We have all seen how costs can rise dramatically in post. I've always felt there are areas that should become less expensive as we digitized the theatrical workflow. However, it does not appear to have happened per se, so I have taken it upon myself to develop solutions that do the job professionally but without the astronomical price tag. My experience at the highest level forever reminds me how, once a film is signed off, the theatrical distribution stream becomes a minefield...that is unless you have distributed before and have the necessary learnings to go again, only with more effective tools and ideas under your belt. I was responsible for over 500 theatrical releases at Columbia pics and Disney in EMEA, and I feel that we marched toward automation because it was the correct approach in an increasingly complex world. All the while knowing that independents distributing for the first time might well be put off from ever doing it again. It is our mission at Cineport to bring distribution into a fit for purpose platform so the necessary tools and workflow are accessible and cost effective. We need more theatrical releases, and we need more cinemas to open up to independent filmmakers.
Post-Production : Automated DCP Mastering. by Saul Mahoney
Other topics in Post-Production:
Check out Trending Discussions
Register / Log In
2 people like this
Saul Mahoney This is a really interesting approach. I’m still learning more about the theatrical distribution side of post-production, so I appreciate you sharing your experience and perspective.
I’m curious about a few things: when you talk about automated DCP mastering, what parts of the current process are you seeing as the biggest opportunities for automation? Is it mainly the technical packaging and QC process, or are there other areas where filmmakers tend to run into challenges?
For independent filmmakers completing their first feature, what are some of the most common mistakes or unexpected costs you see when preparing a film for theatrical release? Also, how much technical knowledge do filmmakers typically need to have versus relying on platforms like Cineport to handle those requirements?
It’s exciting to see solutions being developed that could make theatrical distribution more accessible for indie filmmakers.
1 person likes this
Cyrus Sales One key area to be mindful of - DCP File size. If the DCP is 200GB, that 200GB has to be transferred to every location. This has an impact on cost, efficiency, reliability (and climate, we should not forget).
In early 2010's we set out this issue at Disney; in operations, we were dealing with huge files, each release suffered these challenges. We reached out to our studios (Marvel, Pixar, ILM, Disney Animation, Disney Live Action) and discussed how file sizes might be reduced - to lighten the load on the delivery operation - with both eDelivery and HDD options. File size is the last thing anyone thinks about when mastering, and the tools to reduce file size are there, but VBR -Variable Bit Rate compression is always worth considering. Applying VBR can return significantly smaller DCPs without any quality loss, than more common CBR (Constant Bit Rate) compression. This results in leaner and more reliable distribution from the get go. File size is an important decision often overlooked in the business, and there are tools to address this effectively, we just need to implement them. Cyrus Sales , As you are in Post Production, is this subject on your radar when considering theatrical releases?
1 person likes this
Saul Mahoney Thanks for sharing your perspective, Saul. That's a really interesting point and, admittedly, not something I've had to consider yet.
Most of my work has been creating deliverables for social media and digital platforms, so I haven't had the opportunity to work through the DCP mastering or theatrical distribution process firsthand. My focus has primarily been on ensuring the audio and final deliverables meet the client's platform requirements.
It's interesting to learn how much file size optimization can impact theatrical distribution, especially at scale. There are clearly a lot of considerations beyond simply creating the final master.
I appreciate you sharing your experience. It's definitely an area I'd like to learn more about as I continue expanding into theatrical post-production.
1 person likes this
At what stage is the VBR applied? When I make a JPEG 2000 sequence for use in a DCP, I’m not sure that’s an option.