Timelapses.es offers to you the  DIGITAL TRANSFER TO DCP/DCI, for projecting in 2D/3D DIGITAL TEATHERS

This innovative service allow to you to see your film/documentary/shortfilm/advertising in ANY digital 2D/3D Teather. The digital projection in Teathers is growing and the demand of contents too.

As a digital process, the conversion is quick and without visual loss. And best of all, the price is much cheaper.

 NEWS: Now We  have the ability to add SUBTITLES in your DCP (Interop), and allow to encoding directly video files (AVI/MOV/MP4). We can put your logo in the corner screen, like a TV Station. All of this FREE OF CHARGE over our quotes!. Consult us without obligation.

How to Submit a Film for Encoding

Here you can see a guideline to send to us your material as well as possible, to speed the encoding process. Please note that this is VERY IMPORTANT.

1) Image Sequence in 24FPS. Frame numbers must be correctly padded with “0″ (zero) so that there is a digit for each figure that makes up the number of frames in the image sequence. For example, if there are 100,000 frames in an image sequence, frame 1 should read as “video000001″.

1.1) Resolution and aspect ratio. The digital cinema have three main aspect ratios for 2K and 4K, that are: 2K full (2048×1080), 2K flat (1998×1080) and 2K Scope (2048×858). In 4K just double the resolution. If your image aspect ratio and resolution don´t match these, we scale the material to “2K full” for default, creating blacks bars at top/bottom or left/right, but for your best conversion, we need the images in any of these resolutions.

2) WAV Audio in 5.1 or Stereo file, at 48Khz, 24bits and -3 dbs. The lenght of this wav must MATCH the lenght of the video track. In 5.1 tracks, we need six mono files with this norm:

[Name]_01_L.wav
[Name]_02_R.wav
[Name]_03_C.wav
[Name]_04_LFE.wav
[Name]_05_Ls.wav
[Name]_06_Rs.wav

We always make a video of these files to ensure that the video and audio tracks are syncronized.

3) Color Space. We admit the next color spaces: Adobe RGB, Apple RGB, sRGB, CIE RGB, ColorMatchRGB, Pro Photo RGB, Rec. 709, WideGamut RGB. You must tell us what color space have the image sequence, because an erroneus color space cause a WRONG color when projected in cinema. Altough we check that the color space provided is the correct and we generate a still image of your film, to ensure that is correct.

4) Send to us the material. We accept virtually any file system and hard disk/media, but we prefer FAT32/NTFS as file system, and SATA Hard Disk (3.5 or 2.5). For advertising, we can use our FTP to receive/send the DCPs. Ensure that the hard disk is protected.

5) Subtitles (optional). You must provide a .SRT subtitle file that we transform in the subtitle format for DCP (Interop). The SRT must be syncronized at 24FPS

6) Logo (optional). You must provide a TGA file with Alpha channel (transparency), maximum 100×100 pixels, and tell us in what corner want to put it.

Keeping these simple rules, we ensure that the material is in optimal performance and READY to be processed to DCP, specially when you have hurry.

Of course, we treat your material with complete confidentiality. If you need a NDA, we can sign it for sure. We take this SERIOUSLY.

Note about compression: The DCP uses JPEG2000 compression with a data rate of 250mbits/sec, wich is visually lossless. This is the DCI guidelines and we ensure that our Digital Cinema Packages are compliant to the Digital Cinema Initiatives (DCI) and Society of Motion Picture and Television Engineers (SMPTE). An abnormality must be detectable to human eyes / ears. Artefacts caused by JPEG2000 or MPEG compression are not abnormal.

Ask for a quote without any obligation