cueworx accepts the following formats for file-based submissions:

Translation: Rendering a text into another language. This process does not include editing, so if the source text is problematic, further work could be necessary.

Subtitling: Adding text/subtitles onto a video; can or cannot be turned on or off, process may or may not include translation and hard coding, but includes spotting and synchronizing.

Hard coding or hard-coded subtitles: Etching subtitles onto the video; requires rendering of the video in a video editing program, such as Adobe Premiere, Final Cut, etc. This type of subtitles will look better on the video but they cannot be turned off from a menu.

Spotting: Placing of words/positioning of lines within a subtitle cue, including placement of a symbol (-) indicating the person speaking. Includes the decision of how to distribute words between the two lines (if applicable) in a cue.

(Subtitle) Cue: One or two lines of text shown at one time in subtitles of a video.

Synchronizing: Process of adding time-codes onto cues. Usually follows the translation process unless it is projected subtitles. Then it is done by the operator, manually, during the film screening.

Projected subtitling: Where hard-coding of subtitles is not possible due to the restrictions of the movie format, a projector system is set up in the venue which will project the subtitles onto the silver screen underneath the film. Explanation and photos can be found on our website.

Proof-reading: Checking the translated text for typos, grammatical errors, and aesthetic (spotting) problems.

Editing: After proof-reading; revising, fact checking, checking of sentence integrity and meaning, etc.

Subtitle error checking: [For time-coded files] Checking for time-code inconsistencies and mistakes in the placement of cues. Errors may cause cues to not appear at all or appear irregularly.

Video conversion/subtitle conversion: Conversion of client's video and/or subtitle file into a format that is suitable for the targeted platform or purpose. For example, converting of an Apple ProRes format video onto an MP4 video; or converting of a SubRip subtitle file into an XML file which is needed in digital cinema packages.

What is a DCP (Digital Cinema Package) and how does it differ from traditional film?
Simply put, a DCP is as close to a strip of film as it gets in the digital world. In a DCP, a filmmaker's video track is encoded frame by frame in the robust JPEG-2000 format. This format allows each element of a film to be stored separately in a folder. A Digital Cinema Server utilizes this folder along with other elements to properly project every element of your motion picture on the big screen.

Why doesn't my DCP hard drive show up on my computer's desktop?
Digital Cinema Servers run a variant of Linux OS and as such all DCP hard drives should be formatted Linux EXT3. If you wanted to view the contents of these hard drives, you will need to open the drive on a computer running Linux OS or purchase third party drivers.

Can I watch my DCP on my computer?
Several third party applications exist that will allow you to view a DCP on your computer, but most of them are costly and can't be used to effectively check the quality of your film. The best way to view your film is in a certified Digital Cinema.

Do I need to convert my film to 24 fps before creating a DCP?
The short answer is most likely. While newer Digital Cinema servers are capable of playing back films at many different frame rates, the vast majority of servers can only play content reliably at 24 fps. We advise clients regularly on the best solutions for converting the frame rate of their films and will be happy to assist you too.

The running time on my DCP is shorter than the master I delivered. Did you cut it down?
Digital Cinema deals in whole number frame rates only. Chances are that your film has been cut to an NTSC standard frame rate such as 23.98 or 29.97 frames per second. In this case, we will need to speed up your film slightly to match DCI frame rates in a process called "conforming", which is standard for all films edited digitally. cueworx will never alter the content of your film unless otherwise specifically instructed.

If I wanted to convert my film into a DCP, what is the best format to submit to cueworx?
For the highest quality DCP, we recommend asking your online editor and/or color correction facility to output a DPX or TIFF image sequence onto a hard drive. This is what is known as a DCDM.

What is a DCDM (Digital Cinema Distribution Master)?
A DCDM is a sequence of picture files that corresponds to every frame of your film. It is the last step your video takes in becoming a DCP.

What is a KDM (Key Delivery Message)?
When DCP's are encrypted, they require a special key to open them and this key is encoded into a KDM. KDM's allow you to specify when and what facilities can and cannot view your film and can be sent out at your discretion.

What is a CRU drive?
A CRU drive is a SATA-II hard drive enclosed in a DX-115 hard drive carriage. Originally designed for the military, the DX-115 is now used by the film industry in D-Cinema for its proven reliability and sturdiness. Certain film festivals and facilities require this drive for DCP delivery and it is highly recommended for feature films formatted in 4K, 3D or High Frame Rates.

What is X'Y'Z'?
X'Y'Z' is the color space utilized by Digital Cinema to process color data in all of its images. You've probably heard of RGB and CMYK. These variables represent the way that color is processed in a digital environment. In this case, X'Y'Z' works very much like a Lookup Table when filming digitally. Incoming picture data is compressed into a more finite range of colors allowing the video compression to operate more efficiently and record the image with far greater detail. Viewed raw, the colors appear muted and warped, but when processed correctly the colors appear as intended. It is not necessary to deliver your source material in this color space.

Can you turn my DVD or Blu-Ray into a DCP?
Yes, but we highly recommend avoiding this if possible. To see the full benefits of formatting your film as a DCP, we need to start out with the highest quality source material.

I have a Dolby Pro Logic mix. Is this acceptable?
We will not decode or demux any audio mix and require all sound to be delivered as discrete channels of audio. Please arrange for your sound mixer to generate an appropriate mix for a theatrical environment.

I have read about a lot of free tools for DCP creation. Can't I just make a DCP myself?
Pardon us for not recusing ourselves, but the plain fact of the matter is that the vast majority of these tools simply do not work. From sound dropouts to low image quality to DCPs that simply will not open, the list of woes encountered by film festival managers and theater owners with these tools are consistent and pervasive. More importantly, what may work on one server will very often not work on another using such tools.