Here’s a short check list to insure your get the best you can out of AutoDCP.
- Depending on the aspect of your movie, make sure your source is of the right resolution. Here’s are the important numbers
- 2.39 Aspect (most hollywood films are shot this way), your source file should be 2048×858 in resolution
- 1.85 Aspect (many feature films) 1998×1080
- 1.77 or HD (many festival films and or commericals are done this way, mostly because almost all cameras now shoot this way) 1920×1080. One word of caution, this format is actually not considered part of the Digital Cinema Initiative ‘official’ spec. However, again many theaters know how to arrange the screen for this format, just double check with your projectionists and festival. If you are trying to distribute the film to the major film houses, this format is often not supported (except possibly for commericals or preshow material).
- Don’t letterbox your content. This is probably the most common mistake, namely you have a 2.39 aspect movie inside of a 1920×1080 display (ie with black borders). This problem is typically because the editor did not export the content at full resolution, but rather what their editing timeline was set to for editing purposes. Typical editors work in a 16×9 aspect (1920×1080 resolution) computer monitor, for 2.39 aspect shows the movie is therefore letterboxed. For theatrical release you do not want letterboxing, so have the editor export the movie at the full 2.39 cinema aspect, with a resolution of 2048×858. Or for 1.85 shows, export it at 1998×1080.
- Make sure the framerate is either 23.98 or a true 24 fps.
- You must have one audio track and exactly one audio track. Inside of that track you can have either 1 channel, 2 channels (stereo), or 6 channels (5.1). If you want to make a DCP without any audio, just create a silence mono-channel track.