A 2.20:1 film in a Flat-and-Scope world Oppenheimer (2023) was shot for the 2.20:1 aspect ratio, and it was distributed as a DCP in two versions: F-220 and S-220. That is unusual — Christopher Nolan’s earlier 2.20:1 films Tenet (2020) and Dunkirk (2017), and Jordan Peele’s Nope (2022), were only available as F-220 — and […]
Which Oppenheimer DCP to use? F-220 or S-220 Read More »
The ISDCF DCNC (Digital Cinema Naming Convention) When creating DCPs, it is crucial to avoid whitespace and special characters in filenames, because some playback systems will refuse content whose name they cannot parse. So rather than a casual name like “My Super Movie”, the industry names its packages according to the ISDCF DCNC (Digital Cinema
Making a DCNC DCP name Read More »
Working with subtitles in DaVinci Resolve There are two common ways to work with subtitles in Resolve. The first is to export them as a separate subtitle file — SRT or TTML — that carries the text and the timecodes. Separate subtitle files can be switched on and off at playback, they are what streaming
Using SRT/TTML subtitles with DCP style formatting in Resolve Read More »