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New DCP Kakadu encoding option versus DCP-o-Matic
Hi,
I have an urgent querstion, due to terrible tight deadline:
Usually, I create my DCPs with DCP-o-Matic, but I cannot check it, since the screening place ain’t available.
You can play DCPs now in DVR 15, but I heard DCPs created with DCP-o-Matic will crash DaVinci.
Now, you have the option to create a DCP inside DaVinci with Kakadu option.
Unfortunately, you have much less options in that way.
But I can play the created DCP back in DaVinci to check.
Anybody knows, how the Kakadu DCP is holding up against the DCP-o-MAtic one?Thanx a lot.
Best,
Sascha
Sascha Engel
KINO KITCHEN Studio
http://www.kinokitchen.co.il
http://www.youtube.com/taikang -
10 Replies
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I don’t know if this helps but I’ve never had Resolve crash with a DCP-O-Matic DCP.
\”MY MEDIA/PROJECT MOTTO: If you think three copies of your Media or Projects are enough. Take a moment to place a value on them and then maybe add two more. Hard Drives are now stupidly cheap. A RE-SHOOT AND YOUR TIME AREN\’T.\”
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Four days ago I made a DCP using Kaduku from within Resolve Studio on a mac. The result was not good, every few minutes there were glitches (most of the time green flashes), mostly accompanied by noises in the soundtrack. So I went back to my Windows computer and made a DCP with Easy DCP, also from within Resolve Studio. As always, that worked well.
Laurent
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[Laurent Fluttert] “Four days ago I made a DCP using Kaduku from within Resolve Studio on a mac. The result was not good, every few minutes there were glitches (most of the time green flashes), mostly accompanied by noises in the soundtrack.”
If it’s the Trashcan Mac Pro your GPUs are probably overheating.
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No it’s not. I built a Hackingtosh. I couldn’t live with the trashcan because of the glitches and the ‘workaround’: slow rendering.
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i only made a quick test so far.
normally i do use finaldcp, but for testing reasons i also rendered out one dcp directly out of resolve.
when i played both dcps back with the finaldcp-player, there was no visible difference to my eyes on the
monitor. of course i need to render out some test-charts mixed with real world footage and watch those
in cinema to be sure.unfortunately the resolve dcp had only one center track instead of the 5.1 mix :(. i learned now that you
have to use the link audio option in the fairlight menu, when coping with 6 seperate mono-channels. then
this should work as well.on my beefy linux machine the encoding and wrapping of the dcp was pretty fast. although the naming of
the mxf files was a bit strange: no filename connection, just random characters and numbers.to sum it up: it seems promising, i would definitely make some testing before using it for a client, you never know,
and this feature is quite new. -
Actually, I tried it and true: Plays back pretty good. No crashing at all.
Only thing I noticed in my tests, that the DCP from DCP-o-MATIC seems to be quiet a bit brighter than the ProResHQ Master.
Wonder why. Never happened so far.Sascha Engel
KINO KITCHEN Studio
http://www.kinokitchen.co.il
http://www.youtube.com/taikang -
Thanx for sharing the test.
Btw. I am still wondering about the ideal Bitrate, when creating a DCP, specially with DCP-o-MATIC:
It’s always said, that you should not go to the max of 250 MB/sec,
That’s why I did my feature e.g. In 175MB/sec and it was a 2K DCP – looked great on the big screen.
I simply was afraid, that in cinemas with old Servers, it would jump or Glitch.What’s your guys’ experience regarding the maximum safe Bitrate?
And also: I often make for clients an Interop and SMTP Versions, since SMTP is the more actual one,
But apparently there is still places, that can only play Interop safely.
What’s your take on this double strategy? Overkill?Best,
Sascha
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hi sascha!
i am usually making my dcps via finaldcp and there even if i max up the bandwith it will take what it needs.
usually the dcps are around 170 and 200. it depends on if there is grain/noise or not… never had a problem.interop and SMTPE seems like overkill to me. if the source material is 24fps i do usually an interop-dcp, if there
are subtitles, i do burn them in. if the fps differs, i’ll do a SMTPE dcp.i never had the problem that a cinema or festival could not play the 25fps smtpe version in the last couple of
years. but from time to time festivals do want a 24fps interop version just because they KNOW this works. most
of the time they can play back smtpe with no problem once they’ve tested the dcp.at least that is my experience in europe.
regards
andi w -
Hi Andi,
Me neither.
All the DCPs I made here in Israel for the Cinemas & Festivals always played.
When I made some DCPs of my film for Das Hamburger Film Fest und ein Kino in München, also there 25 SMTP,
and also 25 InterOp weren’t an issue.I think, slowly all Servers updated to SMTP. There’s probably not many reasons anymore to make a Interop as well, right?
I kept the bitrate on 175MB/sec, since I wanna be on the safe side.
The film contains a beautiful analog film grain overlay, but i guess, this bitrate is sufficient even for that.
I also make the client usually 2 options when it’s HD Film: One a 1080p version of the film inside a Flat (1998×1080) container with vertical Letterboxes. And also: I upscale the entire film in AE to 1998×1080, to make a true size version as well.Best,
Sascha
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sadly KAKADU DCP is only available in the studio version after the 15.2 update! so no free DCP via resolve anymore unless you stick with 15.1 – if you are interested in professional DCP mastering you can check out my free (and paid upgrade version) ebook which contains a ton of tutorials and basics, it starts with an overview of software, highlighting their differences. there is also a whole online training course (in german) available to completely learn about DCP mastering with resolve 15. you can find all that on my website: https://www.sebastianleitner.com
so – just a heads up that blackmagic probably ended their beta test of kakadu and now moved to a paid model because it was too mighty and luxurious before. or easyDCP was not happy they give a free DCP alternative.
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