SILVER TRAK OFFERS HIGH-END DIGITAL CINEMA PACKAGES
2D, 3D and 4K
SYDNEY, 8 November 2016 – With the recently-acquired Motionlink business fully integrated into its broader ecosystem Silver Trak is now offering high-end Digital Cinema Packages (DCP) to the Australian movie market’s top tier companies such as Pinnacle Films for blockbuster movies including Dallas Buyers Club, Return To Nims Island, Jobs and Drive.
The company’s full range of services in this area now include DCP creation in 4K, 2D and 3D, DCDM production, DCP to file conversions, KDM generation for secure DCP deliveries and DCP duplication and distribution services.
Silver Trak MD Christian Christiansen said, “This is another example of Silver Trak saying to our clients, give us your file and we can deliver to all platforms, output to tape, transcode and framerate convert, store and deliver. We’ve been mastering Digital Cinema in our fully DCI-compliant DVS Clipster suite for some time but now with the acquisition of Motionlink we handle all kinds of projects including 3D feature films, multi-lingual subtitled releases and quick turnaround commercial work.”
Silver Trak have also recently purchased Transkoder, the powerful dedicated 2K/4K transcoding application which automates fast, high-quality digital file conversion at the highest performance and is again aimed at studios and VFX facilities involved in motion picture and high-end TV production.
Transkoder screen grabs are attached to this e-mail and embedded in the attached Word document
Fast-becoming the industry standard tool for DCP and IMF mastering Transkoder offers the industry’s highest performance JPEG2000 encoding and decoding, 32-bit floating point processing on multiple GPUs, MXF wrapping, accelerated checksums and AES encryption and decryption, IMF/IMP and DCI/DCP package authoring, editing and transwrapping.
Christiansen continued, “DCPs have strict requirements in how they are created. These requirements are set out in the Digital Cinema Initiatives (DCI). Our advice to anyone requiring a DCP is be mindful of cheap imitations. DCP encoding and the DCI standard are both very complex and there is a lot that can go wrong. Cheap commercial software is only doing a rough conversion and you will not be viewing the DCP correctly. The industry standard DVS Clipster encodes a feature film up to four times in real-time and lets us make all the essential checks necessary before performing a full cinema QC.”
Completing its plethora of services in this domain are a number of key offerings such as Silver Trak’s ability to provide a Digital Cinema Distribution Master (DCDM) which provides the uncompressed master elements that enable the creation of the DCP. Alongside the DCDM sits the Key Delivery Message (KDM), the special electronic key that contains a code which unlocks an encrypted film and the provision of the encryption itself, the security measure used to prevent films from being stolen and duplicated.
Christian Christiansen concluded, “DCPs are encrypted in a manner that allows them to be played only on a specific Digital Cinema Server at a pre-determined time. A KDM is sent to the projection site to unlock the DCP for the screening engagement. It is not a necessity to have a DCP encrypted but encryption and KDM management are common requests, locking a DCP to nominated sites and release windows. Then, as if that wasn’t enough safety and security, we archive all DCPs on LTO and store them securely in Silver Trak’s vault.”
For more on Silver Trak’s DCP services go to: http://www.silvertrak.com.au/services/digital-cinema-mastering-management-dcp-mastering-and-logistics-for-cinema-releases/