If DCP Australia is not handling your post production, and you’re delivering to us just for DCP mastering, please use the information below to make sure your material is delivered in the correct specifications.
Generally, the larger the file is, the better quality it will be. Low resolution codecs designed for internet streaming, such as H264 and Mp4, should be avoided.
If you’d like access to our upload portal, please email us and request a username and password. Otherwise we also accept delivery on most common digital mediums like Dropbox, Hightail and Aspera.
We also have a dedicated upload account on Dropbox for large feature length files, please request a username and password if you wish to upload to our Dropbox account.
For our international partners we use IONOS Networks for high speed solutions.
Our studios are located in the Entertainment Quarter in the heart of Fox Studio’s Sydney. If you prefer to mail a hard drive or drop in with a hard drive yourself, you’re more than welcome.
We can work with virtually any file format given however, these are the preferred formats:
Image Sequences (Preferably 8, 10 or 12 Bit)
J2C (Jpeg2000)
TIFF derivates
DPX (RGB)
BMP
PNG
JPG
Apple ProRes HQ, 4444.
Avid DNxHD/DNxHR
Other high resolution codecs are accepted also but when using H264/Mp4 please encode your videos at the highest possible Bitrate to avoid any compression artifacts.
Please tell us which colour space your project was graded in. Typically, this will be Rec709 with a gamma of 2.4 for all HDTV content, however some graders will use a 2.2 gamma. This is dependent on the specific setup of your colourist. Please ask before delivering material to us.
If no colour information is provided we will use default base values of Rec709 with a 2.4 gamma.
We also accept material graded in P3 and can take unique LUTS from your colourist.The most important thing to remember is to tell us the specifics of your project so we can get it right the first time.
We can make your DCP in any standard frame rate, however not all cinemas can play them. 24p Interop format has been the standard for many years, however most cinemas in Australia are now able to play 25p DCP’s.
As a rule, for the highest possible compatibility, we recommend using 24p IOP format, especially if your film will play in North America. In the years going forward SMPTE will become more accepted.
You should choose the nearest resolution to your source material. For instance, if your material is HD 1920×1080, you would choose FLAT as your nearest compatible DCP size. This results in a 4% scaling of the material, with a slight crop from the top and bottom edges.
Please ask us for guidance if you’re not sure. We’re here to help.
| DCP 2K | Full container | 2048×1080 |
| FLAT | 1998×1080 | |
| Scope | 2048×858 | |
| DCP 4K | Full container | 4096×2160 |
| FLAT | 3996×2160 | |
| scope | 4096×1716 |
For commercial films, you should avoid the Full Container format. Whilst it’s technically legal, it is not an academy recognized format, and some cinemas will not project it properly.
Audio for DCP should be uncompressed, 24bit, 48khz (or 96Khz) wav or aiff files, in a 5.1 or 7.1 configuration. Please ask your audio engineers to deliver audio that matches your picture exactly, and is of the same duration with the same starting frame.
If you only have stereo audio, please talk to us about the option of up-mixing your audio to 5.1 if required.