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How a DCP Gets Made
“I was once Inside Llewyn Davis. Now I am Mad Max: Fury Road.” I came up with that Instagram caption while working a festival in suburban New Jersey last spring. Toward the end of the festival, UPS made a delivery of a couple of battered Deluxe/Technicolor cases that had seen better days. The label on the box read Tina’s Heroes, which was the secret title that Warner Brothers shipped Mad Max to theaters as. I chuckled at the reference to the hit song from Beyond Thunderdome, and then I looked at all of the other labels. There was a large piece of […]
by Sergio Andrés Lobo-Navia on Apr 21, 2016 -
How to Deliver Your Film to a Festival
Note (May 2018): the updated version of this article can be found here. Format. Codec. Audio. DCP. You’ve worked on your movie now for some time and have been eagerly waiting for acceptance emails from festivals. One lands in your inbox, and you excitedly read through the letter until, when you get to the festival’s technical requirements, you develop a sense of dread. The tersely worded communication from the technical director (glad we could finally meet) would put you to sleep if it didn’t terrify you. But don’t panic. Instead, phone your editor, and read this guide. Caveat emptor, though: […]
by Sergio Andrés Lobo-Navia on Oct 28, 2015
