HI and VI are two types of audio accessibility. - Audio Description for the Visually Impaired (VI Audio Track) An audio description track provides narration for visually impaired audiences, describing the on-screen action through a wireless headphone system. This additional mono audio track, created by either the filmmaker or the distributor, is included in the Digital Cinema Package (DCP). The cinema server processes this track and sends it to a separate system for wireless transmission. Importantly, this track is not played in the theater's main sound system and is only accessible through special headphones. - Hearing Impaired Soundtrack (HI Audio Track) For audience members with hearing aids or difficulty distinguishing dialogue from music and sound effects, the hearing-impaired audio track offers an enhanced mix to make dialogue more audible. This mono audio track is also transmitted via the same wireless headphone system used for the visually impaired track. A switch on the receiver allows users to toggle between the HI and VI tracks. Digital cinema is designed with accessibility in mind. Providing accessibility features not only enhances the inclusivity of your film but also meets the growing requirements of film festivals that request these assets for feature submissions.

The primary distinction between encrypted and unencrypted DCP files lies in the level of security implemented to safeguard the content within the DCP. Advantages of Encrypted DCPs - Security: Encrypted DCPs can only be played by authorized systems with the correct decryption keys (KDM). - Control: The creators of the DCP can specify which cinemas can play the content and when. - Protection: Encrypted DCPs can protect content from unauthorized modifications. To play the DCP, the cinema must receive a correct Key Delivery Message (KDM). If you decide to create an Encrypted DCP with Cinemaflow, 10 KDMs are included in your bundle (1 KDM is valid for 1 theatre). Additional KDMs will incur an additional charge. Advantages of Unencrypted DCPs - Cost: Unencrypted DCPs are less expensive than encrypted DCPs. - Ease of use: Unencrypted DCPs are hassle free and can be played on any digital cinema server that can handle DCP content. - Freedom to play: Unencrypted DCPs can be played on any projection server without needing a key. - Ease of distribution: Unencrypted DCPs can be distributed without needing to configure a key management system (KDM).

Theatrical audio mixes differ significantly from those intended for broadcast, discs, or online platforms. When preparing your files for DCP (Digital Cinema Package) creation, it’s crucial to understand the type of mix you have and how it will translate in a theatrical setting. Even if you work with a professional mix house and an experienced audio engineer, it’s essential that they have expertise in mixing for cinema. This involves calibrating the mixing environment to match theatrical standards using an SPL meter and pink noise. The reason is simple: the sound level in a cinema is much louder than on a typical TV or computer. As a result, dialogue in theatrical mixes is usually set at a lower volume to allow greater dynamic range for music and sound effects. Mixing for cinema using the same approach as TV, radio, or online platforms will likely result in audio that is excessively loud and problematic during playback. If you don’t have a mix specifically tailored for theaters, Cinemaflow can normalize your audio to suit the theatrical environment.

A Digital Cinema Package (DCP) complies with SMPTE (Society of Motion Picture and Television Engineers) and DCI (Digital Cinema Initiatives) standards to ensure interoperability, quality, and security in digital cinema. SMPTE standards define the technical specifications for DCPs, including: - JPEG 2000 for video compression. - MXF (Material Exchange Format) for wrapping video, audio, and subtitles into track files. - XML for metadata like the Composition Playlist (CPL) and Packing List (PKL). - Support for advanced features like high frame rates (HFR), immersive audio formats, and timed text for subtitles. DCI sets strict guidelines for digital cinema to maintain consistent quality and security. DCPs adhere to: - 4K and 2K resolutions for pristine image quality. - 12-bit color depth and wide color gamuts. - AES encryption for content protection, requiring a Key Delivery Message (KDM) to decrypt. - Standards for multi-channel audio, including 5.1 and 7.1 surround sound. By aligning with SMPTE and DCI, DCPs ensure high-quality, secure, and universally compatible digital cinema experiences across theaters worldwide.

Captions are timed text that includes background noises (such as ambient sounds), speaker identification, and other contextual details, making content more accessible to individuals who are Deaf or hard of hearing. In cinema, captions come in two forms: open and closed. Closed captions (often marked as "CC") are displayed on auxiliary devices, allowing multiple caption tracks to be accessed simultaneously. This setup enables viewers to select their preferred language or caption format without altering the projected image. Open captions, on the other hand, are permanently displayed on-screen for all viewers. Only one open timed text track can be shown at a time, and its placement is carefully designed to avoid obstructing key visual elements. Subtitles differ from captions in that they assume the viewer can hear the audio. Subtitles are typically used when the audience does not speak the language of the video. For instance, subtitles are common in movies when the spoken language of the film differs from the primary language of the country where it is distributed (e.g., a French film shown in an English-speaking country). Timed text involves creating multiple compositions within the Digital Cinema Package (DCP). Each composition may feature different timed text tracks tailored to various audience needs or language preferences. For example, one composition might include English subtitles, another Spanish subtitles, and yet another captions for the hearing impaired. These compositions function as distinct versions of the film, each embedded with the appropriate timed text track.

For independent film projects, ideally you want to export a single Quicktime file with picture and sound embedded. The resolution of your project will determine the resolution of your DCP: - For a 2K DCP, the resolution of your source file should be 1920x1080. - For a 4K DCP, the resolution of your source file should be 3840x2160. Bear in mind the higher the resolution, the bigger the file size and the longer the file will take to upload. The quality of the picture is determined by the compression and the bitrate. Ideally ProRes 444, ProRes 422HQ, DNxHR 444, DNxHR HQX, DNxHR HQ or DNxHD 175 are good codecs. However, H264 and H265 are not recommended, as they are highly compressed formats that may lead to blockiness and pixelation artifacts when watching the DCP on the big screen. The framerate of your source file should be either 23.98, 24, 25 or 30 fps. If the framerate of your project is different than the ones mentioned, Cinemaflow will apply a framerate conversion to adhere to the DCP standard. Ideally your audio should be embedded in the Quicktime file, but you can deliver it as separate audio files as well. In any case, the audio must be uncompressed PCM 24 or 16 bit at 48Khz sampling rate. Typical audio configuration for DCP is 5.1 surround. Optimal channel configuration of your source file should be Left, Right, Center, Low Frequency, Left Surround, Right Surround. (L R C LFE Ls Rs). If you need assistance to prepare your source file, you can contact us at admin@cinemaflow.net for a free assessment.