“The DCP you created looked AMAZING on that huge screen at the TCL Chinese Theatre in Los Angeles. It was so fabulous to see the film at it’s very best as it was meant to be projected. Every second of the film looked rich and filmic which (considering we only shot on 2K) was really a testament to the quality of the work you did. Thank you so much for helping to make the US Premier of “The Birdwatcher” such a success.”
“I made my first feature, “Pretend We’re Kissing”, for an old stick of O-Pee-Chee gum and a handshake. It was ultra low-budget and we wanted to put the money we did have in the film and marketing. When we started getting selected for some great festivals, we realized that a Quicktime file wasn’t going to cut it, and we needed a quick turn around to master a DCP and create exhibition Blu-rays. The DCP Master team was there to offer amazing cost-effective solutions, advice, and delivery when we didn’t have time or money. I would strongly recommend using their services for any truly indie filmmaker.”
With Cast No Shadow we were working without a distributor – which is becoming more and more commonplace – but still had big needs with a multi-city release on DCP, followed by another Indie Film Series which had us on 20 screens across the country on the same night. The DCP Master team made it happen. They not only gave us top-notch service at a very reasonable price but also the sort of gentle and kind guidance we needed when working through our first DIY theatrical release. In the current climate of distribution in this country, I don’t how we’d do it without folks like TheDCPMaster.com.
Back Lane Studios is a not-for-profit instructing students to make documentary films about neighbourhood history, people, and interesting features of their communities. The DCP Master team has been very helpful in converting these films to DCP so these docs can be programmed as shorts for screening at our local cinema. Their service is quick, efficient and very competitive.
For me, the worst part of making a film is finishing it.
It breaks my heart that the culmination of this creative process is something so dry as formatting and outputting a film to match festival technical specifications.
Particularly on low-budget projects where, more often than not, I will be wearing most of the production and post-production hats, it’s a real pain-in-the-ass to find that once the film is finished, my work isn’t done.
The DCP Master’s affordable service simplified the process for me. They advised me on colour, sound, and hard drives – as well as optimizing and outputting the film to the appropriate specs. My films now look their best from TIFF to Busan to Sundance, and everywhere in between.
And I didn’t have to do a thing.