408 chaPter 19 Postproduction overview and Workflow from finished dV movie to dcP Let's say you've shot and finished your short movie on DVCPRO HD at 1080, 60i follow- ing workflow #1 on page 398. You send it to festivals and it's a surprise hit! In fact, you've won a best-in-category prize at an Academy of Motion Picture Arts and Sciences qualify- ing festival, which makes you eligible for an Academy Award nomination in the live-action short category. Great! However, you read the application and it says, "Short films must be submitted to the Academy on 35mm or 70mm film or as a DCP formatted according to the digital qualification standards described in Paragraph III.A.1." Those qualification standards are the DCI specifications I've listed here. In other words, you need a DCP! The only thing to do, since you've already finished the film, is to go to a lab and have them create your DCP. There are a number of ways to do this, but they're all some variant of (1) send the lab an uncompressed QuickTime file of your movie and your mixed audio track, (2) the lab will convert the video frames to 24p, (3) the lab encodes the video to JPEG 2000 2K (2048 × 1080), (4) the mixed audio is resolved to the new video frame rate and converted to the .wav format (if it isn't already), (5) everything is wrapped up nicely in the MXF container format to create the DCP and delivered to you on a hard drive. This process is currently rather expensive but is getting less so every year. Many labs also offer student and prorated independent filmmaker rates. If you've shot at 24p on one of the 2K or 4K video formats like ArriRaw, RedCode Raw, etc.) (see page 217) and from the very beginning anticipated finishing to a DCP (or shooting 2k and 4k Video for dcP