What is a DCP?
The Industry Standard
A Digital Cinema Package (DCP) is the industry-standard format for delivering films to cinemas. It ensures high-quality, consistent playback across digital projection systems. A DCP contains video encoded in JPEG 2000, uncompressed multichannel audio, and essential metadata, making it the preferred format for professional theatrical distribution.


Why Do We Use Digital Cinema Packages?
Digital Cinema Packages are the global standard for theatrical distribution because they ensure consistent, high-quality playback on all digital cinema projectors. Unlike traditional film reels or compressed video formats, DCPs preserve every detail, from color accuracy to multi-channel surround sound, delivering an authentic cinematic experience.

How Does a DCP Maintain Quality?
DCPs use JPEG 2000 compression to store video in a visually lossless format, while audio is kept uncompressed for pristine clarity. This combination ensures that films retain their full resolution, dynamic range, and immersive audio experience, no matter the size of the screen or theater setup.

Secure and Reliable Distribution
A DCP is built for secure and standardized content delivery. With features like encryption and KDM (Key Delivery Message) protection, filmmakers and distributors can control where and when their films are played, preventing unauthorized screenings while ensuring reliable playback on certified cinema servers.
Latest DCP's by Post Lab IO

Why choose Post Lab IO?
We specialize in creating high-quality Digital Cinema Packages (DCPs) that ensure your content shines on the big screen. Serving Melbourne and all of Australia, our personalised services ensure that your film, advertisement, or trailer looks and sounds exactly as you envisioned.
Expertise with All Project Sizes
From short films to major features, we handle projects of any scale with cinema-ready precision. Whether local or international, we ensure flawless playback every time.
Comprehensive & Custom Services
We offer audio level checks, frame-rate conversions, and encryption, ensuring your film plays perfectly on any cinema system. Need versioning or repackaging? We’ve got it covered.
Trusted by Filmmakers & Studios
Filmmakers and distributors trust Post Lab IO for precision and reliability. Our expertise ensures your DCP meets the strictest cinema standards, delivering the best on-screen experience.
Australia wide & Digital Delivery
No matter where you are in Australia, we make delivery easy. Simply upload your master, and we’ll provide a secure DCP for cinemas, festivals, or distributors.
DCP Pricing
Short Films
Under 40 minutes
Features
Over 40 Minutes
Advertisements
Inc TVCs & Trailers
Unencrypted 2K & 4K DCPs, All prices include GST.














DCP Turnaround
Standard — 5-10 Business Days
Express — 1.5 x Std. Fee — Completion within 2 business days (48 hours).
Rush — 2 x Std. Fee — Completion within 1 business day (24 hours).
Red-hot — 3 x Std. Fee — Completion on the same day.
All expedited turnarounds require prior booking to guarentee availability.
Submission Guidelines
We can accept almost any format, however, where possible we ask that you provide a ProResHQ or equivalent 10-bit file at native resolution , frame-rate and aspect-ratio (no letterboxing). We will take care of any adjustments on our end.
Sound files can be supplied either in the same files as the pictures, or as seperate WAVs.
Read the full technical specifications here.
Delivery Mediums
Download Link
Every DCP includes a 10-day download link. Most users save it to Dropbox or Google Drive, but you can also forward it to a festival or cinema. Just ensure they download it before expiry.
Free
Upload to Festival
If a festival provides an upload portal, share the link with us, and we’ll handle the uploading for you.If a festival provides an upload portal, share the link with us, and we’ll handle the uploading for you.
Free
QubeWire Transfer
We can transfer your DCP directly to a cinema’s server via QubeWire. Most Australian cinemas support this service. Pricing varies by DCP size and turnaround speed.
Approx 50-100 per cinema
CRU Drive
The industry-standard method for large-scale DCP distribution to cinemas.
$350 per kit
USB HDD
1TB USB HDD, formatted to DCI EXT2 for seamless cinema compatibility.
$100 per drive
Create Booking
Response time: 24 hours.
We will contact you within 24 business hours.
Frequently Asked Questions
What is a DCP?
A Digital Cinema Package, otherwise known as a DCP, is the package used to distribute content to commercial cinemas. Unlike regular video files, a DCP is made up of a collection of specially encoded formatted video, audio & data files. These files are assembled and transferred onto a drive that is formatted for compatibility with cinema playback servers around the world.
Should I make a 2K or 4K DCP?
The vast majority of Hollywood feature films are released and distributed at 2K. In Australia, the vast majority of cinema screens cannot play higher than 2K resolution, with the exception of specially marketed screens such as Hoyts eXtreme, Village Vmax and IMAX. So unless you have a specific 4K cinema in mind or a requirement from your distributor, then your best bet is to go with 2K. If you are still unsure we are more than happy to assist you further in making the correct decision.
What is the frame-rate of a DCP?
SMTPE DCPs support 24, 25, 30, 48, 50, and 60 fps.
INTEROP DCPs only support 24 fps.
How to make a DCP with multiple aspect ratios?
In situations when the film has both scope and flat elements, it is better for the cinema projection to create a scope export (2048x858) to the full frame with pillarboxed flat sequences. The flat elements would be scaled down without being cropped. If you'd like we can create a flat DCP, however we highly recommend rescaling your film to the above specs.
What if my content is not at 24fps?
If you can confirm that the cinema venue used for the screening has a 25fps projector we could create 25fps DCP, however most of the time if your film is not 24fps we will have to convert it in order to create 24fps DCP. This is due to the fact that most of the projectors are 24fps and with DCPs in another frame rate the picture might seem jarring. We will convert the sound for your film as well which will result in a slight sound pitch shift. Alternatively you could provide us with separate sound deliverables in 24fps from your sound engineer.
What format / codecs should I export in before making a DCP?
We can accept almost any file format but we ask that - where possible - you provide your material in accordance to our specs sheet available above. If you are unsure, get in-touch with us and we can help.
How are DCPs delivered to cinemas?
Typically, feature films are distributed to cinemas in special carriers called CRU drives. These CRU drives are formatted and designed to integrate specifically with a cinemas playback server. They are about the same size and weight of a desktop USB drive, but you cannot access them without special hardware.
However for shorter content, such as advertisements and short-films, DCPs can be delivered on specially formatted USB Thumb-drives or hard-drives. These are the most cost effective solution for shorter content.
What is a CRU drive (and how do they work)?
Sometimes you may not want to buy an expensive CRU carrier, so we have rental drives that you can lease. Once we've loaded the DCP onto the CRU carrier we arrange all the logistics of getting the drive to the cinema and back again.
Shoud I upmix my DCP?
Upmixing is the process of taking an audio mix and processing it to a higher channel format. Typically, this means taking a stereo audio mix and converting it to surround sound. We highly recommend that your DCP is mastered with surround sound, as stereo audio can sound quiet and odd in a cinema environment, especially if played along side surround sound content. The best quality is always for your audio mixer to master your mix in surround sound, but this is not always possible - so if you only have a stereo mix, we can upmix it for you and create a pseudo surround sound mix. We include this as a free service for all stereo DCPs.
Should my DCP be in Interop or SMPTE?
There is no easy answer. SMPTE and Interop are two different standards for DCPs. Think of them like a Quicktime file versus a MP4.
SMPTE is the newer standard and is definitely the better of the two. It supports more features, deals better with subtitles and encryption, and supports a vast number of frame-rates; 24, 25, 30, 48, 50, and 60 fps @ 2K. 24, 25, and 30 fps @ 4K. Interop on the other hand is old only supports 24 and 48 fps @ 2K and 24 fps @ 4K.
Interop - having been around for much longer then SMPTE - is guaranteed to work in any cinema around the world. Whereas SMPTE, while being the better format, has not yet been completely adopted. That said, the majority of Australian cinemas support SMPTE.
So the question comes down to two things:
1) What is the frame-rate of your material?
2) Where is the DCP going? What are the specs of the cinema or festival for which DCP is going to?
If you are unsure, get in-touch with us and we can help you figure out the best option.
What colour space should my film be delivered in?
If you are asking the question, then its best to let us convert your material into the correct space on our end. Simply tell us what your current colour space is and we'll do the rest.
How can I add subtitles to a DCP?
If you already have subtitles then you can burn them in yourself or provide us with a SRT file and we can do it for you. Make sure to consider that your DCP will be played on a huge cinema screen, so subtitles can be smaller than what you would do if delivering for web. If you don't have subtitles but need them made, get intouch and we can arrange to have your material transcribed and translated.
Should my DCP be encrypted?
If you're asking the question then the answer is no. Unless your distributor requires an encrypted DCP master, then encryption is more hassle than its worth. With encryption, each cinema screen that plays your DCP must be given a special decryption key that is unique to that screen for a certain time-period. This is how Hollywood feature films are protected and its very effective, but its also costly as it requires a great deal of management. Give us a call if you are unsure and we can help.