tag:blogger.com,1999:blog-3783263550355374663.post8453307623072488103..comments2023-11-01T03:52:49.405+13:00Comments on Mars Shot: DCP takes over NZDKhttp://www.blogger.com/profile/17650130262993940962noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-3783263550355374663.post-17647930734177167482011-10-16T07:57:24.610+13:002011-10-16T07:57:24.610+13:00The cost of conversion is not only a roadblock, bu...The cost of conversion is not only a roadblock, but highly unjustified in most instances. If you're looking for affordable, high quality DCP conversion I highly recommend you take a look at Simple DCP. We are based in Los Angeles and handle DCP conversion for festivals and Oscar hopefuls alike.<br /><br />http://www.simpledcp.com<br /><br />Prices start at $10/minute putting DCP conversion on par with HDCAM-SR tape layoff.Simple DCPhttps://www.blogger.com/profile/04457466020558944602noreply@blogger.comtag:blogger.com,1999:blog-3783263550355374663.post-6721565576764588192011-09-25T12:19:16.716+13:002011-09-25T12:19:16.716+13:00Good to know, thanks Bob!Good to know, thanks Bob!DKhttps://www.blogger.com/profile/17650130262993940962noreply@blogger.comtag:blogger.com,1999:blog-3783263550355374663.post-39730286767764415042011-09-09T07:09:49.053+12:002011-09-09T07:09:49.053+12:00Good News, the price has come down considerably. W...Good News, the price has come down considerably. We've been producing DCP's for the last few years for theater's in the U.S., and yes it was expensive. Depending on DCP requirements though i.e., 3D, surround, subtitles, encryption, etc., production cost for an average film are under $2,000. Not bad compared to the cost average cost of HD to 35mm transfers of US $450/min.Bobhttp://www.avfproductions.comnoreply@blogger.comtag:blogger.com,1999:blog-3783263550355374663.post-71411663169338351992011-08-23T10:55:16.112+12:002011-08-23T10:55:16.112+12:00Yeah, good point, Z, that is a handy little loopho...Yeah, good point, Z, that is a handy little loophole. I also agree about the middle-men - the specific companies holding onto this ability to exclusively oversee this process. I can understand it while the processing power is so (apparently) formidable, but in 18 months Moore's Law will have demolished this roadblock as well, surely, and from that point on their raison d'etre is weakened. Their expertise (of course!) remains a valid reason for their existence, but so does enforcing the dominion of the large distribution companies. <br /><br />In that sense it feels like the film companies are enforcing tougher and tougher systems to maintain control within a digital environment - - for better AND for worse.<br /><br />I could be wrong however. Some of this reaction is knee-jerk lefty suspicion, and I'm open to further education!DKhttps://www.blogger.com/profile/17650130262993940962noreply@blogger.comtag:blogger.com,1999:blog-3783263550355374663.post-26242401530024842642011-08-23T10:18:39.761+12:002011-08-23T10:18:39.761+12:00Hi Damon,
One thing they did say was that trailers...Hi Damon,<br />One thing they did say was that trailers could be sent to the cinema on a usb stick and didn't have to be encrypted. I wonder if this is a way around all this hoopla. I really got the felling that everyone was protecting their slice of the action. Surely it would be possible to self publish content without all the middle men. Send your content direct to a cinema (or they download it) then play it with some kind of activation/key. When I connect to a bank, key's are generated and exchanged and a secure link is established without anyone in between taking a cut. Surely the same is possible with video files.<br />Z.Anonymousnoreply@blogger.com