Due Date: TBD
What are DCPs?
DCPs are Digital Cinema Packages - a collection of files (audio, video, asset map, etc) used for the exhibition of projects in cinematic spaces like movie theaters or screening rooms.
Here at Emerson, the Post Production team collects submissions and creates DCPs for all BA Capstone, BFA, and MFA projects screening in the Bright Family Screening Room.
In the Bright Family Screening Room, we have the hardware to project DCP media in resolutions up to 4K. DCPs have standardized cinema aspect ratios and resolutions.
The “Flat” aspect ratio is the Cinema DCP Standard closest to 16:9.
The “Scope” aspect ratio is the Cinema DCP standard for widescreen.
DCI Full Container (1.9:1)
The “Full Container” aspect ratio is not a standard for cinema exhibition, but we have the ability to project this aspect ratio in the Bright Family Screening Room. Many cameras that record in 2K or 4K (or higher) will default to the Full Container aspect ratio so that the image can be cropped during post production (typically to a Flat or Scope ratio). If you choose to screen a Full Container project in the Bright, please understand that the projector may display (very) slight cropping since it is not one of the standards.
What are the standard resolutions that align with these aspect ratios?
|Cinema DCP 2K||Cinema DCP 4K|
|DCI Full Container (1.9:1)||2048x1080||4096x2160|
Other Aspect Ratios:
If your project was finished in a different aspect ratio, it is usually best to submit your film without any pillar-boxing or letter-boxing (no black bars horizontally or vertically). When the post team creates your DCP, it will be encoded using the closest possible aspect ratio based on DCP standards.
For example, if your project is 16:9 (1920x1080), then the post team will place your submission inside a Flat 1.85:1 composition (1998x1080). If you view the DCP digitally, you will see the black bars on either side. When we screen the same DCP in the Bright through the cinema projector, these black bars will be cropped by the projection screen.
In pre-production, it is important to decide which aspect ratio you plan to finish with so you can frame your compositions properly on set and account for any cropping that might happen in post production. Please contact the post team prior to your submission if you have questions about your aspect ratio or resolution.
All submissions must be delivered in an uncompressed codec/format. We advise using either of the following:
- Apple ProRes - 422 or 4444 (preferred)
- DNxHR - MXF-OP1A
Please note that we can not accept compressed or intra-frame codecs such as H.264 or H.265.
Need assistance? Read our guide: Exporting Master Files for Screenings
Other Submission Requirements
Please use the following template to name your submission file:
- Your Name_Film Title
Please fill out the following submission form: [link coming soon]
You will be asked for the following information: Class (BA Capstone, BFA, MFA, etc.), section number (if applicable), film title, resolution, aspect ratio, frame rate, audio Sample rate (kHz), audio format (Stereo, Mono, or 5.1?)
How to submit
Be sure to follow our submission format guidelines and fill out the submission form linked above.
Upload your file to Google Drive and share it with us at firstname.lastname@example.org
Please be aware that this upload could take a significant amount of time based on your file size and internet speed. We advise uploading the night before to ensure your upload is finished before the 10:00am deadlines.
The day prior to your deadline, the post team will have computers set up in the DPL (8th floor of Ansin) where students can copy their submission files to the server from 9:00am and 4:00pm.
If you need to drop off your file in person at an earlier date, please schedule a time to do so with Kieran McKeon before your deadline.
If we do not have your submission by the specified due date, you will not be guaranteed a DCP or QC.
QCs (Quality Control)
QCs will be scheduled in the week leading up to the screening. An exact schedule for the day will be shared once submissions close.
All films submitted by the deadline are guaranteed a QC in the Bright Family Screening Room. The purpose of this time is to watch your DCP in the screening space, set the master volume level, and ensure that the file plays through in its entirety without any issues. In the unlikely event that your file does not play properly due to an error on our part, we will encode a new DCP and schedule a make-up QC.
The QC is not a time to evaluate creative decisions. Only films with major technical issues will be considered for the makeup QC date.
Due to the nature of the technology, your experience watching your film on a projector will differ from your experience watching the same film on an OLED display in the DPL suites. Many students find that their film appears darker (especially in the shadows) in the BFSR because they are no longer viewing on a backlit display.
For submissions and more information, please contact the Post Production team: