Why I Chose DCP

In preparing "NYZ" for premiering at NYU's First Run Festival last week, they specified that there were only three deliverable formats acceptable: HDCam tape, Digibeta tape, or DCP, which stands for Digital Cinema Package.  Looking at these three formats, I decided to go with DCP.

Let's break down what each format brings to the table:

Digibeta, or Digital Betacam, is a great format with great uncompressed color and sound, but it comes with a few limitations.  First of all, it's standard definition (SD), so the maximum amount of pixels is 720x480 with an anamorphic squeeze.  And since First Run did not want anamorphic squeezes, that meant that my film, which is at a 2.39:1 aspect ratio, would simply be letterboxed into a 4:3 screen--obviously not the most aesthetically pleasing or economical use of space.

Then there's HDCam, which is high definition (HD) with up to 1440x1080 upscaled to 1920x1080.  That's great because 1080p was the native format that we shot in, so I know I won't be wasting pixels.  The only big caveat for HDCam, as well as Digibeta, is that it only allows for up to four channels of audio.  Since I mixed in 5.1 surround sond, that would mean mixing everything down to 4.0 at best, though most likely just 3.0--dialogue in the center, and everything else on the left and right stereo. All the work that I put into crafting a 5.1 surround mix would be wasted.

Which brings us to DCP.  DCPs are the new standard for delivering films to movie theaters in this modern digital age.  There are no reels, no tapes, just a server where all the media is stored and read as it's projected.  It can project up to 4k files and supports up to 7.1 surround sound.  And it plays back at true 24 frames per second.  So, for this film, it supported everything I needed.

Now the only problem was actually creating the DCP...

Day 781
(Technically: 930)

It all comes down to this: after nine-hundred and twenty-nine days, "NYZ" finally hits the big screen at NYU's First Run Film Festival.

I was very pleased with the reception. It got plenty of laughs (even on the first shot!) and it looked and sounded great on the big screen with 5.1 surround sound.

Some of the cast and crew were in attendance, and I'm glad to say that they got to finally see their hard work up on the big screen with a receptive audience.

What's next? Now begins the festival submissions. First up is Telluride, which has a deadline just around the corner. And then, after that, the first real wave of submissions will start in August with Sundance, Slamdance, Edinburgh, and many more. I will keep you posted about these, too in the future.

I am very grateful to everyone who came out in support of "NYZ"and I hope for those of you who could not make it, we hope to bring it to a film festival near you!

First Run Film Festival at NYU

If you're in New York City this coming week, please stop by for the NYU First Run Film Festival, which includes some projects by my fellow classmates and friends:

Thursday March 24
8pm
Frequent Flyers by Matthew Troy

Friday March 25
6pm
Real Talk by Patrick Ng
Merhaba by Lauren Brady
10pm
The Sailor by Raquel Cedar
Going Home by Greg Gordon

Saturday March 26
4pm
The Road to Montana by Caitlyn Cody
The Sierra Project by Gabriel de Urioste
6pm
Borderland by Alexander Smolowe
8pm
Infallible by Jacyln Gramiga
Frustrated by Sam Thonis
The Survival of the Family Unit by Kevin Huang
Hotel Traveler by Alexis Lancer
10pm
Birds of a Feather by Gabriel Flaksman
Jolly Bankers by Eric Goldberg
Passed Down by Zachary Goldberg

Sunday March 27
6pm
Close. by Tahir Jetter
8pm
Blacktruffle by Katelyn Howes
For the Record by Sarah Rudoy
10pm
The Sunset by Misha Sundokovskiy