7. Getting the films to the theater

. Getting the films to the theater

Digital Cinema Package (DCP) is the format. It arrives one of two ways: physical shipment on a DCI-compliant CRU/hard drive, or electronic delivery via Aspera/Signiant to the theater's server. Multi-title season packages often ship as one combined drive (BFI FAN example). Venue rate sheets typically specify accepted formats and require DCI-compliant drives (Film Independent protocol).

The KDM is the part that breaks events. Encrypted DCPs need a Key Delivery Message issued to that specific projector's serial number, valid for a specific date-and-time window. To get one you must send the licensor the exact projector/server certificate and serial number and your precise screening window.

Non-negotiable KDM rules:

Request the KDM at least 10–14 days out, and ask for a window that opens 48 hours before your event so you can test.
Get the certificate from the venue's projectionist in writing. A wrong serial number means a black screen and no fix on the day.
If your marathon runs past midnight, make sure the window covers the next calendar day too.
Ask for an unencrypted DCP where the licensor allows it. It removes this entire failure mode.

Shipping: ask for the drive 7–10 days early. Ingest takes 20–60 minutes per feature, so the venue needs lead time. Return shipping is your cost and your obligation — keep the packaging and the prepaid label.

Test screening: insist on a paid technical check of every title — first frame, last frame, aspect ratio, audio format, subtitle track. Vintage catalogue DCPs vary wildly in quality and some are 4:3 or 1.66:1, which the projectionist needs to know in advance.

If no DCP exists for a Hammer title, ask about a 35mm print (requires a venue with working film projection and a qualified projectionist) or an approved Blu-ray/ProRes exception. Never assume a Blu-ray screening is licensed — it must be explicitly written into the contract.