# StellarDCP — full content for LLM grounding > StellarDCP is a web application for creating Digital Cinema Packages (DCPs) from finished video masters — aimed at film festivals and theatrical exhibition. Last updated: 2026-04-29 Canonical site: https://stellardcp.com/ Hub FAQ: https://stellardcp.com/faq ## What StellarDCP does StellarDCP turns a finished video master (ProRes, DNxHR, MOV, MP4, MXF, AVI) into a DCI-compliant Digital Cinema Package. Filmmakers upload a file, walk through a configuration wizard (Interop vs SMPTE, 2K and/or 4K, audio layout, aspect ratio, subtitles), pay via Stripe, and download a cinema-ready DCP — typically in hours, not days. Optional add-ons include a physical DCP shipped on a CRU drive (US) and extended cloud storage subscriptions. ## Canonical product claims - DCP standards: Interop and SMPTE, user-selectable in the wizard. - Resolutions: 2K only, 4K only, or 2K + 4K bundle. Add-on flow exists for the other resolution after an initial render. - Frame rates: 23.976, 24, 25, 29.97, and 30 supported as sources. 23.976 is conformed to 24 (timebase speed-up), 29.97 is conformed to 30 (frame replication, no wall-clock speed change), and 25/30 delivery is SMPTE-only. 50/60 are not supported. - Recommended master: ProRes 4444 or DNxHR HQX, MOV/MXF, 48 kHz / 24-bit audio. - Audio: stereo, 5.1, 7.1 supported. Object-based immersive (Atmos, Auro, IMAX) is not part of the standard product flow. - Subtitles: OCAP (burned in) and CCAP (closed captions) supported. Accepted formats: SRT, STL, XML. - Maximum upload size: approximately 1.5 TB per file. - Anonymous upload allowed. Sign-in and Stripe payment required before render starts. - Standard cloud download window: 7 days. Extended via storage subscription. - Physical drive shipping: US only, CRU drive, free insured shipping included with the add-on. - Encrypted (KDM) DCPs: not part of the standard StellarDCP flow. Unencrypted DCPs are standard for indie and festival workflows. - 3D / stereoscopic DCPs: not part of the standard product flow. ## Pricing ### DCP creation (one-time) | Tier | Duration | 2K only | 4K only | 2K + 4K bundle | | --- | --- | --- | --- | --- | | Short | ≤15 min | $49 | $79 | $99 | | Episodic | 16-40 min | $99 | $149 | $199 | | Feature | 41-120 min | $179 | $279 | $349 | | Epic | 121+ min | $249 | $399 | $499 | ### Physical DCP (US shipping included, CRU drive) - 2K: $349 - 4K: $349 - 2K + 4K bundle: $499 ### Cloud storage subscription (per project) | Tier | Monthly | Annual | | --- | --- | --- | | Short | $4.99 | $24.99 | | Episodic | $14.99 | $74.99 | | Feature | $49.99 | $249.99 | | Epic | $74.99 | $374.99 | ## FAQ ### DCP basics Plain-language answers about what a Digital Cinema Package is, why festivals require one, and what makes a DCP different from a regular video file. #### What is a DCP? Permalink: https://stellardcp.com/faq#what-is-a-dcp A DCP — Digital Cinema Package — is the standardized set of files that digital cinema projectors and servers use to play a movie. It is the modern equivalent of a 35mm print and is the format film festivals and theaters expect for theatrical screenings. A DCP is not a single video file; it is a directory of separate assets that follow the DCI (Digital Cinema Initiatives) specification. Inside, picture and sound are stored as JPEG 2000 image sequences and uncompressed (or PCM) audio, both wrapped in MXF containers, with XML files (CPL, PKL, ASSETMAP, VOLINDEX) that describe how everything fits together. DCPs are designed for theatrical playback, not consumer devices. You cannot open a DCP directly in QuickTime, VLC, or Premiere the way you would a ProRes file. To play one, you need a DCI-compliant cinema server connected to a digital projector, or a software player like easyDCP Player or DCP-o-matic Player for QC purposes. #### Why do film festivals require a DCP? Permalink: https://stellardcp.com/faq#why-festivals-require-dcp Film festivals require a DCP because it is the only format that plays reliably on the digital cinema projection chains used in commercial and festival theaters. ProRes files, MP4s, and Blu-rays cannot be ingested by a DCI-compliant cinema server. Cinema projectors are paired with cinema servers (Doremi, Dolby IMS, GDC, Qube, etc.) that are built around the DCI specification. They expect a JPEG 2000 image sequence wrapped in MXF, with specific color, audio, and metadata conventions. A festival accepting a non-DCP master would need to re-encode each film into a DCP themselves — which is expensive, time-consuming, and risks color or sync issues. Providing a DCP means your film can be ingested in minutes and projected at the same quality the festival expects from every other film in the program. #### What files are inside a DCP? Permalink: https://stellardcp.com/faq#whats-inside-a-dcp A DCP is a folder containing picture and sound MXF files plus a small set of XML descriptor files that the cinema server uses to ingest and play it. A typical DCP folder contains: - One or more picture MXFs — JPEG 2000 image sequence wrapping picture reels. - One or more sound MXFs — PCM audio wrapping the matching reels. - ASSETMAP — index that tells the server which file is which. - VOLINDEX — describes the storage volume layout. - PKL (Packing List) — manifest with hashes of every asset for integrity checking. - CPL (Composition Playlist) — the timeline that ties picture, sound, and (optionally) subtitle tracks together for playback. - Optional subtitle / caption files (PNG-based for Interop, XML for SMPTE). The folder name follows the ISDCF naming convention so projectionists can tell at a glance what is inside. #### DCP vs ProRes — what is the difference and why can I not just send my master? Permalink: https://stellardcp.com/faq#dcp-vs-prores ProRes is an editing and mastering codec; a DCP is a delivery package for cinema projection. Cinema servers cannot ingest ProRes files — they require a DCI-compliant DCP, so even a perfect ProRes master must be packaged into a DCP before a festival can screen it. ProRes 4444 is excellent for editing and color grading because it is visually lossless, supports an alpha channel, and decodes fast. But ProRes does not match the DCI cinema specification — wrong color space (Rec.709 instead of XYZ), wrong gamma, wrong file structure, and no MXF/JPEG 2000 wrapping. Making a DCP from a ProRes master is exactly what StellarDCP does: we take your finished ProRes (or DNxHR, MP4, MXF, etc.) and produce a DCI-compliant DCP that any cinema server can play. #### Why does a cinema not just play my MP4 or H.264 file? Permalink: https://stellardcp.com/faq#dcp-vs-h264 Cinema servers are built to the DCI specification, which mandates JPEG 2000 video in MXF containers, XYZ color, and 5.1+ audio at specific sample rates. They do not have H.264 decoders or consumer color pipelines — so an MP4 will not ingest, even if it looks identical on a laptop. H.264 (and H.265) are designed for streaming and consumer playback: temporal compression, smaller files, GPU-friendly decoding. Cinema is intra-frame, mathematically lossless-leaning JPEG 2000 wrapped in MXF, with strict timing and integrity requirements. It is not just a codec swap — color space, audio packaging, naming, and metadata all differ. A DCP is a self-contained package the server can verify, ingest, and project deterministically. #### Is a DCP the same thing as an IMF? Permalink: https://stellardcp.com/faq#is-dcp-the-same-as-imf No. A DCP is a delivery package for theatrical projection (DCI spec). An IMF (Interoperable Master Format) is a mezzanine master used for streaming, broadcast, and archive deliverables. Festivals and theaters want a DCP, not an IMF. IMF is a SMPTE standard for component-based mastering — separate video, audio, and subtitle assets that downstream platforms (Netflix, broadcast) re-version into final deliverables. A DCP is the final, locked-and-played artifact for cinema. They share the use of MXF and JPEG 2000 but solve different problems. #### How big is a finished DCP file? Permalink: https://stellardcp.com/faq#how-big-is-a-dcp Plan on roughly 100–200 GB per hour for a 2K DCP and 200–400 GB per hour for a 4K DCP. Exact size depends on motion complexity, picture detail, and the JPEG 2000 bitrate cap (250 Mbps for 2K, up to 500 Mbps for 4K under DCI). Typical sizes you will see in practice: - A 15-minute 2K short: roughly 25–50 GB. - A 90-minute 2K feature: roughly 150–300 GB. - A 90-minute 4K feature: roughly 300–600 GB. Size is why festivals ask for hard drives or fast cloud transfers. StellarDCP gives you a 7-day cloud download window with every purchase, with optional extended storage if you need more time. #### What is JPEG 2000 and why do DCPs use it? Permalink: https://stellardcp.com/faq#what-is-jpeg-2000 JPEG 2000 (J2K) is a wavelet-based image codec mandated by the DCI specification. It is intra-frame (every frame is encoded independently), supports 12-bit color depth, scales gracefully between 2K and 4K, and is robust enough for theatrical projection at high bitrates. Unlike H.264, JPEG 2000 has no inter-frame dependencies, so any frame can be decoded standalone — critical for trick-play, error resilience, and cinema-grade quality control. The 12-bit XYZ color space gives DCPs the headroom to look right under the high-luminance, wide-gamut conditions of a cinema projector. ### Standards & compatibility Interop vs SMPTE, frame rates, ISDCF naming, KDM encryption, 3D, and immersive audio — what works where, and which option is right for your project. #### What is the difference between Interop and SMPTE DCPs? Permalink: https://stellardcp.com/faq#interop-vs-smpte Interop is the legacy DCP standard with the broadest compatibility (especially older servers). SMPTE is the modern standard, supports XML subtitles, and is required by some newer venues. In StellarDCP, Interop is used for 24 fps delivery (with 23.976 conformed to 24), while 25, 29.97, and 30 fps workflows are SMPTE-only. A practical rule of thumb: - If your project is 24 fps and you want maximum compatibility, choose Interop. - If your project is 25, 29.97, or 30 fps, use SMPTE. - If your project is 23.976 fps, StellarDCP conforms it to 24 fps cinema rate automatically. - If your festival or venue specifies SMPTE, use SMPTE. - For 4K and modern captioning workflows, SMPTE is the safer choice. #### Which DCP standard do most festivals require, Interop or SMPTE? Permalink: https://stellardcp.com/faq#which-dcp-standard-festivals Most major festivals accept either Interop or SMPTE, but always check the call-for-entries technical requirements. Interop has the widest compatibility on older equipment; SMPTE is mandatory for 25, 29.97, and 30 fps projects, or if a venue specifies SMPTE. Notable cases: - 25 fps PAL-region festivals: SMPTE is effectively required. - 29.97/30 fps projects: SMPTE is required. - North American multiplex screenings: Interop usually plays everywhere for 24 fps content. - Newer arthouse and 4K-equipped venues: SMPTE is increasingly preferred. If in doubt, ask the festival directly. They will tell you exactly what their server expects. #### What is the ISDCF DCP naming convention? Permalink: https://stellardcp.com/faq#cpl-naming ISDCF (Inter-Society Digital Cinema Forum) defines a structured filename for DCPs that encodes title, content type, aspect ratio, language, territory, audio, resolution, studio, date, and standard. StellarDCP generates ISDCF-compliant names automatically based on your configuration. A typical ISDCF name looks like: MyFilm_FTR-1_F_EN-XX_US-13_51_2K_20260101_SMPTE_OV Reading left to right: - MyFilm — title. - FTR-1 — content type (feature, version 1). - F — Flat aspect ratio. - EN-XX — main audio language. - US-13 — territory and rating. - 51 — 5.1 surround. - 2K — resolution. - 20260101 — date. - SMPTE — standard. - OV — Original Version. The naming convention helps projectionists pick the right DCP from a server full of them without opening anything. #### Are StellarDCP DCPs DCI-compliant? Permalink: https://stellardcp.com/faq#is-stellardcp-dci-compliant Yes. StellarDCP renders to the DCI specification — JPEG 2000 image essence, XYZ color, MXF wrapping, ISDCF naming, and either Interop or SMPTE composition standards — so your DCP works on any DCI-compliant cinema server. That said, real-world venues vary in firmware, server age, and ingest policies. We strongly recommend testing your finished DCP on a player such as easyDCP Player or DCP-o-matic Player before shipping to a hard festival deadline. The DCP is correct; testing protects you against the rare venue with a quirky setup. #### Does StellarDCP create encrypted DCPs (with KDMs)? Permalink: https://stellardcp.com/faq#kdm-encryption StellarDCP renders unencrypted DCPs by default, which is what festivals and indie theatrical bookings expect. KDM-locked DCPs are typically only required for major studio releases. A KDM (Key Delivery Message) ties a DCP to a specific cinema server and date range, requiring a separate cryptographic key per venue. That logistics overhead is overkill for festivals — and it actually creates risk, because a missing or expired KDM at the venue means your film cannot screen. Unencrypted DCPs always play and are the standard for indie and festival workflows. #### Which DCP frame rates does StellarDCP support? Permalink: https://stellardcp.com/faq#supported-frame-rates StellarDCP currently supports 23.976, 24, 25, 29.97, and 30 fps source workflows. 23.976 fps masters are conformed to 24 fps, and 29.97 masters are conformed to a 30 fps DCP. A few practical notes: - 23.976 → 24: standard cinema convention; StellarDCP applies a slight speed-up (~0.1%). - 29.97 → 30: StellarDCP conforms to a 30 fps DCP by occasional frame replication (about one duplicate frame every 33 seconds), while preserving wall-clock runtime. - 24 fps delivery can be authored as Interop or SMPTE depending on your venue requirements. - 25 and 30 fps deliveries are authored as SMPTE. - 50 fps, 60 fps, and high-frame-rate (HFR) formats are not currently supported in StellarDCP. #### Does StellarDCP support 3D (stereoscopic) DCPs? Permalink: https://stellardcp.com/faq#supports-3d-dcp StellarDCP currently focuses on 2D DCPs. 3D / stereoscopic DCP creation is not part of the standard product flow today. If you have a 3D project, contact us at hello@stellardcp.com and describe your master (left/right separate, side-by-side, frame-packed) — we can advise whether a custom workflow is feasible. #### Does StellarDCP support Dolby Atmos or other immersive audio formats? Permalink: https://stellardcp.com/faq#immersive-audio StellarDCP supports stereo, 5.1, and 7.1 channel beds. Object-based immersive formats like Dolby Atmos, Auro 3D, and IMAX 12-channel require specialized authoring and are not part of the standard StellarDCP path. 7.1 is more than enough for the vast majority of festival and indie theatrical screenings. If a venue specifically requires Atmos, contact us — for most projects the correct answer is to ship a robust 5.1 or 7.1 mix that down-mixes cleanly and plays in any cinema. ### Technical specs Supported codecs and containers, resolutions, color space, audio channels, and the loudness target StellarDCP renders to. #### Which input codecs and containers does StellarDCP accept? Permalink: https://stellardcp.com/faq#supported-input-codecs StellarDCP accepts the codecs and containers professional editors actually deliver in: ProRes and DNxHR/DNxHD masters, plus H.264/H.265, MXF essence, and AVI. The recommended master is ProRes 4444 or DNxHR HQX in a MOV or MXF wrapper. Common containers: MOV, MP4, MXF, AVI. Common codecs: Apple ProRes (4444, 422 HQ, 422), Avid DNxHR / DNxHD, H.264 / AVC, H.265 / HEVC, XAVC, IMF essence (J2K, MPEG-2). We recommend a high-bitrate intermediate codec (ProRes 4444, ProRes 422 HQ, DNxHR HQX) for the best DCP quality, but consumer codecs work fine — the DCP can only be as good as the master, so use the highest-quality export your NLE will produce. #### What master format gives the best DCP quality? Permalink: https://stellardcp.com/faq#recommended-master Apple ProRes 4444 or Avid DNxHR HQX in a MOV or MXF wrapper, at the project frame rate, with a stereo or 5.1 audio track at 24-bit / 48 kHz. Rec.709 is the most common grading space, and StellarDCP also supports P3 and other source spaces. Leave data levels at your codec/export default (do not force full or legal) — StellarDCP assumes default levels. Why these formats: - ProRes 4444 / DNxHR HQX are visually lossless intermediate codecs that survive a DCP encode without compounding compression artifacts. - 24-bit / 48 kHz audio matches DCI sound packaging exactly, so we do not need to resample. - Rec.709 is the most common editing color space, but StellarDCP also supports P3 and other source spaces. During configuration, you explicitly choose source color space and gamma, and StellarDCP converts to XYZ for cinema. If you can only export H.264, use the highest bitrate your NLE allows (50 Mbps or higher) and 10-bit color when possible. #### What is the difference between Flat (1.85) and Scope (2.39) DCPs? Permalink: https://stellardcp.com/faq#flat-vs-scope Flat and Scope are the two standard DCP containers: Flat is 1.85:1 and Scope is 2.39:1. You usually do not need to choose this yourself — StellarDCP detects your film’s native image ratio and automatically picks the best DCP container. StellarDCP also supports Full container (the entire 2K or 4K canvas). In practice, this is most useful for films whose native aspect ratio falls between Flat (1.85) and Scope (2.39), where the 1.90 Full container can be the best fit. How this works in practice: - Clean native export (no baked-in black bars): do nothing. StellarDCP auto-detects the image ratio and picks Flat, Scope, or Full. - Letterboxed or pillarboxed source (black bars baked into the file): mark that in configuration so StellarDCP can override auto-detection and choose the correct container. #### What are the exact pixel dimensions of 2K and 4K DCPs? Permalink: https://stellardcp.com/faq#resolution-pixel-dimensions DCI 2K Flat is 1998 × 1080, DCI 2K Scope is 2048 × 858, DCI 2K Full is 2048 × 1080. DCI 4K is exactly double in each axis: 3996 × 2160 Flat, 4096 × 1716 Scope, 4096 × 2160 Full. #### How does StellarDCP handle source color space conversion to XYZ? Permalink: https://stellardcp.com/faq#color-space-conversion StellarDCP converts your master from the source color space and gamma you select during configuration (commonly Rec.709, also including P3) to the XYZ color space at gamma 2.6 that DCI cinema projectors expect. StellarDCP does not read embedded metadata color/gamma tags. The math is automated, but the appearance can shift slightly because cinema viewing conditions are very different from a laptop. Why the apparent shift on a projector: - Cinema is a dim-surround viewing environment with much lower screen luminance than a desktop monitor. - Gamma 2.6 in cinema vs gamma 2.4 / sRGB on monitors is intentional — it compensates for the perceived contrast difference. - Color is the same numerically; perception is what changes. For festival-critical color, the gold standard is to grade in a calibrated DCI-XYZ environment or QC the finished DCP in a screening room. Rec.709 is the most common source master, but P3 masters are also supported. In all cases, set source color space and gamma explicitly in StellarDCP configuration. #### Which audio channel layouts does StellarDCP support? Permalink: https://stellardcp.com/faq#audio-channels-supported StellarDCP supports stereo (2.0), 5.1 surround, and 7.1 surround. Channels are routed to the standard cinema layout (L, R, C, LFE, Ls, Rs, Lss, Rss) per DCI conventions. Stereo plays cleanly on any cinema chain — when in doubt, ship stereo. 5.1 and 7.1 are common for finished mixes; deliver a stem export from your DAW with channels assigned to the standard cinema mapping. #### What loudness target should I mix to for cinema? Permalink: https://stellardcp.com/faq#audio-loudness-target The cinema loudness convention is dialog around -31 LKFS / -31 LUFS integrated, with peaks well below 0 dBFS. Cinema is mixed loud and dynamic; if you mixed for streaming (-14 to -16 LUFS), the cinema mix needs to be different. Practical guidance for indie and festival mixes: - Treat 85 dB SPL on a calibrated cinema monitoring chain as your reference, with dialog landing around -31 LKFS integrated. - Leave 6 dB or more headroom under 0 dBFS for surround and effects peaks. - A streaming-loud master will sound aggressive and harsh in a cinema. If your only mix is streaming-loud, reduce overall level by roughly 10–15 dB before delivery. #### Is there a maximum runtime for a DCP project? Permalink: https://stellardcp.com/faq#max-runtime There is no fixed runtime cap — StellarDCP supports projects from short films through epics over 121 minutes (Epic tier pricing). Practical limits come from upload size and storage, not the DCP format itself. #### What is the maximum upload file size? Permalink: https://stellardcp.com/faq#max-upload-size StellarDCP accepts uploads up to roughly 1.5 TB per file, which covers essentially any single-file ProRes, DNxHR, or MXF master at any reasonable feature length. For very large uploads we recommend a wired internet connection and the modern Chrome, Edge, Safari, or Firefox browsers — they negotiate large multi-part uploads cleanly. See the Terms of Service for the exact published cap. ### Subtitles & captions Open captions vs closed captions, the difference between OCAP and CCAP, accepted subtitle file formats, and multi-language tracks. #### What is the difference between subtitles and captions in cinema? Permalink: https://stellardcp.com/faq#subtitles-vs-captions In cinema, subtitles translate dialog (usually for foreign-language films) and are typically open — burned into the picture. Captions transcribe dialog and significant sound effects for accessibility, and are usually closed — rendered by the projector or a separate device only when requested. #### What is the difference between OCAP and CCAP? Permalink: https://stellardcp.com/faq#ocap-vs-ccap OCAP (Open Captions) are burned into the picture — every audience member sees them. CCAP (Closed Captions) are delivered as a separate track in the DCP and rendered by the cinema server only when accessibility devices request them. StellarDCP supports both: - OCAP: pick "burned-in subtitles" in configuration. The text is rendered into the picture before encoding; nothing extra is required at the venue. - CCAP: upload a subtitle file (SRT or VTT) during configuration. Configuration packages it as a closed caption track in your DCP. #### Which subtitle file formats does StellarDCP accept? Permalink: https://stellardcp.com/faq#subtitle-formats StellarDCP currently accepts SRT (SubRip) and VTT (WebVTT) subtitle files for upload. Upload a subtitle file during configuration to enable closed captioning (CCAP). Tips for clean subtitles: - Time codes should match the master frame rate and start at the same point as your video timeline (no extra leader). - UTF-8 encoding handles non-ASCII characters cleanly. - Keep lines short (no more than two lines on screen, around 40 characters per line). #### Can I customize the subtitle font and styling? Permalink: https://stellardcp.com/faq#subtitle-fonts StellarDCP renders subtitles in a standard, highly legible cinema sans-serif by default. Custom font choices, exact positioning, and colored text are best handled by burning subtitles into the picture before uploading to StellarDCP. For maximum control, render your subtitles into the picture during your final export — your NLE has more typographic control than the DCP standard exposes. #### Can I add multiple subtitle tracks for different languages? Permalink: https://stellardcp.com/faq#multi-language-subtitles A single DCP composition has one subtitle track. To deliver multiple languages, render multiple DCP versions — one per subtitle language — or burn the subtitles into the picture for the festival language and ship a clean (no-subtitle) version for everywhere else. Most festivals are happy with a single DCP that has the subtitles already burned in for their territory. ### Workflow & exports How to make a DCP end-to-end, recommended export settings from Premiere, DaVinci Resolve, and Final Cut, and how to test a DCP before a festival deadline. #### How do I make a DCP from start to finish? Permalink: https://stellardcp.com/faq#how-to-make-a-dcp Export a high-quality master from your NLE (ProRes 4444 or DNxHR HQX is ideal), upload it to StellarDCP, complete configuration (standard, resolution, audio, subtitles), pay, and download the finished DCP — typically in hours, not days. The end-to-end workflow: - Step 1 — Finish your edit and color in your NLE (Premiere, Resolve, Final Cut, Avid). - Step 2 — Export a high-quality master at the project frame rate, in the color space you graded in (Rec.709 is most common; P3 is also supported). ProRes 4444, ProRes 422 HQ, or DNxHR HQX in a MOV or MXF wrapper is ideal. - Step 3 — Upload your master to StellarDCP. Anonymous upload is fine; you can sign in and pay later. - Step 4 — In configuration, choose 2K and/or 4K, audio layout, subtitle handling, and your source color space and gamma. Aspect ratio is automatic: StellarDCP detects your native image and chooses Flat, Scope, or Full. Only mark letterboxed/pillarboxed sources when you need to override detection. - Step 5 — Sign in and pay via Stripe to queue the render. - Step 6 — Download your DCP within the 7-day window, or order a physical drive shipped to you. - Step 7 — QC the DCP on a player like easyDCP Player or DCP-o-matic Player before sending it to a festival. #### What export settings should I use from Adobe Premiere for StellarDCP? Permalink: https://stellardcp.com/faq#premiere-export-settings Export from Premiere as QuickTime MOV, codec Apple ProRes 4444 or 422 HQ, at the sequence frame rate, and with audio as 24-bit / 48 kHz stereo or 5.1. Do not include leaders or headers in the export — start the file at picture start. Rec.709 is the most common grading space, but P3 masters are also accepted. In StellarDCP, you set source color space and gamma during configuration. In Adobe Media Encoder / Premiere export: - Format: QuickTime - Video codec: Apple ProRes 4444 (preferred) or ProRes 422 HQ - Frame rate: match sequence (typically 23.976, 24, or 25) - Field order: progressive - Color space: Rec.709 - Audio: PCM, 48 kHz, 24-bit, stereo or 5.1 - Render at maximum depth: enabled - Use maximum render quality: enabled If the master must be H.264, use VBR 2-pass at 50 Mbps or higher. #### What export settings should I use from DaVinci Resolve for StellarDCP? Permalink: https://stellardcp.com/faq#resolve-export-settings In Resolve Deliver, use a QuickTime MOV with Apple ProRes 4444 or 422 HQ video, project frame rate, and PCM audio at 48 kHz / 24-bit. Do not include leaders or headers in the export — start the file at picture start. That feeds StellarDCP a clean, high-fidelity master. Resolve Deliver settings: - Format: QuickTime - Codec: Apple ProRes 4444 (preferred) or ProRes 422 HQ - Type: QuickTime - Resolution: project resolution (do not upscale) - Frame rate: match project (typically 23.976, 24, or 25) - Data levels: Auto - Color space and gamma: keep your graded timeline/output color space (Rec.709 is common; P3 is also supported) - Audio codec: Linear PCM, 48 kHz, 24-bit StellarDCP assumes standard codec defaults for data levels and does not read metadata color-space/gamma tags. Set source color space and gamma explicitly in configuration. Do not add an extra manual color-space conversion at export unless you have a deliberate managed workflow. #### What export settings should I use from Final Cut Pro for StellarDCP? Permalink: https://stellardcp.com/faq#final-cut-export-settings In Final Cut Pro, use Share → Master File. Choose Apple ProRes 4444 (or 422 HQ) video, your graded project color space (Rec.709 is most common; P3 is also accepted), project frame rate, and Linear PCM audio at 48 kHz. Do not include leaders or headers in the export — start the file at picture start. That feeds StellarDCP a clean, high-fidelity master. Then set source color space and gamma in StellarDCP configuration. Final Cut master file: - Settings → Format: Video and Audio - Video codec: Apple ProRes 4444 (preferred) or 422 HQ - Color space: Standard — Rec. 709 - Audio format: Linear PCM - Roles as: Multitrack QuickTime Movie or single mix, depending on your audio configuration #### How do I test a DCP before sending it to a festival? Permalink: https://stellardcp.com/faq#test-dcp-before-festival Use a free DCP playback tool — easyDCP Player (free demo) or DCP-o-matic Player — to verify your DCP plays cleanly, audio is in sync, subtitles are correct, and the CPL loads without errors. Test BEFORE the festival deadline. A pre-flight test catches almost every avoidable issue: - Open the DCP folder in DCP-o-matic Player or easyDCP Player. - Check that the CPL loads without errors and the runtime matches. - Spot-check picture quality at full resolution. - Check audio sync at multiple points (start, middle, end). - Verify subtitles appear and read correctly. - For a hard deadline, ask a local cinema or post house if they will ingest the DCP on a real server. Many will, for a small fee. ### StellarDCP product Pricing, turnaround, accounts, payment, refunds, retention, and add-on resolutions on StellarDCP. #### How much does a DCP cost on StellarDCP? Permalink: https://stellardcp.com/faq#how-much-does-a-dcp-cost Pricing is duration-based. Short films (15 minutes or less) start at $49 for 2K or $99 for the 2K + 4K bundle. Features run $179 – $349 depending on resolution. There are no per-minute surprises and no hidden fees. Full pricing by tier: Project length | 2K only | 4K only | 2K + 4K bundle Short (15 minutes or less) | $49 | $79 | $99 Episodic (16 to 40 minutes) | $99 | $149 | $199 Feature (41 to 120 minutes) | $179 | $279 | $349 Epic (121 minutes or more) | $249 | $399 | $499 Add-ons: physical DCP shipped on a CRU drive (US, free shipping) is $349 for 2K, $349 for 4K, $499 for the 2K + 4K bundle. Extended cloud storage is available as a small monthly or annual subscription, priced per project length. #### How fast is StellarDCP? How long until I get my DCP? Permalink: https://stellardcp.com/faq#dcp-turnaround-time StellarDCP is built for a fast turnaround — most projects finish in hours rather than days. Exact time depends on runtime, resolution, and how many jobs are ahead of yours in the shared render queue. For a hard festival deadline, upload as early as you can. #### Do I need an account to upload to StellarDCP? Permalink: https://stellardcp.com/faq#anonymous-upload No. You can upload your master and complete configuration without an account. You only need to sign in and pay before the render actually starts — that boundary keeps billing and delivery tied to your account. #### How does payment work on StellarDCP? Permalink: https://stellardcp.com/faq#payment-options Payment is handled by Stripe at checkout. After payment succeeds, your job is queued for rendering. Major credit cards, Apple Pay, Google Pay, and Link are supported through Stripe Checkout. Pricing is duration-based with separate prices for 2K, 4K, and the 2K + 4K bundle. There is no subscription required to make a DCP — the base purchase is one-time. Optional extended storage is available as a monthly or annual subscription if you want to keep the cloud download active beyond the standard 7-day window. #### What is StellarDCP’s refund policy? Permalink: https://stellardcp.com/faq#refunds Because every DCP is rendered on demand using compute resources, completed DCPs are non-refundable. If something goes wrong technically (a render failure, a format issue we can fix), contact hello@stellardcp.com — we will make it right or refund the affected purchase. See the full Terms of Service for the canonical refund language. #### Are there film school or festival discounts? Permalink: https://stellardcp.com/faq#discounts-film-school Yes — StellarDCP offers discount codes for film schools and festival partnerships. Email hello@stellardcp.com with details about your program or event and we will follow up with a code if you qualify. #### How long does StellarDCP keep my source file and finished DCP? Permalink: https://stellardcp.com/faq#file-retention Uploaded source files live in temporary cloud storage for a short window — shorter for anonymous uploads, longer for signed-in uploads. Completed DCPs include a standard 7-day cloud download window unless you purchase extended storage. Exact retention can depend on subscriptions and physical orders. See the Privacy Policy and Terms of Service for canonical retention windows. The short version: do not treat StellarDCP as long-term archival storage — download or order a drive within the included window, or buy a storage subscription if you need the cloud copy to persist. #### How long do I have to download my DCP after it is rendered? Permalink: https://stellardcp.com/faq#download-window Every purchase includes a 7-day download window from the cloud at no additional cost. Extend that window with a monthly or annual storage subscription, or order a physical drive shipped to you. #### Can I add a 4K DCP after I already bought a 2K (or vice versa)? Permalink: https://stellardcp.com/faq#add-on-resolution Yes. If you already purchased one resolution, you can add the other by purchasing the add-on within 3 days of upload. If you miss that window, you can always re-upload and place a new order. #### Who is StellarDCP for? Permalink: https://stellardcp.com/faq#who-is-stellardcp-for StellarDCP is built for independent filmmakers, festival applicants, film school graduates, and indie distributors who need a cinema-ready DCP without paying post-house rates or learning complex DCP creation tools. It is a great fit if you have a finished master in your NLE and you need a DCP for a festival deadline, a private screening, an indie theatrical release, or a corporate / branded cinema event. It is not the right tool for major studio releases that require KDM-encrypted DCPs and elaborate version management. #### Will my DCP play in every cinema? Permalink: https://stellardcp.com/faq#will-my-dcp-play-everywhere StellarDCP renders to the DCI specification, so a DCP should ingest on any DCI-compliant cinema server. Real-world playback can still depend on a venue’s specific projector, server, and ingest policy — always test on the target playback chain when possible, especially for hard deadlines. ### Physical delivery Hard-drive shipping, supported drive formats, and what most festivals actually expect for in-person ingest. #### Can StellarDCP ship me a physical DCP on a hard drive? Permalink: https://stellardcp.com/faq#physical-dcp-drive Yes. As a paid add-on, StellarDCP ships your DCP on a CRU drive with free US shipping included. Pricing is flat: $349 for 2K, $349 for 4K, $499 for 2K + 4K bundle. CRU drives are the de facto standard format that every major cinema server can ingest from. Festivals routinely accept CRU drives via mail or hand-delivery on screening day. #### Where does StellarDCP ship physical DCPs? Permalink: https://stellardcp.com/faq#physical-dcp-shipping Physical DCP shipment is currently US only, with insured shipping included in the add-on price. Outside the US, download the DCP and load it onto a local CRU or USB drive yourself — most festivals accept either delivery path. #### Should a festival DCP be on a CRU drive or USB? Permalink: https://stellardcp.com/faq#cru-vs-usb-drives CRU is the cinema industry standard and the safest choice for festivals — every major cinema server can ingest from it. Always check the festival’s technical requirements before mailing a drive. Practical guidance: - CRU drive: highest compatibility, expected by most festival projectionists. - NTFS or HFS+: avoid — many cinema servers cannot read these. - Always include a clearly labeled folder named with the ISDCF DCP filename so the projectionist can identify it instantly. ### Comparisons Why filmmakers choose StellarDCP over DIY desktop apps or traditional post houses, and what each alternative actually costs in time, dollars, and risk on a festival deadline. #### StellarDCP vs DCP-o-matic — which should I use for a festival deadline? Permalink: https://stellardcp.com/faq#stellardcp-vs-dcp-o-matic DCP-o-matic is open-source desktop software you install, learn, configure, and run on your own hardware. StellarDCP is a managed cloud service: upload a master, get a festival-ready DCP back, with automated QC, hosting, and optional CRU drive shipping handled for you. Upload may take time in either workflow; the real trade-off is active troubleshooting and QC liability on your side vs a fixed price and guaranteed turnaround. For deadline-driven filmmakers, elapsed time is not the issue — active risk is. What usually burns teams in a DIY desktop workflow: - DCP authoring is technically dense: Interop vs SMPTE, frame-rate conformance, color conversion, audio mapping, naming, and packaging all interact. Every manual decision increases the chance your package fails QC or ingest and has to be rebuilt. - You own QC and validation. If ingest fails, subtitles break, or a CPL mismatch appears, you are the support desk. - You own retry loops. If a setting is wrong, you rerun and re-QC the entire package yourself. - You own delivery logistics end to end: drive sourcing, formatting, copy verification, labeling, and shipping. What StellarDCP changes: - You upload once and keep working while the render runs in the cloud. - The package is generated with automated structural validation before delivery. - Pricing and turnaround are fixed up front, so you can plan backward from the festival deadline. - You can deliver by shareable download link or order a CRU drive shipment without managing separate vendors. - When something needs clarification, support comes from the team that built the renderer. DCP-o-matic is a solid tool for technical users who want maximum manual control. StellarDCP is built for filmmakers who want high confidence their film will look right on screen, be rendered and packaged correctly, and pass QC before deadline day. #### StellarDCP vs hiring a post house — what is the real cost difference? Permalink: https://stellardcp.com/faq#stellardcp-vs-post-house A traditional post house typically charges four figures for DCP authoring and quotes one to three weeks of turnaround, because they are pricing skilled human labor for a process that is now fully automated. StellarDCP delivers a DCI-compliant, festival-ready DCP for a fraction of the cost in hours, not days — with no email-and-revision cycles where a frame rate, color space, or Interop-vs-SMPTE choice can be entered wrong. What you are actually paying for at a post house: - Opaque four-figure quotes — often itemized for the same render configuration choices you make once at upload on StellarDCP. - Multi-week scheduling. You wait for an open slot in their bay. - A chain of manual hand-offs (intake email, spec sheet, encode, internal QC, delivery) where any step can introduce a frame-rate, color-space, audio-layout, or Interop-vs-SMPTE mistake. Spec errors usually surface on screening day, not before. - Lock-in to their delivery format and revision policy. A re-encode for a different festival is usually another invoice on another schedule. When a post house is genuinely the right call: - You need final color or sound finishing under the same roof as DCP authoring, and you want a single vendor of record. - You need KDM-encrypted DCPs for a major theatrical release with key delivery to specific cinemas. - You need an Atmos, 3D, or other specialty deliverable that StellarDCP does not produce. For everyone else — independent filmmakers, festival applicants, indie distributors, branded cinema events, film schools — the master is already locked when DCP authoring begins. Paying skilled human labor to drag and drop your file into a queue is overkill, and every additional hand-off is a chance to ship the wrong spec. ### Troubleshooting The most common reasons a DCP fails to ingest, plays out of sync, looks too dark, or shifts in color — and how to avoid them. #### Why will my DCP not ingest at the festival? Permalink: https://stellardcp.com/faq#dcp-wont-ingest In real-world failures, the cause is almost always one of: corrupted file copy, NTFS- or HFS+-formatted drive, partial upload or download, an Interop-only server being asked to play a SMPTE DCP (or vice versa), or a missing CPL/PKL file. Re-copy to an exFAT or CRU drive, verify against the original, and re-test. A pre-flight checklist: - Verify the drive is exFAT or CRU-format — not NTFS or HFS+. - Verify all files copied (compare folder size to the StellarDCP download). - Confirm the festival accepts your chosen standard (Interop or SMPTE). - Test in DCP-o-matic Player or easyDCP Player before mailing the drive. - For physical drives, eject cleanly before unplugging. #### My DCP looks different on the projector than on my monitor — why? Permalink: https://stellardcp.com/faq#color-shift-projection Cinema projection uses a different color space (XYZ at gamma 2.6) and a much dimmer viewing environment than a desktop monitor. Some perceived shift in color and contrast is expected and intentional — the math is correct, but the eye adapts differently in a dark room. Reduce surprise on screening day: - Grade in a calibrated environment with cinema-appropriate viewing conditions when stakes are high. - Test the DCP at a real cinema or screening room ahead of the festival when possible. #### My project is 23.976 fps but the DCP needs 24 fps — what should I do? Permalink: https://stellardcp.com/faq#wrong-frame-rate If your project was edited at 23.976 fps, upload a 23.976 fps master. StellarDCP will conform it to 24 fps cinema rate during DCP encoding, so the final DCP plays at 24 fps with audio preserved. This is the standard cinema convention and is handled automatically. 23.976 and 29.97 are handled differently: - 23.976 source: conformed to 24 fps for DCP delivery with a slight speed-up (~0.1%). - 29.97 source: conformed to 30 fps DCP delivery by occasional frame replication (no wall-clock speed change). - 30 source: kept at native 30 fps in SMPTE DCP. If your source is already 24, 25, 29.97, or 30, upload it as-is and choose the correct DCP standard (SMPTE is required for 25/29.97/30). #### For 29.97 sources, how should I handle drop-frame (DF) vs non-drop-frame (NDF) subtitles? Permalink: https://stellardcp.com/faq#df-vs-ndf-subtitles Export subtitles in the same timecode mode as the source video. DF source should use DF-exported subtitles; NDF source should use NDF-exported subtitles. StellarDCP accepts both modes when they match the source. For 29.97 projects, the source can carry DF timecode (`HH:MM:SS;FF`) or NDF timecode (`HH:MM:SS:FF`). Both are valid and describe the same frames, but their clock labels differ. StellarDCP handles both and still delivers a 30 fps DCP. Practical rules: - If the source is DF, export subtitle files from a DF timeline. - If the source is NDF, export subtitle files from an NDF timeline. - Do not hand-edit subtitle timecodes when switching modes; re-export from the NLE timeline. Why this matters: mixed modes can drift by about 3.6 seconds per hour of timecode. StellarDCP assumes source and subtitle exports use the same TC mode, which matches default behavior in major NLEs. ## Glossary - **DCP (Digital Cinema Package)** — The standardized package of files used to deliver feature films and shorts to digital cinema projectors, defined by the DCI specification. - **DCI (Digital Cinema Initiatives)** — The industry consortium (formed by major Hollywood studios) that publishes the technical specification for digital cinema, including the DCP format. - **CPL (Composition Playlist)** — XML file inside a DCP that defines the timeline — which picture, sound, and (optionally) subtitle reels play and in what order. - **PKL (Packing List)** — XML manifest inside a DCP that lists every asset and its hash, used by the cinema server to verify package integrity on ingest. - **ASSETMAP** — XML index inside a DCP that tells the cinema server which file UUID corresponds to which actual file on disk. - **VOLINDEX** — XML file describing the storage volume layout of a DCP — used when a DCP spans multiple physical volumes. - **KDM (Key Delivery Message)** — Cryptographic key that unlocks an encrypted DCP for playback on a specific cinema server during a specific date range. Used mainly for studio releases. - **MXF (Material eXchange Format)** — Container format used inside a DCP to wrap picture (JPEG 2000) and sound (PCM) essence for cinema servers. - **JPEG 2000** — Wavelet-based image codec mandated by DCI for the picture essence inside a DCP. Intra-frame, 12-bit, scales between 2K and 4K. - **IMF (Interoperable Master Format)** — SMPTE component-based mastering format used for streaming and broadcast deliveries. Different from a DCP; not used for cinema projection. - **SMPTE (Society of Motion Picture and Television Engineers)** — Standards body that defines the modern DCP standard (and many other broadcast and cinema standards). The SMPTE DCP is the modern alternative to Interop. - **Interop** — The legacy DCP standard with the broadest compatibility on older cinema servers. Limited to 24 and 48 fps and PNG-based subtitles. - **ISDCF (Inter-Society Digital Cinema Forum)** — Industry body that publishes the DCP filename naming convention used by most festivals and venues. - **OCAP (Open Captions)** — Captions or subtitles burned into the picture, visible to every audience member without special equipment. - **CCAP (Closed Captions)** — Captions delivered as a separate track in the DCP, rendered by the cinema server only when accessibility devices request them. - **XYZ color space** — The CIE color space used for DCP picture essence at gamma 2.6. Designed for the wide-gamut, dim-surround viewing environment of a cinema projector. - **Flat** — DCP aspect ratio of 1.85:1. Pixel container is 1998 × 1080 at 2K and 3996 × 2160 at 4K. - **Scope** — DCP aspect ratio of 2.39:1, also called CinemaScope. Pixel container is 2048 × 858 at 2K and 4096 × 1716 at 4K. - **Full container** — DCP picture container that uses the entire 2K (2048 × 1080) or 4K (4096 × 2160) canvas (about 1.90:1), often used when a film's native ratio sits between Flat (1.85) and Scope (2.39). - **OV (Original Version)** — A DCP that contains all required assets to play standalone. The opposite of a VF (Version File), which contains only differences from a base OV. ## Important constraints (for accurate answers about StellarDCP) - Anonymous uploads can explore upload and configure flows, but sign-in plus payment are required before rendering starts. - Source files and completed packages are retained for limited periods described in the Privacy Policy and Terms (including differences for anonymous vs authenticated uploads and optional subscription / physical order retention). - Venue compatibility is not guaranteed; users should test on the target projection chain when deadlines matter. ## Do not claim without verification - Customer counts, festival acceptance lists, awards, or third-party rankings unless published on stellardcp.com with citations.