Creation of 2K/4K/3D DCP from master video material:

• When creating a DCP from master video material, the source can be in any video format and may be made with any video and audio codecs. However, in accordance with industry standards, we prefer ProRes 422/4444 or DnxHD source materials.
• By default, all our DCPs are encoded at the frame rate (24 or 25 fps) received with the source material. In cases of special client requests or source materials delivered at fractional frame rates (23.976/29.976/50i/60i), a frame rate conversion will always occur, which incurs a one-time conversion cost.
• The aspect ratio for the DCP is always determined by the closest DCI standard aspect ratio to that of the source material. Any deviation from this in image size or aspect ratio will be adjusted through upscaling or downscaling.
• The master video material must be provided in its final color-graded state. If you are unsure about the technical parameters of your source material, please contact us.
• The following workflows are included in the DCP creation process at no additional charge: downloading the source file(s), technical inspection, creation and provision of a time-coded screener for the client.
• Upon client request, we can create an encrypted copy without additional production costs. However, in this case the client will need to order KDMs (keys necessary for projection) later for the projection venue of the DCP for the duration of the screening. KDMs are always delivered via email to the projection venue and to the client.
• The completed DCP can be delivered on a physical medium or digitally. In the former case, the client must provide the data carriers. For digital delivery, we can provide the digital copy on the following platforms: CineFort CineTransfer, WireQube, Gofilex, Aspera, SFTP.
• For an additional fee, the client has the option to request a copy of the finished material for archival purposes in Bluray or video file format.
• The fees calculated by the price calculator and the final quote may vary slightly depending on the specific task.
• We offer discounts to independent creators and nonprofit organizations.
• For special requests, please contact us.

Creation of DCP language versions from an OV DCP with subtitles and dubbed audio tracks:

• Any standard (SMPTE or Interop) DCP OV (Original Version) copy is suitable for creating language versions, provided the copy is complete and intact.
• In the case of an encrypted DCP copy, the client must provide a DKDM (Distribution Key Delivery Message) for the mastering station of CineFort KFT. Without this, we cannot create the language version of the DCP. We also cannot perform the work with a KDM issued for another company’s mastering station or a cinema projection server.
• The dubbed audio tracks must be consolidated with the video tracks. (The audio and video tracks must be of the same length.) Please remove the „leader tape” and „beep tone” from the beginning and end of the audio tracks. The format and encoding of the audio tracks can be anything, but we prefer the PCM .wav format. There is an option for post-production modification of the audio tracks for an additional fee.
• The following workflows are included in the DCP versioning process at no additional charge: downloading the OV DCP, technical inspection.
• OV DCPs not created at CineFort require preparation (unpacking/decrypting, creating a TC-screener), and therefore, we charge an additional fee in this case.
• For subtitling, the subtitle file must match the OV DCP with an accuracy of +- 2 frames. It must not contain timecode overlaps, more than 46 characters in one line, or more than two lines of text in a subtitle. The maximum CPS (characters per second) must be less than 25 for each subtitle. We may charge an additional fee for post-production subtitle corrections. If you are unsure about the technical parameters of your source materials, please contact us.
• If only a script without timecodes is available, spotting (timing/synchronizing/typesetting) is required. The quality of spotting does not depend either on the spoken or on the subtitled language; our colleagues work with great expertise, keeping in mind the industry standards for subtitling. In case of special requests, we undertake the translation and proofreading of subtitles, the creation of multi-language, specially positioned and colored subtitles, as well as subtitles for the deaf and hard of hearing, and DCP versioning.
• For an additional fee, the client has the option to request a copy of the finished VF (Version File) material for archival purposes in Bluray or video file format.
• We offer discounts to independent creators and nonprofit organizations.

Subtitle Projection:

• We offer real-time subtitle projection, which can be done through projector broadcasting or keying the text onto the video signal.
• For subtitle projection with fixed content, the client must provide a subtitle file that matches the material’s timecode exactly, as well as a frame-accurate screener of the projected content. We cannot assume responsibility for errors arising from discrepancies between the screener and the projected content, or between the subtitles and the projected subtitles. To avoid this, the client must ensure a control projection time at the venue.
• We can also create the screener and subtitle files, please contact us to inquire about pricing.
• We undertake subtitling and prompting for theatrical performances and concerts, which involves working based on the script with manual timing. Since each of these events is unique, please contact us to discuss the details.

Event Technology:

• We provide amplification for events and concerts, the implementation of visual technology for conferences (presentations, playback materials, live video editing, broadcast management), audio and video recording tasks with live editing or post-production, technical broadcast management for streams, and technical support for podcasts, interviews, and other events.
• For the pricing of our event technology services, please contact us.