bit that we have. We know we're going to only change this if the contents frame rate has bean read incorrectly. Meaning this if where is it? CES 25 Here. Here. It says 25. It has been read correctly. So don't come here and say, Yeah, it's now time to change it to 24. No, remember, we're still under the content up. We're still talking about the incoming input. All of this stuff you don't want to touch, not even think off clicking on the time in home the time in top. Don't even do it. Because as you notice here, if you're going to trim something if you're going to change the position where moved to start off, Really? Is it not supposed to be done in editing? Yeah. Okay, so forget about this. Stop, please. Okay. You're going to notice that once we go through this, you're just gonna under put a handful of settings to change everything else. Is there, like just wasting space? Nice. Have we've done everything. Have moved. Have we finished? Everything? Yes. Good. So time in, ignore. Totally. Or do you just You want to look at this. Okay? For fun, you can load again. Your chart. That's for fun, if you know what what it does. But that's it. And then for video, um, the scale is the one that matters the most. Just have a look at the color space, and that's it. And, of course, the frame rate. These are three things here. So three in video, one in audio. Don't touch this. Nice That smoked with the DCP. Now it's the making of stuff, right? So forget about how it was, what it needs to become good. All right. The name I put there just number there. But what's the name off the field? That's the name. That's what is it called? Is it called? I don't know. Like what? Whatever the name of the film is needs to be there, I'm gonna keep it. A state Details use on SD C. F. Name. This is the naming convention that is agreed upon. And you want to stick to that? Go to the details. Click conducting the content version. This is your version Number one. Okay. Called it number one order language. What's the language that is spoken? Is that English? Is it whatever language you use two letters to describe it. Okay. Subtitle language. Every got subtitles Because if you have, you would have uploaded them here, right? As an authority, add files. SRT. You put it in there. Okay. Uh, this obviously is that, of course, about subtitles? Because that's how that happens in editing. It's no in d c p d c p Just a technical transco Odin stuff. Okay, so let's go back the details. Subtitles And then you put the subtitles I don't know like if it's in French, all in, in, in Dutch, or in German or whatever Italian. Okay, it's two letters. Nice. Good. The territory. So where is it meant for? So if it is going to be for, let's say, Ah, the old your language is in French. Let's was great. A big mess. This not trucks with all the language is different here. Subtitles are in in in Dutch. Okay, on the territory is obviously is gonna be Dutch. So you're going to notice that these two is gonna are gonna be the kind of the same? Not necessarily. What kind of the same? Because you could have German for Switzerland, right? So they're not there different. Then you have rating what this is for them. You know, the audience rating stuff For which audience? As you know, that there are. There are They're categories that you need to fill in here on the studio. The three letters that define your studio. If it's OK, you are independent filmmaker. Just big three letters for your production company. Okay, This is normally for Disney for stopper than you. Facility facility is there one for which facility has filled with some? Which editing house has prepared a DCP. Right. So it's in your case. I am absolutely sure it's gonna be the same thing has this one? Because it's the one independent filmmaker making his own stuff. So it's gonna be the same as this fine, temporary version pre release stuff, right? Don't leave this one. Just forget about it. Because if you're preparing your short film, um, you couldn't do 10 version, but whatever. It's just a to two d version of content available in three D muscle eminence. That's it. Ignore these wounds beneath you. You stop here. Okay? Let me say Okay, um, I just dropped these ones because they were only for the purposes. Off demonstration, the council. Good, right. A content type. What is this? Um, this is self explanatory, but be careful. Some servers could get a little bit nervous if you are messing with the categories. If this is a feature and you say it's a trailer on, if it's a trailer and you forget to change, say, for example, this is a trailer and you forget to changed type two trailer and you keep it a feature. Some cinema service could get a little bit nervous. Creates a mess because this content type helps the the cinema server, which is pretty advanced to cut the grise. Which one goes where? Okay. Right. Um, and trailers tend to be even louder than the feature films. Good. So what do you have? Is it a teasers? That Whatever. Yeah, got advertisement promoting plenty of stuff in here. Chances are we are working about We're talking about a short film. Okay, You're probably making a short feeling you're submitting that to the film festival. Or if you have a feature film 90 minutes 10 or more. Well, the definition of feature phones gonna be different for civil and stuff, but roughly about 90 minutes. Um, then you go for future for Okay. Clear. Signed, Signed, encrypted or hold on a moment we talked about contraption. Do you need it? Okay. First question that somebody needed not. You wanna talk about you that somebody else require it? If the answer is yes. You click here and then you set your You edit your your You're a Yorkie, okay? And creating your own them key, and then you email it Nice. Cool. If it's not, then chances are you don't want to have it encrypted because encryption is great, but just brings in headaches. Okay, You have a short film. Simply do not encrypted. You're submitting something to the festival. Please do not encrypted. Okay, you're not You're going to notice A festivals are gonna ask him not to encrypt stuff. Reels? What are reels in this case is just videophiles. Read them in plain English as videophiles. Here it says single, change it to a video file. It's a single video file. Well, off this is a single Philly off. But if you want, it gives you the opportunity to split by video content. And in this case, you get to choose, um, or custom. Um, rial limp. You get to choose how many gigabytes per video file. Okay, in this case, we keep it a single rial. Actually, that's not the wrong with keeping that single rial, because then you will get, um, one videophile. That's not really okay. I am oversimplifying things. You're going to get several X files. We've agreed about that. What did we say? The DCP is is has plenty of files, by definition, by definition. So even if you say single rial, you're gonna end up with plenty off files. So I was just trying to explain if you want to split your film or you want to keep it as one whole bit Okay, Good standard. The one of the most important ones when we go to the biggest principle in the world and the universe off the city. What was that? There's one principle. If you keep it in mind, everything is going to go. Very well. What was that exactly? The majority off cinema servers in the world. What do they do? Which standard you have? Two of them you have is empty. Is MPT okay? His empathy. That's the latest and greatest. That's the the one that is so for Given that it can read 24 25 from second blend er frames per second. Quite a lot of them actually is pretty advanced. It's new. It's chic. What did we say? Not every server has that, which means that forget it. Go back to the past. We need to select Interrupt. So my advice Just do not bother. Choosen smp t e When do you do a sympathy eat when a new one gets created and every other server in the world? Sorry. Every serving the world scene was having the world has its MPT then would choose it because it has become the past. Yes, it's a bit weird. We don't look to the future. We look back to the boss, so I chose interrupt no other moment. What about those s m I was thinking is MPT e servers. Um are they gonna read? Interrupt? Obviously, because it is backward compatible. That's the beauty of to think you go enter up and then you do like this and then you get you get what? Um, you get to play with the old version which is acceptable. Accepted everywhere. Every single cinema server on the planet Earth in the universe is going to play in throw up now. Why was I little bit? Why did I go blank little bit when I was talking about this? Because I wanted to make the link directly jumping into the frame rate Interrupt does not consume 25. What did we say is MPT Please any frame rate you want what can not, only free right plenty or frame rates. Got a huge list. Actually, if you choose one outside of that list means you really have a specific creative need. Whatever he's got plenty in therapy is just 24. Remember? I've left my film a 25 back in DaVinci back in a movie premiere, and it came in here as a 25. Right on up till here. It stays 25 and I'm going to do I'm gonna I'm going to play this stupid. I'm gonna do as if I don't know what I'm talking about. I'm gonna leave it a 25 on disappear. Matter is going to start swearing, right? That's our swears. Like, What are you doing, man? You are in choosing interrupting. You want 25. What kind of what do you What is this? So I'm gonna leave it like that, Okay? And they let me. Now go back to the container because the most important part is frame rate container. What have you said? It's gonna be flat our scope. OK, you can do full frame, but go flat scope. You're safer. What happens with scope? You see, I get much more room in the sides. The pillars get bigger. I don't want that. Because if I take this to a flat screen, it's gonna look even worse. Okay, so I'll go with flat. But if the flat and stop in a scope film that starred in a scope cinema is gonna be okay, All right? Resolution. Whatever He said, we have the choice to go to K or four K. Yes, you're right, sir, Or madam or, um, whatever you are, it is to okay. It cannot be other than four k. Sorry. It's gonna be other than two dozen two k. Because if you go for K, you are risking a lot. And we are. And where we submit our films to festivals or when we send the film for protection in the world in cinemas worldwide. You don't want to take that risk. Okay, So you have to go to okay? Always look back at the past. Good. The frame rate. We've talked about this one. We will come back and change it once the seat. Dramatic start swearing if it's really it's really. But now you see that? Ah, remember that J peg 2000 compression we were talking about. We didn't mess with that when we when we were talking about the content. Don't talk about don't do that here. It's in D C P time. Here on this is your Jay Peak 2000 compression. At what rate? The default one in this version off this diplomatic say's 150. If you're using an older version is gonna say 100. But what we What's the maximum? The maximum is 250 megabits per second. Okay, let's go to your 15 minutes of Ciccolo Ho. Hold on a moment. You don't jump to the maximum just like that because it is better. You are OK with 150. Okay, you could go a little bit higher. 100 is even enough. 150 is good. Just be careful that not all cinema projectors are alike. So when you go on 50 you are short. All of them are gonna consume it. You got 250 are pushing all of them to the limits, and some of them are going to start Really feeling it. You don't want to do that? Um, you could not be higher than 1 50 but just be careful. Please speak up. You condemn it. If you If you have some heavy visual effects with some colors and you start seeing some you know, some of the gradation in the color and in uniform colors you could go up slightly. But please don't go for the maximum. You know, disappear rolls of you've noticed are completely different. Now we look at the past. We don't go to the maximum. We go for the lowest resolution. Everything is different. Everything is not ideal. We go for whatever is not ideal. That's what you choose. Okay, um, re encode data from input. We don't do that. Okay? We do not re incurred the dot from the input. Nice. Good. Now we're ready to the world to go to jobs. Actually, we're not ready. I'm playing the stupid now on deliberately jobs. Make this IPI click on that. And then you see, the D. C. P. O Matic has started swearing. You are set up for a DeSipio. You are set up for a disappear at a frame off 25. This frame rate is not supported by old projectors. You may want to consider changing your frame rate to 24. That's quite polite. If you do use 25 you should change your DCP standard. It's empty. It is MPT. Okay, I'm very clear. Okay? It's interrupt 24 or its 25 is him, 5. Test your DCP with Cinema projection software: you're DCP is done finished. Now we can go on find it in our Windows Explorer or your finder. Um and then this is what you get. Actually, it's a lot of folders and files, and then you find there is a video of someone here. Okay, You do not need to worry at all or try to understand the whole structure because it's not meant for you. It's meant for the cinema server. The cinema server will understand what is going on. Okay, so this is what it looks like just for you to be familiar with the look off the support structure. Good. Now what do we do? We put it in a hard this. Consented. No, you have to test it first, obviously. Now testing it. Obviously, you always have the option. The expensive option off getting a cinema territory and then checking it there. That option is always there. But that's not what I'm offering you. I'm offering you a free version. Check it, Actually, twice. You're gonna be checking it twice because we can. We're gonna do it. Right. So how do we do that? I want you to go to the players off the cinema servers. Okay, so there's a new DCP. Um, let me show you other months holder moment here. Okay, I start with this one. Nao dcp new DCP. You go to neo desipio dot com and then you'll find dollar. That this is a software is going to allow you to play as infest your DeSipio. Right? Be careful that this stuff is pricey. But then hold on a moment from the very beginning, we have agreed. I'm only going to give you free stuff. Yes, of course, because we're going to go for the trial version. So you need to do is just register your name. Your password. You saw your create create an account basically, and get the I don't know, the trial versions trying version is gonna be there for I don't know how long, but we caught something sorry for 30 days, maybe 30 days. So you only do this once you've finished your disappear. Like if you're ready to test it, then you get that. Then you have a few. If you wake some things, we have 30 days. Something up to test it. Another one because so it's good to be perfectly sure about things. I want you to go to get the scenic asset player from Dolby. Okay, um, this one is actually very reliable. NATO disip e is very reliable. VLCC has some sort of capability, but it's not something you want to count on. Okay? I know the else years is if you know, if you'll see it's a free version, but then it's a free software, but then it's not really that reliable. Okay, You don't want to test your stuff with TLC. That's it with no desipio, Andi, mostly with senior asset player. Please do both. Okay. All right, let's do that. So you go, by the way, if you come to, um uh, we just actually just Dr Congo were changing the verb you google this to into your doctor. Go this for more privacy? You just search for senior asset player and you end up with on the first. Yeah. You get told. We see massive player not used to be dummy. Um, yeah, Domino, uh, service. So you have this and then you click, and then you come where you find here. Okay? Find the dealer that they're quite expensive. Very expensive. I mean, the senior asset package. The player is just part of the package is is quite pricey. You don't care about that. I just go to documents and you come to here. Give me the evaluation version, usually combat. And then you find your way to your download on. You get it? OK, basically, it is what you have. Okay. 20 version windows, Mark. Whatever. Nice. None. Know that we've done this. Let's move on to the test in. So I'm going to go to my which is let's start with neo DCP near the city. Okay, file open. DCP. I'm going to go. This is number five is not the right wanted to go up one level and go up again. What level? One level. Let me go to number eight, which is the one that we worked on on then. Video. Sorry. Let's go. My level. Yep. Okay. This is the one. Okay. You want to have your asset map? This is the out of the dictionary of what's going on. Enough holder. I set him up, Okay. And then click on that. When you click on the acid map, you get this name, which you could hardly recognized because it's the Honda has been generated by the naming convention that is inside the DCP. Remember, we have input quite a few things there too. Okay. Ah, a few things. Their eyes Got the dates, Got a few things Nice. You click on open sea the L What is C p l with mentioned this before open the composition playlist. All right, so when you do that, you could conduct it is going to play something. This is what you get. You get this new Dalek box open and you will get those Remember those black bars here because we have kept the 10. 80 p 16 by nine aspect ratio on anything. You didn't tell me how to fix it. Now there is no way to fix it other than leaving it there. Because once you're going to play it in the cinema, if that cinema has any curtains, they're going to close the curtains uphill that dark bit, and then it plays. If it does not, then the black is gonna project on the white. Which basically means is gonna appear as nothing and you will not have an issue with that. Please do not count on this I need you from the very beginning. If you want. You may. If you are going to make a film with an aspect ratio. If you are going to make a film for cinema, do make it compatible with the flat or with the scope Inspector issues we have talked about . Okay, but this is one way to show you the 10. 80 p 16 by nine. It is not technically a crime. Although I prefer that you don't give it but because it is required by TV and you may want to use the same thing for TVNZ forcing a man, you say Okay, you know what? Let's push the same project not recommended. But you see, still could do that. Technically. Okay, so this is what you get. You get told you, but but obviously it's written quite clearly in Detroit version, the audio and video quality is reduced on the original Subtitles are not displayed Good because they know people may abuse rights. They may abuse the trial versions into using them, actually to project cinema content. So they're telling you are Listen, this is just to give you the flavor that this stuff has worked. Nice Okay, so you listen to your audio. Look at your video. If it's fine, Good, Nice. But there's still today. It's reduced up. This is why I want you to go to the other one. Please do both of them. It's always good to have bottom. They're free for now. The trial versions obviously. Let me go. Where's my scene? Asset player? Here we go. This is my sin assets player. This is, um, pretty robust stuff. This is This used to be a domino. This space on the domino. Sorry on the door. And me. Why do I keep calling them Domino? On the very dreamy servers, dreamy cinema servers are quite known. And that's what they use actually to play. So it would be quite nice to play and test your disip e on the same software is gonna be using it for protection and cinemas. What? It's one of many, but the enemy is quite a during me and not domino dot EMEA protectors are quite quite popular. Open media. Then I go to my d city. Just go to your ass with my number eight Roids Select folder. This is a picture of this. It sounds Okay, fine. Whatever. Get me the real right. Okay. And then Brilliant. Now, listen, what does it say? Um, evaluation. I just need you to be aware of this. And you remember back earlier in the course, I talked about a 12th version. Okay, This is why you get an error and they start panicking. Holder moment. All this work is going from nothing. No, they're just sending you. We don't want you to abuse our software, sir. So if it's more than 10 seconds, we're going to make it a fail. All right is gonna fail. But even if you can, you can continue. You get to see it. Okay, continue. You get to see this stuff, you can play right and see the stuff. But then the quality is gonna be different here. Obviously, you're gonna have this big, um, watermark. And then the sound is gonna be very different on the audio. And then it tells you a violation version. It gets very, very, very quickly nervous. It gets nervous very quickly, and it starts saying in violation versions, it really wants to protect their They want to protect their i p. This is why when you work on your disip e, please? Um, early on, when you export your film, just get a few 10 seconds. You could get the 1st 10 seconds, but sometimes it's good to get a few. They say to 240 frames because we plane at 24 frames per second is gonna be 10 seconds. So if you go and select a few parts of your film and then make only 10 seconds films like what? Yes, it just put this in purposes. If the 10 seconds worked brilliantly Your film Your feature from Maginness it's going brilliantly. So select, um, one second from this scene. One second from this scene. Ah, half a second from this scene have taken Monday and then put them together and make them a test version. Okay, then, if you do that, let me Now come. Okay. And go and open another one. Open one that actually had or d made 10 seconds off open media. How can you go to the far Dick? Was five. Probably for this 5 10 seconds. I don't remember. Actually, I must check. Um exit, I think is the one word duration. Nine seconds. Yeah, this is the one. Okay. Now, if you do that, um, then you should be OK, Ok, as in, they're gonna show you the real stuff that you have. Obviously, Always. There's no No, I said step calculated in the lineup. Check in on Italy. New senator. Pass, pass, pass pass. It has. It's basically saying it's everything is okay. Well, please do tested with 12th version as well. Um, And then you say, Continue. Now, when you do that, you are going to get your exact You will get the the obviously with watermark. But then the audio have turned the order off not to disrupt you. Because otherwise my speaker is gonna be loud and stuff. And you get your stuff that doesn't it always actually always evaluation question. So please check the sound, because then they are going to give you the good sound. Good quality. Good sound for 10 seconds For the rest, they will tell you again. Oh, by the way, it's an evaluation version. You Thank you. Thank you. We know it's an about it conversion on. We are only using it for this purpose. Okay, this time for evaluating our DCP actually good, but that's it, that's all. Uh, this is for the part where it comes to the testing. Please always test always this using these two, if you have more. Fine. You know what is quite simple? I've given you to go ahead and check the brand off if you really all kind off insist on making sure it does play in every single possible in imaginable Zell's send us. However, in the world, there are few brands out there. Check which software they use. They sell them, don't buy it. Just need to try a version just like we've done for not a domino, but during me for the door me version, which is this one. Senate Asset players. And I said, Player comes as part of a bigger package, but I can get you condone it. The player alone. Or you can get the full package at a trial version as well. Good noise. Okay, Now that we've done this, what is the next step? I need you to big where a few of a few things. Okay, um, you need to provide. And I'm using this verb to provide, and I'm avoiding other verbs. Will you be using that later. That is not much left to just few seconds. Actually, To talk about this, you need to provide the Fit Festival or the cinema, um, houses with your film content, using plain English stuff, Not technical, because now I'm gonna go to the technical bit. What does provide as a verb really mean? It means Sunde by courier or sent by post your hard disk. But if they have on uploading than it is upload in your a lot off gigabytes. Okay? Uploading your film is not that straightforward. You need robust Internet, plus a lot of time because it's gonna be I don't know, something like a feature film could easily be around 170 gigabytes. Okay, Um, roughly more or less something like that. So you want to be aware of that? Good. And if you have one version, you've got multiple versions. It could slightly differ. If you've got more dubbed orderly, we've got subtitles and stuff. That's that's all a matter off. I live that close to you, actually. To the possibility that you are given. Do you have an upload link by own means to upload it right? Make sure you're cleared it, because if you don't, you gonna have to go through the step, which is phenomenally important. Which is not to forget that the hard disk that you're going to send is Lennox formatted e x t three. And that's something you can only do with UNIX machine.