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The Making-of 2014

Presentation: The DCI Manufacturing Processes and Digital Cinema Distribution

With Tommaso Vergallo (France).

The DCI production workflow and digital content management

Introduction & DCI Specifications

Image ratios overview

2D images:

2048x1080 (2K) at 24, 25, 30 frames/sec

and with HFR (High Frame Rate) 48 and 60 frames/sec

or 4096x2160 (4K) at 24, 25, 30 frames/sec

Stereoscopic 3D images: (no 4K)

2048x1080 (2K) at 24 or 48 frames/sec per eye in HFR

Image and Audio format

The DCP Structure

The DCI Mastering Steps

The generation of a Digital Cinema Package (DCP) consists of various steps and phases:

  1. Digital Source Master (DSM): any source of digitized images .dpx or .cin in RGB format with any pixel matrix (spatial), frame rate (temporal) and bit depth.
  2. Digital Cinema Distribution Master (DCDM): it’s a standardized format to exchange movies between the studio and the post-production. This DCDM is uncompressed (i.e. in 16-bit X’Y’Z’ , TIFF file format) and contains all the specifications of the future DCP (resolution, frame rate and audio channels). As a high end master the DCDM is used for long term archiving f.ex. on LTO tapes…Waiting for next generation archive format IMF…
  3. Lossy Compression Stage: for saving storage space and bandwidth, the size of a DCP must be reduced so that it can be transported, saved and displayed without great efforts. So the image files of the DCP will be converted to 12bit (X’Y’Z’) and then encoded with JPEG2000. The audio data will not be compressed.
  4. Digital Cinema Package (DCP): the last stage of a DCP creation, audio and J2C encoded image files will be wrapped (either encrypted or not) in the MXF format as the DCP’s content delivery format.

Work with partial DCP

DCP Distribution

To transport the DCP to the screening rooms, there are 2 options:

KDM management

Distribution trends


The Making-of 2014

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