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Suggestion for a sidebar stickied post: how to make a DCP for festivals. Here's my experience, on a Mac (warning: wall of text).

I'm going to be unnecessarily detailed because this process is so wait-and-see that I want to be able to reassure first-timers that they're taking the right steps. Also I'm not suggesting that this post be stickied, but that stickied info about self-generating a DCP could be very helpful to filmmakers here. And if anyone spots any mistakes in my OP, please point them out so I can make edits. This is my experience and it was frustrating, so I want to help out fellow filmmakers.
For context, our film was a no-budget 8mm feature edited by me on an iMac using FCPX. Our post budget was nil, which complicated our meeting festival guidelines since my labor was voluntary and we couldn't pay to have a DCP generated for us. edit 1: The lowest-cost local (Brooklyn) DCP service, with a 5-day turnaround, was ~$900.
I had a hard time finding DCP standards online and was only tipped to the required file-format (Ext2, 3 or 4, Ext2 for safety) by another user here; most of the online tutorials I found, including those using EasyDCP and DCP-o-Matic, did not cover the formatting of the delivery drive.
edit 2: You absolutely can mistakenly save your DCP to an incorrectly-formatted drive such as ExFAT. You won't receive any sort of error prompt, but AFAIK a theater DCI system will not be able to read it. Be sure your drive is correctly formatted.
Our festival — Outfest Los Angeles — required a DCP and two Blu-Ray backups on different-branded discs. I purchased a BR writer that I returned after burning the discs, and had to download a trial version of MacGo Blu Ray Player to view the discs in OSX to confirm that they worked. For those users who don't know (I didn't) Mac can't natively read a Blu-Ray disc. FCPX can burn to it; OSX can't play it back. It's a Sony copyright thing. I created two DCPs using both EasyDCP and DCP-o-Matic. The DCP using Resolve with EasyDCP was done on a friend's machine because EasyDCP is expensive as hell. I formatted our two flash drives that we sent as Ext2 using an 8-day trial of ExtFS for Mac.
So for other editors who may need to create a DCP on their Mac and haven't done so before, here are the steps I took:
DCI standards call for Ext2, Ext3 or Ext4 formatted drives. This is because the DCI projection systems use a Linux standard. This might be common knowledge for some of y'all, but my Google-fu didn't turn it up easily.
Mac doesn't natively handle these formats. You can install a Linux virtual machine and format your drive via Virtualbox, Parallels etc., or you can use a third-party app. I used the third-party ExtFS For Mac. It's recommended that you format to the older Ext2 since newer players are backward-compatible and you don't want to send your drive to a festival with an older DCI system that can't handle Ext3–4.
I downloaded an 8-day trial of ExtFS for Mac and reformatted two flash drives to Ext2. The ExtFS launcher will be located in the System Preferences pane, not in your Applications folder. I don't know if this is particular to Linux or to the third-party app, but the reformatting took a very long time, leading me to think the process had hung and cancel it a few times, costing me hours of time. If you're used to erasing drives using Disk Utility in Mac, you might expect the reformatting to take minutes. For my 128GB drive, it took about two hours; for my 256GB drive, it took almost four.
On to creating the DCP: EasyDCP in Resolve was my first stop, and I found it to be more limited than DCP-o-Matic, which was referred to me by a mod from /editors. For example, our film was edited in a 24fps timeline. Because it was shot in 8mm and due to sound sync, I was retiming a lot in the edit, so I chose to use 24fps for the whole show. Unless I'm mistaken, EasyDCP in Resolve would only generate a DCP at 23.98fps. DCP-o-Matic allowed me to use 24fps, so I ultimately used that program because I was concerned about causing problems with the soundtrack. There might not be a reason to worry about that, but I appreciate that DCP-o-Matic allowed me to match my project's framerate.
edit 3: In both applications you'll be given the option to choose an aspect ratio of either Scope (2.39:1) or Flat (1.85:1). Here is where I'll most likely need to be corrected by someone with more knowledge, but from what I understand if you've shot your project in 16:9 then you'll want to choose Flat. For what it's worth our film, despite being shot on 8mm, was exported at 16:9 and the Flat aspect ratio displayed it correctly.
The DCP export in both applications takes a very long time as it actually renders frame by frame. I'm using a '13 iMac with a 3.4 GHz Intel Core i7 & an NVIDIA GTX 680MX 2048 MB, and I had to leave both applications running overnight because the process took so long. Once the processes were finished, the outputs weren't identical. I've been told that this isn't unusual as DCP-o-Matic is more full-authoring than EasyDCP, but I'm including screenshots here because I figure it's useful.
Here's the EasyDCP output.
Here's the DCP-o-Matic output.
As you can see, there's more content in the DCP-o-Matic output. According to both the manual and the dev (thanks dcpomatic!) that's normal, and the content you want to copy to your delivery drive is in the folder that's highlighted in my image.
I sent the festival the DCP-o-Matic outputs because I actually sent an EasyDCP file to the festival first and was told that it was unreadable. The DCP-o-Matic files were confirmed to work in an actual theater before mailing, so on top of the fact that the application is open-source (and free!) I suppose I recommend it because I know that it worked. You can play back DCP video in the application, but not audio, so I still suggest finding a theater to test your DCP in before mailing it off. That can sound intimidating, but it's worth calling around. It seems that it's really not possible to confirm that your DCP really works on your home computer.
I hope this is helpful to other editors; the trial and error it took me to successfully generate our DCP cost about four solid, frustrating days. If you follow these steps (and if you're on Mac) it will hopefully only take you one.
submitted by doggexbay to Filmmakers

Technical help for a cinematheque

Hi there, I am a filmmaker. We've been dreaming of building a cinematheque in our city for years now. But in between work, we rarely find enough time to discuss about this massive undertaking. We still don't have a concrete plan but I thought it would be cool to go through various components that would make this 'cinematheque' a reality.
The filmmakers and the audience are the biggest components of a cinema culture that is alive and functional. However a proper space for both entities to engage is also a must. Hence, I am writing here in hopes of receiving technical guidelines that would enable us to have a sound vision of the 'actual' space itself.
Here are my questions:
  1. What kind of a projector would we need for a 100 seater theatre ? We need a projector that covers the DCI P3 space since we also want to enable independent filmmakers to test their final DCPs in the theatre after they've finished their color grading and sound mix. We're thinking 2k as the minimum resolution ... Also open to buying used projectors.
  2. Do we actually need a DCP server ? Can we make do with a PC with EasyDCP player ? What's the best solution ?
  3. We really want to install 16 and 35mm projectors in the future but are they affordable at all ? If we construct the building with plans of installing these later, how should we plan beforehand so that it's a smooth upgrade ?
  4. Any suggestions for a set of 5.1 speakers that would enable filmmakers to test their final sound mix ? Something good that would translate well across most theatres ?
I have more questions but I'll add them once the conversation gets going. Thanks in advance !
submitted by ghintang1 to hometheater

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