Many thanks for this. As a Lumafusion on iPad editor I’m struggling to understand how to make DCPs using free or cheap software (on zero budget) and am hopeful Da Vinci Resolve will get me there. Your tutorial is the best I’ve found so far but also the first to mention the daunting extra step of making DCP packages which I hadn’t even considered until now. My original decision to go with phone and iPad for writing, shooting, audio production and editing is starting to look a bit naive now in this DCP universe! Thanks anyway. I’ll watch again a few more times and hope the penny drops!

Legit. You may not realize but you are a hero becaouse not many people touched this subject properly. Thank You !

OMG! We were just saying today we wish someone would do a review of this. Thank you!!

This video SAVED my theatrical screening a few nights ago! Much love and respect for taking the time to share all of this 🙏

@joshwilliamsav

2 жыл бұрын

I’m happy to hear that! Out of curiosity, what problem were you running into that the video helped resolve? Thanks for sharing!

@85Grave

2 жыл бұрын

@@joshwilliamsav mainly the DCP transfer service! With the help of this video my DCP was ready and tested and uploaded to the projector at the theater at 7:59 p.m. Showtime was at 8:00 p.m. and the theater was completely packed LOL. Came insanely close to not happening at all this was literally my first time ever making a DCP I had banked on having a DVD for a backup and I just could not make that happen in 3 days I could not burn a DVD something that I was able to do with ease 20 years ago 🤣 the audio stuff was a big help as well though because the first few times I had tried to make the DCP I could not get all of the audio to come through I still honestly don't know how I finally made it work the last thing I did was batch all of my audio into one compound file and hail Mary'd it and it worked but without this video I would have showed up at the theater with it on an exfat flash drive and probably gotten chased out of there by the crowd with pitchforks and torches 🤣 now I'm going to school myself on audio and convert this movie to 5.1 instead of stereo and know what the hell I'm doing and why I'm doing it before I ever try something like that again with my next film LOL but thank you a zillion times over my man!!!

@joshwilliamsav

2 жыл бұрын

@@85Grave wow that's some intense last minute stress right there lol. Nothing more nerve wrecking than presenting a film to a bunch of people and you don't know if everything will go to plan. But sure feels good when it does! Thanks for sharing!

@LAFAMILIATHEMOVIE

Жыл бұрын

@@joshwilliamsav im having the same issue I went today to check the dip it look amazing but the audio was only coming from the from 2 speakers that's bc I only have stereo audio could I pay you to take my audio file and make it 5.1

@sushinskiy

Жыл бұрын

But I need buy full version on DaVinci for 300 US dollars, right?

Hi Josh. Excellent tutorial. I'm going to participate in a festival in Barcelona and I managed to do the DCP with your help. Thank you very much.

@joshwilliamsav

2 жыл бұрын

Excellent and best of luck!

Thanks for the amazing tutorial. It´s concise and very explanatory!

Best video all around (I sorted 15 up to now), where you explain the hows and the whys. Thank you. The drive formatting at the end was the cherry on top. Amazing content, sir!

@joshwilliamsav

2 жыл бұрын

Thank you! I went through most of those videos myself and they got me nowhere. They would just talk and and talk with no clear process defined. I felt that most people have a finished film and just need to know how to get it into DCP format to present on a Theater and the process is relatively straight forward. But I also covered a few curveballs and considerations people might run into with sound and aspect ratios etc. Appreciate your feedback!

@joshwilliamsav

2 жыл бұрын

Thank you! I went through most of those videos myself and they got me nowhere. They would just talk and talk with no clear process defined. I felt that most people have a finished film and just need to know how to get it into DCP format to present on a Theater and the process is relatively straight forward. But I also covered a few curveballs and considerations people might run into with sound and aspect ratios etc. Appreciate your feedback!

@activemotionpictures

Жыл бұрын

@@joshwilliamsav I agree. Also: Thank you for covering the EXT2 format + drive options. Really useful information.

THANK YOU! This was incredibly helpful, straightforward and worked without any issues. Really appreciate you taking the time to do this

@joshwilliamsav

Жыл бұрын

Happy to help!

@victorwillemoly8161

Жыл бұрын

@@joshwilliamsav When viewing my DCP export back in davinci I'm noticing it seems more saturated than a prores export. Is that normal for a DCP export or has something in the colour space gone wrong?

@joshwilliamsav

Жыл бұрын

@@victorwillemoly8161 that’s usually my experience too since the Color Space and Gamma are for DCP are different than my REC 709 monitor. It would look more normal on a P3-DCI Gamma 2.6 Projector or Calibrated Monitor like Apple.

Excellent instruction, really helpful. Thanks a million!

Exactly what I needed today, thank you.

Thank you very much for posting this video. It was very helpful!

Thank you very much for this value information. Not all heroes wear capes!

Thanks Josh! Great tutorial, have used it for all my screenings! Thanks!

Hi Josh. Excellent tutorial.

Thank you Josh! Just delivered and tested my first feature to the theater!

@joshwilliamsav

2 жыл бұрын

Happy to hear! Hope it was all successful!

@tadeuszjanuszewski

2 жыл бұрын

@@joshwilliamsav plays smooth like a charm! Premiere is 14 August, will let you know 😉

nice video! you got the lynch set up in the back!

Thanks a lot, very helpful!

Thank you, that was helpful

This tutorial is awesome!!!! I'm already do this and the theater has no problem with de DCP, just and upgrade if you want to save money, buy the plug-in from PARAGON to format in extFs2 the drive or usb, then just drop the FOLDER done by Davinci. AWESOME WORK JOSH!!!! ty for your Tutorial

@joshwilliamsav

2 ай бұрын

Glad it helped! And thanks for the plug-in tip, I will check into that!

Man, i had no idea how to set up a DCP Export correctly, but i have to do exactly that for my short film project. So thanks for saving my ass too.

THX soo much, you saved me a headache!

Informative.. thanks man!

Super helpful man, thanks so much!

@seabass_thorn

Жыл бұрын

Could I get some clarification on whether you mean that one should copy the mastered audio wav file in mono into all six tracks? Since you don't illustrate on video I just wanted to make sure.

Thank you for the video.

Thank you very much!

thank you very much bro!

Thanks so much for this tutorial. New suscribe here!

Yeah you rock thank you so much

Very helpful!

THANK YOU SO MUCH !❤

Great! Thanks

Thank you bro.

thank you

Josh, this is the single best tutorial I've found out there. One thing that I would update is that the Gamma 2.6 seems to show a bit milkier than the actual color grade. I wonder if setting it to 2.4 would be more accurate; will try.

@CheechSander

6 ай бұрын

Also, you skipped the filenaming convention MOVIETITLE_FTR_F_EN-XX_INT_51_2K_NULL_DATEYMD_NUL_SMPTE_OV

感谢感谢🙏

Its really helpful information for me thanks.... please I want to learn more about DCP and kdm... please guide me 🙏

you are my new god

thanks

Very good video. Thanks! Bummer about the 23.976 fps thing...

nice video. :)

Hey Josh, Thank you so much for this! most useful guide I've seen online. I had an issue with some of my stereo to 5:1 conversion. Some of the instruments on the music tracks rendered low in volume. I've fix this now by creating L and R mono tracks in premier. Can I simply replace the AUDIO.mxf file in the original DCP directory with the new one, matching the same file name as the original? Or do I have to create a whole new DCP again? I submitted the DCP to a festival already and want to avoid the innocence of sending a large file. Thanks in advance!

great video! Helped me in delivering my DCP for some screenings but i'm wondering how to include the subtitles without burning it in? (i know other open source software can do it but since i edit my film in DR so it's easier for me) Appreciate it!

This tutorial was awesome. It worked awesome for me but I had problems with the subtitles. Do you have any advise, on what format it should go on Resolve or is better just to have a version with subtitles burned in video?

@joshwilliamsav

2 жыл бұрын

If you want subtitles for the DCP you are presenting at a theater, you should burn the subtitles onto the video as you would like them presented. The theater will simply play what you give them. Usually only Digital Streaming Platforms will ask for Specific versions of the film with or without subtitles depending on country. Usually the supplied .SRT file will be uploaded and home viewers will have the option to activate the closed captions or provided subtitles in alternate languages etc.

hi josh you are a legend, thanks for the information, do you know how to put subtittles to activate in the dcp?

thank you for this tutorial. FWIW I just had to make a DCP and the screening room suggested DCI XYZ color space. But everything else seems to be to their spec.

@joshwilliamsav

Жыл бұрын

Hey there. From what I’ve read, the XYZ will just be converted by the projector into P3. Either way should come out the same. XYZ is capable of being used as any Color Space. I’m not sure if all projectors can do that. I’ve just continued to use P3 but always best to check with a theater for their desired Specs including Aspect Ratio.

@MoltenSon

Жыл бұрын

@@joshwilliamsav good to know, thank you!

@MoltenSon

Жыл бұрын

@@joshwilliamsav also, when ii follow your instructions (with color space XYZ or DCI-P3, my color always looks different, more saturated when i bring it back into resolve to view (or in another viewing program like DCP-o-matic 2 Player). Any idea what could be going on? Thank you!

Hi Josh, Thank you very much for this very useful video. Actually, a film festival asked me to send them a DCP file with - Color Space: X'Y'Z' DCDM - Package: InterOp, but I couldn't find these options in Davinci resolve. Do you have a solution for this? I appreciate.

Hi, I graded in rec 709 Davinci color managed. I see that you changed color space and gamma tag. Would I still need to do this or should I leave both on same as project? Thanks in advance!

Great video! Do the settings have to be Gamma 2.6? It looks very contrasty when I render with this setting but normal when I render with project settings. I View it through DCP-o-Matic and DaVinci resolve and they both show the same result.

@joshwilliamsav

Жыл бұрын

Hey there. I wouldn’t stray from the 2.6. Unless you have a monitor calibrated at P3-DCI and Gamma 2.6 I wouldn’t trust what you are seeing just by playing back or converting back to REC 709 2.4 etc. I’ve never had a contrast issue in theater screenings with P3-DCI Gamma 2.6. I’ve only had some experiences where it looks a bit more saturated. And again, unless I were to have Color graded it on a calibrated P3-DCI 2.6 screen I wouldn’t expect a perfect match but it’s close. Gamma 2.2 is for bright rooms displays like stores, phones and computers in an office etc. Gamma 2.4 is for watching TV at night in a living room situation and Gamma 2.6 is for a blacked out room like a theater. 2.6 is the standard used and I can only recommend that for DCP theater projector screening.

Great tutorial. I do have two questions. 1) I noticed that you left 4 tracks empty. Are they suppose to remained empty for the output or are we suppose to duplicate the audio tracks and fill those in? And if so, would that have a weird effect with the same sound coming through all channels? - 2) when checking my final output in DaVinci, my outputs are extremely more saturated in the color red and a bit darker on my monitor. I noticed other comments addressing similar issues, so I’m trusting that when it’s shown at the theater, it will look normal again?

@joshwilliamsav

Жыл бұрын

Hi Lee, 1) the DCP require 6 channels of audio and the example I gave with empty tracks was when you only have stereo audio with 2 channels. I added 6 mono audio tracks and duplicated the stereo track once so that I could move them down to the first 2 tracks which are Left and Right. Then I changed the clip attributes audio settings so that the left channel was only channel 1 which is left sound and the 2nd track was channel 2 which is right sound. Then they are panned Left and Right as well. In the theater the audio will play from the left and right speakers just like most people probably experience in a normal home stereo system. With the remaining tracks empty, there won’t be sound coming out of those channels. Center, LFE, Left Surround and Right Surround. If you don’t setup 6 channels Resolve will give you an error that they are required. 2) That is normal that the DCP looks slightly different do to the fact that the Color Space and Gamma levels are different in theater. You would need to view it on a P3-DCI Gamma 2.6 calibrated screen to see it properly. And no 2 screens will be calibrated the same. So if everything was done right I would expect the theater screening to look around 90-95% close to what it did on a SRGB or Rec709 computer/TV screen.

@smithandbradleyprod

Жыл бұрын

Thanks so much, Josh, for the clarification. This has been a huge help in understanding how it all works and what to expect.

Josh, this ia great resource you have shared with us all. Thank you! One question: Imy client shot and edited his film in 29.97 fps... how would you go about in this case? Are there 29.97 / 30 fps DCPs? Should I just plug the film into a 24p timeline and let it render out the audio and image by suppressing frames, interpolation, etc?

@joshwilliamsav

2 жыл бұрын

Hi Alan, from all the researching it seems that you would likely need to convert into a 24p timeline. Apparently there are a few projectors out there that support 30fps and if that was the case you would probably need to find a different Editing Software that allows you to Export a DCP at 30fps. I just double checked and no matter how I manipulate the Project settings or Delivery tab settings, it forces 24fps as its greyed out and can't be changed when DCP is selected. Hopefully it comes out smooth enough if you try converting. I know cutting frames can end up a little glitchy here and there.

@AlanLangdon

2 жыл бұрын

@@joshwilliamsav Great advice. the DCP looked great on the test projection. Thank you so much, a great video that has helped me through a task I could not have done so otherwise. Cheers to you!

@joshwilliamsav

2 жыл бұрын

@@AlanLangdon thanks for sharing Alan! Glad that it was able to help you. I know it feels good to have your mission accomplished and able to present to everyone. Cheers!

Great video Josh. Thanks very much. Question - in your example of creating the 5.1 from 2.0 stem -- by duplicating two identical mono tracks from the stereo track and putting them in L and R -- isn't that essential 'dual mono' and not stereo?

@joshwilliamsav

2 жыл бұрын

Hi Julian. If done correctly it should be stereo and not dual mono. If you start with a stereo track it has a Channel 1 and a Channel 2 in its Clip Attributes. When you pull it down to a mono track and then duplicate and pull down to a 2nd mono track, the audio track is still a stereo track and contains both a left and right channel (Channel 1 and 2). The empty stereo track can be deleted making the next mini track Track 1. When you right click and select Clip Attributes-Audio, the top Track is Left and you select Channel 1. The duplicate channel should be track 2 and in the clip attributes it should be set to Channel 2 which is Right. If Track 1 and Track 2 were both set to Channel 1, they would both be the Left Sounds. Hope that makes sense.

@juliangalea3066

2 жыл бұрын

​@@joshwilliamsav Got it! Thanks so much for your insight and tutorial. This is GOLD!!!

@ozzyosmond1

Жыл бұрын

I had this same concern. And while the response Josh gave makes sense, I will verify this on my own because the L and R waveforms look identical. Probably fine, but I I need to see for myself!

Hello, I calibrated my monitor to correct the color of a short film with the xrite i1 display pro device with adjustments of 80 candelas per square meter and gamma 2.6. The color settings of the project are set to rec.709 and gamma 2.4 (daVinci). When I output for DCP, the gamma appears a bit darker in the DCP o matic software. I wanted to know, shouldn't I have calibrated the monitor on gamma 2.6? Or does the output from the final video have a great effect on the gamma of the dcp file? (eg prores 4444 or DnxHR)

I have to export a DCP of my film with two languages of subtitles burned in. (One at the top of the frame and one at the bottom.) Since it's not possible to export two subtitle tracks at once, could I run an export just like this for the first one, and re-export that DCP file with the second subtitles? Or would it make sense to export some other file type for the first pass?

@joshwilliamsav

2 жыл бұрын

Yes it seems that you can only have one active subtitle track at a time. I would export your film with the subtitle on top with the first language as ProRes 4444 and then bring it back into Resolve again and add the bottom Subtitle with the next language. Then do the DCP export which will allow the Next Subtitle to burn into the video while exporting if you check the correct export settings for subtitles.

Thanks for this video! I've used DCPomatic before, but this seems so much easier. One question: if I am rednering out from Windows the package is the folder, correct? And this is what needs to be sent to the festival? The last step was for Mac users?

@joshwilliamsav

2 жыл бұрын

Hey there, the folder rendered out is just the DCP itself. The “package” is the drive with the DCP copied onto it which typically has to be a Linux EXT3 format that the theaters projector system can read. I’ve been told that Windows 11 can now create a Linux EXT3 format but have not upgraded and tried for myself. Essentially the last step with the Cinematiq software, which seems to be Mac Only, is the software I used creates the Linux EXT3 formatted USB drive and copies the DCP files/folder onto it, then verified it’s all in working order. If Windows 11 or some other software can turn your USB drive into a Linux EXT3 and allow you to copy the DCP you exported to it, you would be able to take that to the theater and play it. People who show up with a regular Windows or Mac formatted USB drive like EXFat, NTFS, FAT32 or OSX etc will not work.

@MrJhmw01

2 жыл бұрын

@@joshwilliamsav thanks this answers my question! And in break neck speed too. I know it is possible for me to send the dcp folder across to their Dropbox, does this mean that they will be then sorting out the Linux format their end?

@joshwilliamsav

2 жыл бұрын

@@MrJhmw01 sounds like Dropbox would take care of it and just be the DCP folder/files that Resolve rendered out. That’s actually pretty cool if they have Dropbox and would allow people to upload. They would just download the file locally and ingest it. Takes away half of the complicated process.

Thanks a lot Josh. Had a question around when to use 2K DCI vs 4K DCI?

@joshwilliamsav

2 жыл бұрын

Its my understanding that you would almost never use 2K DCI or 4K DCI. DCI is a "Full" Container and most Projectors only support "Flat" or "Scope" Containers. "Full" Containers would be a slightly higher resolution resulting in all sides of the image being cut off on the screen unless you are specifically presenting on a DCI Capable Projector. You would want to usually contact the Theater where you are intending to screen your film at and ask them what there Projector Resolution is so you can determine what to export your DCP at. I have even gone as far as exporting both a Flat and a Scope just incase their projector doesn't have the ability to switch between those modes if you didn't bring the correct one. If they don't support DCI and your bring DCI its likely that your image would be cut off if they can't adjust it.

@BhaskarNagarajan007

2 жыл бұрын

@@joshwilliamsav Thanks, I will check with the theatre to confirm it. And I think exporting in different formats is a good option too.

So I dont need to change the aspect ratio in my timeline settings before export? I can leave the timeline as 16:9?

@Janken_Pro

Жыл бұрын

Yes

What type of countdowns and "pops" are typically included in a DCP? Is there a standard or does one typically just set the DCP in and out points as the film content itself without any coundowns or test patterns?

@joshwilliamsav

Жыл бұрын

Typically the DCP should appear as you want it displayed in a screening. Reels for Associated production companies, movie, credits. Some people do trailers for their other films. Just depends on what the screening is for. The majority stick to just the movie.

@levimaaia

Жыл бұрын

Thanks, @@joshwilliamsav.

Hay Josh, my cinema is asking for a XYZ format for the color space, I don't see that in resolve, any ideas.

@joshwilliamsav

2 жыл бұрын

It looks like you would choose CIE XYZ from the Resolve Delivery Color Space Tag drop down menu in your case.

@PerthYouthFilmAcademy

2 жыл бұрын

@@joshwilliamsav Thanks Josh.

Hey, loved you video ! I just rendered my short film dcp for theater screening. But there is on the preview the davinci resolve logo and the easy dcp logo too, will it be on the final result or should i remove it in settings ?

@joshwilliamsav

Жыл бұрын

Hey there! Sounds like you are using the free version. The free version will let you set it up and export but leaves the watermark. You would have to use Resolve Studio to get rid of the watermark. It’s a worth while investment considering it’s free upgrades for life and continually improves as one of the best editors, Color Grading suites and even visual FX applications.

@TheWayOfDesert

Жыл бұрын

@@joshwilliamsav no i got actually the studio version. Thats the problem haha

@joshwilliamsav

Жыл бұрын

@@TheWayOfDesert ok, maybe it’s the EasyDCP part. It shouldn’t be EasyDCP. Easy DCP requires its own license. Make sure Kakadu JPEG 2000 is selected as Codec and not EasyDCP option. Perhaps that’s it.

Much thanks for such an invaluable video. My project was shot on Full HD 1920*1080 in 1.85 aspect ratio. Exporting DCP in DCI 2k flat it send a message that it will add pixels for higher 2k resolution which is understandable. The main issue is that it's showing bar on top, bottom and both sides. These bars are not as wide as 2.35 but eventually they suck. Kindly suggest a solution.

@joshwilliamsav

Жыл бұрын

Where are you viewing the DCP after exporting it to see these bars? Normally, at a theater, you don’t notice if there is any black bars because the image fills the screen and anything else on the sides or top just ends up black like the rest of the back wall of the theater surrounding the screen. It’s not like on a computer monitor or TV screen where the bars show up like empty space. Even if you had bars it would hardly be noticeable if at all. I would think that if you had any black bars, you would only have them on sides and since 2K Flat is 1998x1080 which coming from 1920x1080 only adds 78 horizontally. I’ve read that you can upscale it’s in your timeline to match and maximize your playback for DCP. I might not have had this problem before since I always was working with 4K or 6K footage. But I have used output blanking to purposely give a 2.39:1 look and the movie looked fine. I’ve done both scope and flat at a screening and the theater projector was able to adjust a bit to fill the screen. It just depends on the situation. I think you would be fine with the black bars and even if you noticed them in the theater it would leave your thoughts after a minute. The dark wall and curtains and even the black bars on the screen look like it’s supposed to be that way unlike when a LED screen is filled with bars. Especially in a bright room. In a dark room it’s not really an issue.

@earl007ish

Жыл бұрын

@@joshwilliamsav Thanks Josh for your reply! I've viewed it on VLC as well as the Resolve. Is it possible I share snapshots to you via email?

Hi Josh, thanks for this quick, clear and easy to follow tutorial! I just have one question regarding color spaces and gamma tags. Other tutorials online recommend to not change color space and gamma tag in the render settings, but to leave them as "Same as project," which is, in my case, Rec.709 Gamma 2.4. They explain that DaVinci is doing the conversion to P3 anyway when you create a DCP. When I do that and check the DCP with DCP-o-matic, the colors are mostly identical as the Rec.709, they're just a bit less bright and more contrasty. Since I can't verify the DCP properly at a theater before the screening, I'd really like to know if it's normal that I see the "good" colors with DCP-o-matic. My question is: Is it absolutely necessary to change color space and gamma tag to P3 2.6 when making the DCP or does DaVinci make the conversion itself?

@joshwilliamsav

6 ай бұрын

My information is based on research for theater projection color space and gamma settings. The only other recommendations I’ve seen are to use XYZ instead of P3-DCI and that the projector will do the conversion from XYZ to P3-DCI itself. I’ve done this for theaters at least 3 times myself and had many people come back and tell me everything worked great for their screening as well. I know it’s confusing when there are 5 ways to do something that all end in the same result. But one thing I’ve learned after 10 years of using Davinci Resolve is never trust that it’s going to do things for you automatically. Especially when it comes to setting BIT Rates. I may revisit this video again soon to see if there is anything worth updating but in general it gets the job done and people have their screening experience mission accomplished.

Hi Josh, thanks for the tutorial! If I have two original stereo tracks, is it still possible to convert them into 5.1, or does it only work with one? Another question is what DCP type should I select for the 4:3 aspect ratio? Thanks again!!

@joshwilliamsav

Жыл бұрын

I believe you can have as much tracks as Resolve will allow so long as you have each stereo track routed/panned correctly. You can have 2 channels that are Front Left and 2 channels that are Front Right and then Pan them accordingly and it will come out that way in a 5.1 mix. Just make sure your audio levels are not getting too loud when you stack channels on top of each other. If 2 channels are playing at the same time it can cause a slight increase in volume sometimes. The 4:3 question is tough. I would say that you probably want to setup the 4:3 image to fill up the 1:85 timeline so that it has black pillars on the left and right. That way the screen will project black onto the sides and your 4:3 Color image in the middle. When I recently saw movies in 4:3 like The Whale, it just played the movie in the center of the wide screen not using the rest of the space. I believe some projectors can provide adjustable masking for 4:3. But we can’t predict what every theater is capable of. So I would just setup your timeline to have black bars on the side and export it like a normal 1:85 2K video. Hope that makes sense.

@liubovkorpusova

Жыл бұрын

@@joshwilliamsav awesome, thank you so much for the detailed explanation!!!

Do i still need to have the ssd disk formated to EXT 3 or for when using the Cinematic, dcp transfer? Also, if you receive a 5.1 audio track. You would still have to split it to 6 channels and map them as you did. You would think it should just work as it has already been mixed before outputted. In this case from adobe premiere (Im using Davinci).

@joshwilliamsav

2 жыл бұрын

Responded to your 5.1 question in your other comment. The Cinematique software is what formats the drive to EXT 3 and copies the DCP package to it so your can deliver the SSD to the theater. If you are computer savvy you could probably create your own EXT 3 formatted drive and copy it over yourself. The software does do some checks to make sure everything in the DCP package appears to be working but not necessary so long as the theater can read the drive and play the movie. I’ve heard some theaters can also accept Dropbox transfers and such. I would always check with them to see what delivery method they want but EXT 3 is supposed to be industry standard for most theater systems.

@joelarvidsson

2 жыл бұрын

@@joshwilliamsav You should be able to transfer it using a simple ftp program. But using Binary as transfer method to get the same file size as the original. Plan b is to get cinematiq transfer as you suggested. Thanks again for you're video!

How to rendering wrap to dcp with 5.1...

Hey Josh. So should you select "assign all" if all the available tracks match like you have on your screen? e.g. they all say B1o.

@joshwilliamsav

Жыл бұрын

Yeah that should work. If you click B1:Bus 1 Out at the top Busses List and then click Assign All, it should ensure all tracks are assigned to that Bus Out. There are cases where you can also add a Bus 2 and have a stereo track on channels 7-8 and assign those to B2o. And as long as your audio export settings are correct you can export a 5.1+2 (8 Channel) file. I guess in some cases the playback system will use the channel 7-8 for stereo playback. But honestly I’ve done the 5.1 (6 channel) outputs on numerous movie projects and they still play back fine in stereo on KZread, Amazon Prime, TV sets over usb stick etc.

@louisNortonSelzer

Жыл бұрын

@@joshwilliamsav thanks so much Josh - appreciate your thorough and speedy reply. Thanks for the tutorial

Hi josh great video , just had a doubt I am going to screen my film in a festival I shot the film in 4k what is the best resolution (DCP) I should export it on ?as I am screening in a 4k projector my film is 130 minutes how much storage do you think it would cover ? thank you

@joshwilliamsav

Жыл бұрын

It depends on the theater setup. 4K DCP can be either 3996x2160 (1.85/Flat or 4096x1716 (2.39/Scope). You may have to ask the theater which they use. They sometimes can also accommodate both by changing a projector setting but I would find out what they use and bring them their standard settings. The file size is hard to say but likely over 200GB. A 2 hour 2K DCP is close to 180GB. I usually just use a bunch of 1TB SSD drives to specially format and copy DCP packages to.

@artiswarcollectivesubmissions

Жыл бұрын

sorry 90 minutes !

@Josh Williams Can I create the DCP file from Davinci Resolve, put the DCP file on to a thumb drive and then mail the thumb drive to the film festival? Using FilmFreeway, Can't I just upload the DCP file directly? Whats the reasoning for a DCP transfer service? Thanks!

@joshwilliamsav

Жыл бұрын

Some places do accept a DCP on a normal Windows thumb drive. Just have to check with the theater and they will tell you if it needs to be specially formatted for Linux operating system or a normal Windows format.

Hi josh , after exporting dcp and testing my film he run without sound I don’t know why !

@joshwilliamsav

2 жыл бұрын

Perhaps double check the BUS assignments. You should be selecting 5.1 for Bus 1 under the Fairlight Menu- Bus Format Window and then go to Fairlight Menu - Bus Assign and make sure all of your Audio Tracks are routed to B1:Bus 1. Each audio track under Available Tracks should say Audio1 - B1o (Bus 1 Out) Audio2 - B1o for all the audio tracks. Also make sure it’s not muted. If you need to assign the tracks, you must select the Busses B1:Bus1 - Out first, then select the tracks below and you will see the B1o appear as it’s assignment. Hope you are able to find the problem.

Dont choose P3-DCI on color space tag and gamma2.6. right?

@joshwilliamsav

2 жыл бұрын

I always set my Colorspace tag and Gamma tag instead of Auto. Better to be safe than trust the software.

Hi Josh. I have a question. If I leave the (Color space Tag and Gamma Tag) Same as project is ok? maybe my image will look wash out?

@joshwilliamsav

2 жыл бұрын

Hi Vitto, only if your Color Space is already set to P3-DCI and Gamma 2.6. Then it would be ok. I think a lot of people are used to working in the Rec 709 or a RED Color Space Profile and would have to change the color tags. I always do it by habit because older versions of Davinci Resolve were apparently buggy and didn’t always use the project settings. Haven’t heard any complaints with 17.

@vitto8112

2 жыл бұрын

​@@joshwilliamsav Thank you for the reply. I always leave (same as project) but I will change to P3-DCI and Gamma 2.6 because my stuff looks washout in the cinema.

@joshwilliamsav

2 жыл бұрын

@@vitto8112 it’s the safest thing to make a habit of doing. I don’t trust the software to do it for me. :)

how would you do it , if you color managed a project node based (meaning using cst , output color space rtec709 as its my reference monitor) same as project setting output color space re7c09 then if i wanna export to dcp , do i only create a dcp file , or i need to change each cst node as well as overall project settings output color space !

@joshwilliamsav

Жыл бұрын

Hi, I would export everything as is to make one ProRes 4444 Master Copy. Then any changes or CST would be a single node. Way easier to manage. I personally never try to make a DCP from an Edit/Color Grade Project timeline.

great video i have a question i hear that if the color management settings is in rec 704 gamma 2.4 when i converted DCP it automatically transform, to XYZ, so i choice same as proyect, and it look exactly like the video in the player, so how i confirm thats it correct ? dcpo matic its okay to confirm that it work on the proyector?

@joshwilliamsav

2 жыл бұрын

Selecting P3-DCI and Gamma 2.6 tags under your DCP export settings will result in XYZ. Even if your Project Settings are Rec 709 Gamma 2.4. The final render is determined by the settings you choose to export.

@codex4102

2 жыл бұрын

@@joshwilliamsav thxs with that settings that you say the result its darker than the original video in the preview, its always like that? in the proyector its gonna be the same as the original video then, sorry if i ask but i have a film to convert and its not my proyect so i dont wanna mess with his work. And again thxs for the answer

@joshwilliamsav

2 жыл бұрын

@@codex4102 depending on what your computer is calibrated to, let’s just say REC 709 Gamma 2.4, the film should look different after being exported to any other color space tag or Gamma tag. Digital Theater Projectors are standard to P3-DCI Gamma 2.6. And the exported video should only look correct there. At least within 95%. Ideally it’s always best to color grade on the same reference monitor as the destination. Which is why a lot of color grading pros recommend having a REC 709 Gamma 2.4 calibrated monitor because most people watch movies on a home LED television that is REC 709 Gamma 2.4. When you see big budget Hollywood movies color grading and sound mixing they are usually doing it in a huge suite with a projection screen and sound system equal to that of a movie theater to ensure it looks it’s best there. But generally you are supposed to be able to change the color space tags and gamma and be suitable for other viewing destinations. If you follow my instructions on the video, you should be fine. Especially if your original film timeline was done in REC 709 Gamma 2.4 and export to DCP P3-DCI Gamma 2.6. I’ve never had anyone come back and say that their movie looked wrong in the theater. Usually people come back and say thank you, everything went fantastic and saved the day. Best of luck!

hello josh, thank you for your video, but i have a problem when i export, my image turn into a yellow tint, i used a black magic 6k, and i shoot in braw, do you have any solution please ? i'm really stressed because my projection is in 5 days, thank you very much

@joshwilliamsav

2 жыл бұрын

What are you viewing the new DCP on? The DCP will only look correct on a P3-DCI Color Space Gamma 2.6 monitor/projector. Some applications will preview it correctly but won’t be 100% accurate. The Resolve media browser usually shows if it looks correct or not. I can only suggest that you make sure all of the DCP settings were correct. The Color Space and Gamma Tags are really the only thing that specifies how to tag the DCP. And they should be P3-DCI and Gamma 2.6. I wouldn’t mess with anything else in the export settings like Data Levels etc. Pretty much how I walked through it in the video is how it should be set. In some computers you can also change your display color space settings to P3-DCI Gamma 2.6. VLC player is also supposed to be able to preview a DCP but can only show video or play audio, not both together.

@serhanmeewisse6458

Жыл бұрын

Curious to hear what your solution was to this (if any?) How did the project turn out in cinema Rayan?

tons of great info. the thing that is worrisome and confusing is the stems of 5.1 layout. Two things about it. There's SMPTE (which you showed) and Film layout. I guess DCPs are in SMPTE layout (LRCLfeLsLr)... But it seems like there should be a DIRECT OUT mode. and no panning work involved. That maintains the uneffected original speaker file stem. And leaving the LFE channel center panned... seems weird. It makes me think with your output settings, its probably just doing direct out and those panners don't matter. Whatever is in track 1, is embeeded in track 1. Done. Everything else was very. informative, but yes I 'm still a bit weary of the speaker channel assignment and panning.... we should have to pan a direct out channel...

@joshwilliamsav

Жыл бұрын

Your thinking is correct and there are ways to do it without having to worry about panning. You definitely don’t have to if you are just using a single 5.1 audio track. There is another way to do it where you have all the tracks and then Link them as a group and then if they are in the right order, it does the automatic panning assignment for you. I just didn’t want to over complicate it with too many options since I bet a lot of people just have stereo tracks anyway. 👍

@stenbiller99

Жыл бұрын

@@joshwilliamsav got it, thanks for the reply! For a 5.1 with stems I'll have to dig into how to direct out that. Subscribed!

@stenbiller99

Жыл бұрын

@@joshwilliamsav I can always use avid to layout the stems and do a direct out interleave to bring into resolve. Avid makes the direct out thing easy. I feel like there's a resolve equivalent. I need to learn more about fairlight looks like haha.

@joshwilliamsav

Жыл бұрын

@@stenbiller99 I still prefer to go out to Pro Tools and do all of my sound. Thats where I usualy do my 5.1 Surround mixing and then export Stems. Then I will bring the Stems into Resolve. I've never been a fan of Fairlight. Digital Audio Workstations are just far more developed to be good at what they are used for and even some of the software only has features that work in a DAW.

@stenbiller99

Жыл бұрын

@@joshwilliamsav for sure, but as a picture editor receiving 5.1 stems from another sound team, i trust avid media composer to interleave them if i have to do it myself. I don't have a pro tools license so media composer is my go to. I did find in resolve they have audio setting "All Timeline Tracks" which I think is their version of "Direct Out". I'll do some testing with that.

at 3:23 how do we know the tracks are assigned is the b10 what show that

Thanks for the informative tutorial. If one has a surround master track, can the surround audio track be exported directly rather than routing individual mono channels to a surround bus and exporting subsequently?

@joshwilliamsav

2 жыл бұрын

Hi Mort. Yes, I briefly implied that in my video as the first scenario. You would just leave that single 5.1 Audio Track that imported with your video file and still go into the Menu-Fairlight-Bus Format and Bus Assignment and make sure you have a 5.1 Bus added to your project and that the 5.1 track in your timeline is assigned to that 5.1 Bus. Then you are good to go. The panning should be automatic on a single 5.1 channel track. Only individual stems or stereo channels would need the 6 mono tracks and panning. Hope that helps!

@fotouhi

2 жыл бұрын

​@@joshwilliamsav Thank for taking the time to clarify. By the way, I’m told that Fairlight(Resolve) does not have the best algorithm for pitch-correction and can create artifacts as it messes up the localization of surround tracks. I also read that Time Factory II, ZTX algorithm can preserve phase coherence of the track if one must pitch the full mix.

@SLfilmBerlin

2 жыл бұрын

you should not pitch correct surround files. there can be nasty interference. if you have a 5.1 track, set the timeline audio track to 5.1 and be done. audio is usually the trickiest part and badly covered in here.

After 3:21, I see your audio track is now one track and 5.1. Everything so far works, but it seem my problem is somewhere around the bus assign. Under bus assign I only have/see M1:Main 1. I don't have a bus out button.

@joshwilliamsav

Жыл бұрын

Hi there! If you opened a new Resolve Project, it starts with no Bus Outputs or Assignments. Its greyed out in the menu. Once you dropped any type of video file with audio into the timeline, it should already create a Bus Output by default. In my case, its default label is B1: Bus 1 Out. On the Audio Track Assignment it says B1o for Bus 1 Output. I have tested bringing in a Movie file that has 5.1 Audio embedded in it and it still only created a Stereo Bus Output by default. I have to go to the top menu and click Fairlight, Bus Format, then change BUS 1 Format setting from Stereo to 5.1. From there it should be set because my imported audio channel is already 5.1 and routed to BUS 1. I only had to change the Bus 1 Format to 5.1 instead of the default of Stereo. Even when I add extra mono Audio Tracks as if I was creating 6 channels for individual 5.1 stems, it automatically assigned them to Bus 1 Output for me. And as long as I have Bus 1 Output Format selected as 5.1 they will be correctly set up. You just have to make sure that if you have Stereo audio, the Left and Right audio should be split on Audio Tracks 1 and 2. Audio Track 1 should be all Left Audio, or Channel 1 set in the clip attributes of the stereo audio file. Audio Track 2 should be all Right Audio or Channel 2 set in the clip attributes of the stereo audio file. The remaining 4 Audio tracks can be empty which consist of Center, LFE, Surround Left and Surround Right. Resolve just wants 6 channels whether its a single 5.1 Audio Track containing all 6 audio channels, or 6 Mono Tracks with or without audio in them. When selecting DCP to export it will give you an error that there must be 6 audio channels if you don't have them setup. Hope all of that makes sense.

If we shot our independent film in 3840 x 2160 (4k), that is going to be 16:9 aspect ratio. Which "type" would you recommend in the video settings: DCI, DCI Flat or DCI Scope?

@joshwilliamsav

Жыл бұрын

You will want to keep it Flat. Which is closest to 1920x1080 or 3840x2160 (16:9).

@levimaaia

Жыл бұрын

Thanks again, @@joshwilliamsav! Your guidance has been invaluable.

Hey Josh, just one question. How can i convert my audio recorded in 23,976 to 24? There’s a way to this in resolve?

@joshwilliamsav

2 жыл бұрын

Hi Eric, it looks like if you know this would be an issue for DCP audio, you could right click on the audio track and select Change Speed and then in the Frames Per Second box, type 24.0 and make sure the Pitch Correction is checked for safety. Then click change. If you open the Change Speed window back up again, the Speed percentage will automatically change to 100.1. Do this to all of the audio channels and theoretically it should work for the 24fps video. Definitely helps to find a way to test out the result.

@SLfilmBerlin

2 жыл бұрын

23,98 to 24 is a timecode operation only. you can re-interpret it via the rightclick menu->clip attributes. put everything in a 24 timeline, re-interpret and if needed change speed for all audio by 0.1% to make it sync again in the end.

Is it possible to do a DCDM in Davinci?

This video is saving my life... Question regarding pushing a stereo mix to 5.1: After you check the busing, you still only have two tracks filled (with L and R mono clips). I'm guessing off-camera you continued to duplicate your clips down through the rest of the six tracks? Do you just make L Sur and R Sur left / right monos respectively? What do you do with the Center and LFE clips?

@joshwilliamsav

2 жыл бұрын

Hi Beau, for a stereo audio where there are only Left and Right Channels available, I leave the rest of the Channels empty. It just won't play anything where there isn't audio present but it keeps the system happy that the correct number of audio tracks and panning are present. Sometimes Resolve is picky and won't export the DCP if the correct number of audio channels aren't there. It prefers a specific amount even if they are just going to end up empty.

@beaurosario8358

2 жыл бұрын

@@joshwilliamsav Ahh gotcha, that makes sense. And what about Wild Track Format instead of 5.1? Is that a reliable option, or is conforming to a 5.1 structure just the best way to go?

@joshwilliamsav

2 жыл бұрын

@@beaurosario8358 I’m not exactly sure what the difference is for Wild Track Format and have always stuck to the plain 5.1 since I’ve tested it working in theaters correctly and it also seems to play 5.1 correctly for me on a 2.0 channel system like my home projector. All of the 5.1 channel audio like surround left and surround right still come out of the regular stereo speakers when I don’t play it on a surround system. So I figure if it seems to work on everything I would need it for I’ve been sticking to that. The term Wild Track is confusing because in general it means there’s no associated video to the audio. I’m sure there’s a specific purpose and it might come out the same. But I’m playing it safe for now with just 5.1 :)

@beaurosario8358

2 жыл бұрын

@@joshwilliamsav This is super helpful info. Thanks so much for your time!!

@SLfilmBerlin

2 жыл бұрын

if you have stereo, stick to stereo and deliver it within a 5.1 container with 4 silent channels. most festivals though require at least 3.0 with a center, you can do this easily with a 'space designer'

How would I make my Stereo audio play on all 5.1 speakers equally in the theater?

@joshwilliamsav

Жыл бұрын

I would think that could be problematic. There’s a chance that if the same sound is playing from multiple speakers, the sounds can either multiply or cancel out frequencies or just sound bad from weird phase issues or the same sounds arriving to your ears at different times based on speaker distances. Tons of people have their film festivals done by connecting a stereo laptop HDMI cable to the theater projector and only hear the stereo sound from the front left and right. It’s how most people probably hear TV and movies at home. I wouldn’t be worried about it! The 5.1 surround is really only useful when you are playing unique sounds in different speakers to create atmosphere, special FX or excitement for the viewer like bullets or airplanes buzzing past your head. But even in those situations it’s only on certain moments of the film those things even happen. Otherwise it would be ambient noises like birds chirping, traffic in the city, a clock ticking in a room, etc.

@RaiderRomeo

Жыл бұрын

@@joshwilliamsav so basically the audio is best like you put it in the video for short film screener, Make the audio track mono and put it in to L and R channels with blanks for all the other 5.1?

@joshwilliamsav

Жыл бұрын

@@RaiderRomeo Yeah, I believe I duplicated the audio track and then right clicked to change the Clip Attributes under Audio and make it Mono and Select Channel 1, then go down to the the next track and do the same but make it Channel 2. Those become the left and right audio channels and satisfy the DCP wanting 6 audio channels total. Which of course the C, LFE, LS, RS channels can all be blank.

josh my premier is tomorrow and today I went and look at the dip in the movies it looks amazing but the audio is only coming out the front to speakers anyways I could send you mu master audio file and you could fix this for me make it the 5.1 ?

@joshwilliamsav

Жыл бұрын

Is your film only in stereo? You can’t really just covert it to 5.1. It requires taking all the original audio and splitting it up so all dialogue only goes to Center Channel, all music goes to left and right channels, and all special FX and foley sound design goes to Front Left, Front Right, Left Surround or Right Surround. Also the LFE channel for any low frequency sounds like explosions etc. This would all be done in the post production sound process. Unless you are saying that your movie was in 5.1 surround but during the process of making your DCP it somehow only came out in stereo.

@LAFAMILIATHEMOVIE

Жыл бұрын

@@joshwilliamsav ok last question do I need to replace the whole DCP file or just the audio file ?

@joshwilliamsav

Жыл бұрын

@@LAFAMILIATHEMOVIE I would do the whole DCP file again if you need to make an audio change. It doesn’t take long and better to be safe.

I recived a 5.1 with 6 channels in it. Can I just export or do I need to split them out to separate mono channels or could I just render it out.

@joshwilliamsav

2 жыл бұрын

You can just import it to the timeline as a single 5.1 channel track. I know I kinda sped by that one quick in my video but that was the first mention. All you should have to do is do the Fairlight-Bus Format and set up Bus 1 as 5.1, then go to Fairlight-Bus Assignment and make Sure Audio 1 (your 5.1 track) is routed to that 5.1 channel, likely B1o (Bus 1 Out). Then continue with all your Delivery page settings making sure you have the Audio Tab Output Track 1 set to 5.1.

@joelarvidsson

2 жыл бұрын

@@joshwilliamsav Just wanted to say that everything looked and sounded good. My reference monitor seems to be ever so slightly warmer than the cinema. So I cant complain! A easy tiny adjustment. Perhaps it could be the conversion to dcp that alters the temp just a smidge.

@joshwilliamsav

2 жыл бұрын

@@joelarvidsson I believe I had the same experience. Slight shift toward red in skin tones but mostly noticeable by people involved in the color grade revision process. Probably helps to have a P3 Calibrated monitor for theatrical releases but it’s so minor.

Salve io voglio sapere se con la versione gratuita di davinci risolve posso fare il formato dcp, oppure devo aquistare la versione studio? Puoi aiutarmi in italiano? Grazie

Hello, i just tried exporting a DCP from Full HD video, i have black bars on left and right side of the video (the resolution is 1998x1080 so it kinda makes sense) and everything looks red and dark when i import the video in Da Vinci Resolve, is it supposed to be like that ?

@joshwilliamsav

2 жыл бұрын

Hello, where are you seeing the black bars? On your TV Screen or on Resolve? If its in Resolve, it could be that your Timeline is larger like 2K DCI which would be 2048 which is slightly wider than 1998 and would leave black bars. As for the color, If you import it into a Davinci Resolve Timeline it will probably look wrong because the Davinci Resolve Color Space is usually a REC 709 Game 2.2 or 2.4 and the DCP is a P3-DCI Gamma 2.6. If you go to the Media Tab in resolve and just find the DCP and open it in the browser window it should look correct. Otherwise you probably have to change your Project Settings Color Space to match your DCP file.

@samenger1508

2 жыл бұрын

@@joshwilliamsav Thanks for the answer ! I fixed the black bars problem, but now the video just doesnt match the color grade that it should have. I changed my project settings to P3-DCI but it doesnt change anything. Is P3-DCI the only color space to chose when exporting a DCP or should i test every other one ?

@joshwilliamsav

2 жыл бұрын

@@samenger1508 P3-DCI is the standard Color Space for DCP Cinema Projectors and will only look correct on a Projector Screen or a P3-DCI Color Calibrated Monitor. You could try using a Color Space Transform in a Davinci Resolve Node and see if it looks correct in a Rec 709 Environment. Leave Davinci Resolve Project Settings set to Rec 709 Gamma 2.4 or 2.2, then insert a Color Space Transform plugin from PC3-DCI to Rec 709 and see if that looks accurate. Normally I just open the Media Tab and look at the DCP file there to make sure the color appears ok compared to before Exporting the DCP. In my video around 8:15 I show this.

@samenger1508

2 жыл бұрын

@@joshwilliamsav Okay so i used a Color Space Transform but it looks even more different from the original..

how much file size it have for a 15minute 2k or 4k video?

@joshwilliamsav

Жыл бұрын

I have an 18 Minute DCP in 2K that is 26GB. So probably around 22GB for 15 Min 2K. I don't think a 4K DCP would be necessary.

Hi man , I exported my clip and as u said it looks weird , the color are changed a bit in to green , I don' t understand : if that is correct and now I can only see the real quality and color only through a projector ? or even on my computer I should be able to see it normal colored ?

@joshwilliamsav

2 жыл бұрын

Hey there. Typically that is normal unless you have a P3 color calibrated monitor to view on. I literally just ran one as a test and it make the footage look greenish while it’s rendering. Then if I go to the media tab and bring the new DCP file it exported back into Resolve it looks closer to normal, the washed out green tint look is gone but it looks High in contrast and over saturated like a LUT was applied over it. Basically because now I am viewing it in the wrong Color Space and Gamma setting. My computer is REC 709 Gamma 2.4 and my DCP is P3-DCI Gamma 2.6. The same thing happens when people Color grade on a normal SRGB monitor at gamma 2.2 and then export something for REC 709 Gamma 2.4 and wonder why they have color shifts in different Quick Time Players etc. I definitely recommend having a solid monitor setup that is calibrated to REC 709 Gamma 2.4 and then render out your videos to the desired viewing environments by setting the appropriate color tags. As long as your film was color graded in the correct color space and gamma level according to the monitor it was graded on, it should look accurate when played on a new source with the correct Tags applied. If it wasn’t color graded on an accurate viewing monitor then whatever it exports as has high potential to look wrong and may need something like a Colorspace transform applied to it and then re-rendered again. I hope I am not adding confusion. If your movie looked correct on a TV before you made the DCP, then as long as your DCP Color and Gamma settings were correct, it should like 90% accurate on a DCP Projector. I find that things seem to be a little more warmer like skin tones on DCPs I’ve seen in theater but not much. But that’s why big Hollywood colorists have color suites equipped with P3-DCI projectors to grade on in addition to all of their other REC 709 monitors.

@alvisemenegotti8903

2 жыл бұрын

@@joshwilliamsav I changed the display preset of my macbook into Digital Cinema (P3-DCI) and now after the render the color of the clip are as aspected. Thank you !

@joshwilliamsav

2 жыл бұрын

@@alvisemenegotti8903 glad to hear!

@alvisemenegotti8903

2 жыл бұрын

@@joshwilliamsav I spoke too early It's already greenish and darker :( how is that possible ?

@joshwilliamsav

2 жыл бұрын

@@alvisemenegotti8903 Question, you mentioned Mac, do you have your settings under Preferences-General “Use Mac Display Color Profile for viewers” Check box selected? That will make sure that Resolve uses what your system is set to view (P3-DCI or Rec 709) etc. otherwise your viewer in Resolve defaults to its own setting.

I cant move the dots to left, right, etc as he shows it. Also, why there is no more sound in the remaining channels? he just have 1 and 2 ... what do we do with the others?

@joshwilliamsav

Жыл бұрын

Not sure why your panning wouldn’t let you move the dots, I’ve tried it on a mono, stereo and 5.1 track and they all let me move the blue square to pan it. The empty tracks are because Resolve DCP export requires 6 channels. If you don’t have 6 channels it will give you an error. So the first 2 channels are left and right for your stereo mix and the others are just empty and won’t play sound.

@mariamillan3898

Жыл бұрын

@@joshwilliamsav I figured out but now. I exported it and send it to the festival but they are telling me that there is watermark from Davinci... why is this? I thought u used the free version

@joshwilliamsav

Жыл бұрын

@@mariamillan3898 yeah unfortunately only Studio does it without the watermark.

How about projects shot at 29.97 FPS?

@joshwilliamsav

2 жыл бұрын

Thats a tough call. I know in my Resolve It has 24 FPS greyed out. Cant be changed. Theres always some chances that a particular theater can support 30FPS DCP's. but might require some other software to render it if Resolve can't. Otherwise the 29.97 would have to be converted to 24 FPS and in my experiences there tends to be some glitchy results in audio or video every so often due to the cutting of nearly 6 frames per second in both audio and video. Sometimes it works and sometimes it cuts in a very noticeable spot. All you can really do is try. There is some information on the internet for attempting the best conversions.

Okay. But why did the other 4 channels remain empty?

@joshwilliamsav

2 жыл бұрын

When trying to render a DCP it requires a certain number of audio channels otherwise it will give you an error. Simplest thing is to just give it the 6 channels it expects and then fill it with the audio and panning you have available and then you don't have to worry about Resolve complaining.

@joshwilliamsav

2 жыл бұрын

I believe DCP is supposed to support other track counts than the 6 from a 5.1 which is L,R,C,LFE,LS,RS. Its supposed to support L,R,C, and a few others but even when I setup the allowed amount of track counts it was telling me it still gave me errors unless I did 6. Maybe a bug. But 6 always works, with some empty or not. My goal was to give people as close to fail safe steps so that you will get your DCP made without running into more complications.

How can I add closed captions to my dcp?

@joshwilliamsav

Жыл бұрын

You can right click above the video track and select add Subtitle track. Right click on the subtitle track and it will say add subtitle. You can add all your subtitles to the film and then when you are done go to the Delivery tab. After selecting all of your options for the DCP settings, scroll to the bottom and you will see a Subtitle option. You have to click option to Export Subtitle and then choose if you want it Burned into the video or exported as a separate file. Usually when done as a separate file, SRT is the option that is selected. When everything is done, you will either provide both the DCP folder and the separate SRT subtitle/CC file to the theater or just the DCP with burned in subtitles/Closed Captions.

Hi, I'm going to launch my film in theaters soon, but I need help with the subtitle file that needs to be converted from .srt file to dcp. The cinema operator needs this as dcp and not .srt. How can I do this? Anyone ?

@joshwilliamsav

Жыл бұрын

From what I have read, it seems that DCP uses XML for subtitles. I don’t see XML as a specific option in Resolve but I do see some online converters from SRT to XML. That’s about all I know.

@Ruba1006

Жыл бұрын

@@joshwilliamsav Thank you Josh!

unfortunately cinematiq is just availible for mac. Any recomodation for windows?

@joshwilliamsav

Жыл бұрын

You will need to find some sort of Linux Partition Manager to download and create an EXT2 formatted USB drive. I’ve been told before that Windows 11 can do it but I don’t have Windows 11 to verify.

@krischanrudolph6005

Жыл бұрын

@@joshwilliamsav Thanks. I just purchased Paragon Linux for Windows and it works fine.

Is there a way to make a DCP, but in 3D?

@joshwilliamsav

Жыл бұрын

That’s a great question. I’ve seen editing tutorials for 3D Stereoscopic in Resolve but nothing on whether you can actually export it as a DCP. I don’t know the answer to that. I’ve not tried to setup a 3D timeline before. Premiere Pro has some tutorials on making a 3D Stereoscopic DCP. I imagine it could be possible on Resolve. Would take some research.

If I tag a (kakadu) DCP for P3 DCI and Gamma 2.6, when I play it back with Davinci, the colors change. The only way to get the right colors is to leave the settings unchanged. I also observed undesired color changes when using resolve color management. In fact, the only way to get the right colors was to use plain YRGB with REC709 as both timeline and output colorspace (Resolve 18). As my source material was in 709 I used a the color transformation effect (in a node at the color page). But I would very much like to be able to use Resolve color management, and cannot understand why its not working. Can somebody advise?

@joshwilliamsav

Жыл бұрын

When you export a DCP in P3 Gamma 2.6 it’s only going to look correct on a theater Projector that is designed to play that specific color space and gamma. It’s the same as making a 3D movie. It’s only going to look right on 3D glasses, not your computer screen. There’s no sense trying o change your resolve settings to view a DCP. You can open it up in the media browser or timeline to play back and make sure the video and audio work. But don’t expect to see accurate colors unless you have a calibrated P3 Gamma 2.6 monitor. As long as the original material looked correct for REC 709 Gamma 2.2 or Gamma 2.4, just trust the process when you tag it for DCP Kakadu P3-DCI and Gamma 2.6. That’s Cinema standard.

@antonarap

Жыл бұрын

@@joshwilliamsav I understand that certain monitors can't display P3 (mine is properly calibrated and supports switching between display spaces), but even if a screen displays P3 inaccurately, the video should still look the same before and after rendering on that same screen. It doesn't, except if rendered in the aforementioned way.

@joshwilliamsav

Жыл бұрын

@@antonarap I’m confused on what you are saying. How can there be any before and after if the DCP never existed before? The DCP will be a new file that has different color space and gamma and will never look the same as the footage you had in resolve first. Which would likely be REC 709 Gamma 2.4. It’s like your original video is a Red Apple and your DCP is a Green apple. You are asking why the Green Apple doesn’t look like the Red Apple. There’s so many variables to get into. If you have a Mac it can be even more confusing. Davinci Resolve will use its only interpretation of Color Space and Gamma. A Mac system can also have its own Display settings. And a Monitor can also have one. The 3 of them can be fighting each other. In my system, I use Mac and I set my Resolve preferences to use Mac Display settings. That way the resolve preview window is identical to the color profile on my Mac. I create my own color profile on my Mac. My monitor is set to a standard SRGB and then I use an Xrite iDisplay Pro that measures the colors and brightness produced on my screen and creates my own REC 709 Gamma 2.4 calibrated profile. Now Davinci resolve, QuickTime or other video players all look the same. But the DCP will still never look the same because it’s for P3-DCI not for REC 709. I would have to change all my resolve settings to Try and Transform the DCP back to a normal looking REC 709 video. And from most research I’ve found, there’s always slight shifts from the original source when you render a new color space out. And every TV and projector is going to be slightly calibrated different anyway. But im still confused why you think the before and after export would ever look the same. They aren’t meant to. One is meant for TV or Computer and one is Meant for Projector.

@joshwilliamsav

Жыл бұрын

Also, when you say you used a color transform node, to do what? To make it REC 709? Or to convert from REC 709 to P3-DCI? If you did the Transform to P3 and set the tags to P3 then that would be all wrong and still never look the same as before and after. Again, I’m trying to make sense of all the information you provided. All I can say is that if you render out your final film as REC 709 Gamma 2.4, then bring that master file onto resolve and set your delivery page export settings to P3-DCI Gamma 2.6, the DCP will be ready for Theater. And it will not look the same as your original REC 709 Master. You would have to convert it back to REC 709.

@antonarap

Жыл бұрын

@@joshwilliamsav l used a transform to change from 709 to P3. Tagging does not transform color space. That would be imposible, since a transformation requires knowing both the inicial and the target color space. For example, your source material can be mastered in P3 or 709, resolve does not necessarily know that. Tags add metadata that inform a video player about the color space the video is rendered in. Projectors always asume DCPs are rendered in P3 so taging DCPs should be redundant. There was no tagging possibility in earlier resolve versions. The two videos I'm comparing are my P3 video (after transforming from 709) to my DCP as reproduced by resolve in YRGB

Why did my audio turn out only to be mono left in the export ?

@joshwilliamsav

2 ай бұрын

What did you start with? Stereo track? There’s a few ways to do things but in my example I duplicated the stereo track example and then right clicked to select clip attributes and change the the first one to only play channel 1 for left and muting the other side and then for the next track down muting channel 1 and only having channel 2 for the right sound. As long as the bus routing and panning aren’t wrong, should work as instructed in the video.

Don't i need to buy kakadu software or license for use codec kakadu jpeg2000??

@joshwilliamsav

2 жыл бұрын

Not in Davinci Resolve. I’m using Resolve Studio so I can’t confirm whether the same applies to the regular version of Resolve.

@juanmapagan3947

2 жыл бұрын

@@joshwilliamsav The regular version creates a watermark across the image on final DCP video file.

@joshwilliamsav

2 жыл бұрын

@@juanmapagan3947 I’ve only seen the water mark if you open it in VLC player. Opening in Resolve do you still see the watermark? It’s the first I’ve heard of it.

@juanmapagan3947

2 жыл бұрын

@@joshwilliamsav The watermark is definitely burned into the image. I've opened it with Resolve, VLC, DCP o matic player 2 and the watermark is there.

@joshwilliamsav

2 жыл бұрын

@@juanmapagan3947 are you using EasyDCP or Kakadu Jpeg2000? That would be a bummer if it requires Resolve Studio.

When I try to import the DCP after rendering to test it, I only see the audio file in my media browser...

@joshwilliamsav

4 ай бұрын

You should be able to just go to the Media tab, navigate to the folder where you saved the export, double click on it and play it in the preview window. I exported a DCP a day or two ago and I believe I dragged the MXF files from the DCP folder contents to the timeline which gave me the video and audio track. From there I just had to make sure I changed my Fairlight Audio Bus settings to 5.1 and then I could hear all of the 5.1 tracks correctly.

@joshwilliamsav

4 ай бұрын

I just verified the MXF files were in fact able to be imported to a bin and dragged to the timeline. But I was able to also simply go to Media Tab, Navigate to the DCP folder where the DCP was saved and Resolve recognized the DCP output folder name as a video file. I can preview it and I can simply drag that video file to my Bin below. After dragging to the bin below I can go back to the Exit Tab and see the DCP movie file just like any other video file that contains both video and audio and drag it down to the timeline.

@iantan6056

4 ай бұрын

Thank you!!

is it normal that the codec 444 make my video darker?

@joshwilliamsav

Жыл бұрын

Not in my experience. I save all my masters in 4444 after I do a color grade and it looks the same as anything I export in 422 or H264 etc. Usually the only time I see a change is if the Color Space and Gamma are changed or sometimes if you change the Video levels to FULL which I never touch. In Mac, unless you have the settings preferences set to Use Mac Display settings for preview window, you can end up having a different looking video in Resolve than when viewed after exporting. That's why its important to have your system under control. I have a Rec 709 Gamma 2.4 calibrated grading monitor and my normal editing screen is color calibrated to Rec 709 Gamma 2.4 also using an X-Rite iDisplay Pro. I also have Resolve set to use my Mac Display profile (the REC 709 Gamma 2.4 calibrated one) and everything in my preview window in Resolve looks the same as when I export it and when I play it on a TV.