What’s the problem with playing 4K DCPs on 2K projectors?

Inserts of two terrier dogs, one at a higher bitrate than the other
Adapted from a Creative Commons photograph courtesy of Hilarmont

Here at theDCPmaster.com we work with a lot of indie films and independent filmmakers. We’re seeing a big increase lately in 4K masters, even on low-budget films. That means we’re having a lot of discussions about the differences between 4K and 2K DCPs.

We’ve written about resolution before – particularly why you don’t need to “blow up” a 2K DCP. But we also mention in that article that when you play a 4K DCP on a 2K projector it can be lower quality than a normal 2K DCP. Some filmmakers wanted more information about that, so we figured it was worth a full answer.

Bitrate vs Resolution

It all comes down to the relationship between bitrate and resolution. Bitrate is the amount of bits (data) that can be processed per unit of time. It’s how much information is given. Resolution refers only to the dimensions of an image. Many people think more resolution guarantees a higher quality, but this isn’t always true. The two pictures of the dogs at the top of this post are about the same size (resolution), but one clearly has more detail than the other.

An explanation I often use is to think about bitrate like “number of words”. The more words you can use to describe when writing about something, the more detail you can provide:


Resolution, on the other hand, is like the size of the sheet of paper you can write on. It gives you more space to write, but that only matters if you can use enough words to fill it. Many words on a small sheet of paper will still be a more detailed description than a few words on a big sheet of paper:


So to judge “quality” you need to look at resolution and bitrate together.

Bitrate limits of DCP’s

Most Digital Cinema Packages have a bitrate limit of 250 Mb/s (mega bits per second). It doesn’t matter if a DCP is 4K or 2K. 250 Mb/s is the most that theatre servers and projectors can process (our article on DCP file size talks about the few exceptions).

So let’s assume we have a 4K and 2K DCP of the same films at “the highest possible bitrate” – so they are both at 250Mb/s:


If you play a 4K DCP on a 2K projector, the equipment resizes the picture by just ignoring the “extra” resolution it can’t display. So it’s kind of like just “throwing out” 3 out of every 4 pixels in each frame, or ignoring 75% of the “words” describing the picture:


After this you are showing the same resolution as a 2K DCP but at a bitrate that’s 25% of what you have available in a native 2K package.

How much does this bitrate decrease affect a film?

How much this decrease in bitrate changes “overall quality” will change on a film by film basis. In practice films are never recorded at maximum bitrate for their whole duration. DCPs use advanced compression so that each shot of a film only uses as much data as it needs until the change in “quality” is not perceptible. But whatever bitrate a 4K DCP uses for a scene means 1/4 of that rate will be used if played back on a 2K projector. That’s a significant bitrate difference.

For this reason, and because 2K projectors are still the vast maority of all cinema screens worldwide, many filmmakers and distributors with 4K masters choose to make separate 4K and 2K DCPs. They can even both be put on the same drive, so each theatre can choose the version best suited to their particular venue. Other filmmakers are happy only making one version of the DCP (either 4K or 2K) depending on their particular film or exhibition plans.

Helping guide filmmakers through the options for their DCP resolutions is only one way a good DCP facility can help make sure films look their best on the big screen. If you think the team at theDCPmaster.com can help you – don’t hesitate to get in touch!’

Do you have questions to help size up the confusing world of Digital Cinema? Don’t worry Ask The DCP Master is here to help. Check out our most common questions, or ask your own.

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