Superlative image processing quality for conversion to 24p or 30p for Theater presentation, including:
- Pixel-accurate, fast, any-to-any Motion-Compensated (MC) frame-rate conversion technology for smoothest presentation in a Theater. No artifacts visible in normal theater presentation. Duplicated frames can be automatically removed prior to frame rate conversion for smoother motion results.
- The best deinterlacing and inverse telecine technology including automated handling of mixed cadences, etc. Documentary makers understand the importance of correctly handling a wide range of material.
- Superbly sharp GPU video scaler/rotator suitable for scaling to the Big Screen with natural-looking edge enhancement, and absolutely no ringing, enabling highest-quality SD to HD, or even UHD
- Breakthrough quality, GPU accelerated MC detail/edge-preserving HDR/SDR noise reduction for a truly immersive Theater showing experience.
Extremely flexible conversion to the DCP requirements of ANY theater.

What is a Digital Cinema Package (DCP)?

A DCP is really a special set of files on a specially formatted drive using the Linux ext2 or ext3 filesystem. It is the nearest equivalent to a reel of film in the modern era. The files consist of two .mxf container files, one for a sequence of JPEG-2000 images, another for multiple uncompressed audio sound tracks, either stereo, or more commonly, six-channels (5.1).

What happens if I have 1, 3,4 or 5 audio tracks?

Generally you create a separate .wav file for each audio track, and then create separate silent tracks of the same name for the unused audio channels to make a total of two or six. To avoid confusion, we recommend that 5.1 audio tracks should be named systematically, like 'audio.L.wav', 'audio.R.wav', 'audio.C.wav', 'audio.LFE.wav', 'audio.Ls.wav', 'audio.Rs.wav' for the left, right, center, low-frequency effects, left-surround, and right-surround respectively. We can create silent tracks for you for a modest additional charge. Alternatively, you can deliver a regular .mov or similar file with the audio and video packaged together, and we will take it the rest of the way. The audio and video tracks should be timed to start together. We may charge extra if silence has to be inserted at the start of each audio track in order to align with the video, for example.

No, we can take interlaced/progressive, standard/high definition video from anywhere in the World and make it look acceptable at a theater if it looks acceptable on your computer monitor. All theaters require integer frame rates, and therefore cannot accept video rates like 23.976. Most theaters require 24p, but some can do 30p and 48p. Generally, higher frame-rates give smoother motion. If you give us content at 23.976p or 29.97p, we can speed it up slightly to 24p or 30p, and adjust the audio to match, and without using frame-rate conversion. Note that this makes the movie about 0.1% shorter than the length of the film you give us. This small speedup cannot be noticed while watching the film. A program at 25p can also be slowed down by 4% to 24p to avoid frame-rate conversion, but the effects may be slightly noticeable, both visually and audibly.

Most theaters support "2K" resolutions, in particular, a "Flat" (1.85:1) resolution of 1998x1080, so it's a little wider than conventional HD (1920x1080). We can convert HD to flat, producing a slight pillarbox effect, which is fine as the narrow black bars at either side are not visible in a dark theater. Some theaters support "Full" (1.9:1, 2048x1080) or even the wider "Scope" format (2.39:1, 2048x858). "4k" theaters support these same aspect ratios, but with all pixel widths and heights doubled. Stereoscopic films should be limited to 2K.

Short answer - the best looking version you have - as long as it is playable on a computer. Further conversions may degrade quality, and should be avoided. If you want to make a new film, you can use Prores-444 in a .mov container, or even create a sequence of individual .tiff files.

Probably not, unless you have a recent Linux box, or have a driver installed for that purpose, and have a special player that can read and synchronize the separate audio and video files. If you know the theater where your film is to be shown, it is recommended that you contact the projectionist to confirm their requirements. If possible, you should also book a short theater viewing test once the DCP drive is sent to you.