Digital Cinema Package (DCP)

Digital Cinema Packages for theatrical release in Italy follow the same DCI specs used worldwide. But the real needs of the home cinema circuit shape how we build them. UCI Cinemas, The Space, and Notorious Cinemas run the largest share of multiplex screens. The ANEC-linked independent and heritage cinema houses handle arthouse and niche releases. Many of them are old theatres from the early twentieth century. Each one keeps its own ingest profile for audio channel mapping, subtitle delivery, and trailer-versus-feature CPL structure.

Our DCP team builds SMPTE-compliant packages at Cinecittà DI and partner finishing houses. Interop variants stand ready where festival or legacy projectors need them. We deliver 2K and 4K resolutions, 5.1, 7.1, or Dolby Atmos audio, and many subtitle languages. Aspect-ratio variants ship as add-on packages, so we never copy the main feature payload twice.

For festival entries to Venice, RomaFF, Torino Film Festival, or global circuits, we mostly skip encryption to keep playback simple. Commercial theatrical releases use pro KDM workflows tied to set projector keys and screening windows. Each package is checked on a reference cinema server before delivery. This step confirms how it loads, plus audio mapping, subtitle timing, and CPL integrity against the production's screening plan. Turnaround for a standard feature DCP is one to three business days. Rush services stand ready for festival deadlines or last-minute global screenings.

Once delivered, packages are archived against the production's preservation master at Cineteca di Bologna or Istituto Luce-Cinecittà partner facilities. This lets us make re-issues without re-mastering from scratch. We can serve re-releases, anniversary screenings tied to David di Donatello honours, or new area deals.

Security stays tight across every encrypted package. We make a separate KDM for each target projector and screening window. Then we track which keys go where. Drives and digital hand-offs are logged on a chain-of-custody record, from mastering to cinema ingest. This guards the title through its theatrical run and keeps the rights windows under firm control.

Subtitle and access tracks ship to the standards Italian and global venues expect. We build burned-in and timed-text subtitle versions. We add closed-caption and audio-description tracks where the release plan calls for them. Each language pass is checked for timing and reading speed against the locked picture. One master can hold the right subtitle and audio sets for each market, so it serves several regions cleanly.