The delivery deadline for all cinema presentation material including DKDMs is February 7, 2020. This deadline applies to all festival participants and EFM clients. All material has to arrive at the Berlinale Film Office by that date.
Meeting this deadline is especially important since all media - for festival and EFM alike - must pass a comprehensive and time-consuming quality management process before their first screening.
Express Handling Fee
For European Film Market screenings only, the festival offers an Express Handling service for all materials delivered even after the deadline. An Express Handling Fee applies.
Please contact the in advance to arrange for Express Handling of your film at the EFM. In that case, the latest possible date for delivery is 5 days before the first screening of the film.
The approved media formats for the festival and EFM are DCP, ProRes Quicktime and the analog film formats: 70mm, 35mm, 16mm. Other media formats are not accepted.
|Aspera Upload||Upload using the Berlinale's Aspera Servers. See Delivery for more details.|
|Hard Drive||USB 3.0 or CRU hard drive (SSD preferred)
Linux formatted (ext2/ext3) as per ISDCF recommendation. See PDF for details.
|DCP Naming||The festival can only accept DCPs that follow the latest ISDCF DCP Naming Convention (Version 9.6.1). Please see ISDCF website for details.|
|Image Size||HD, Full, Flat or Scope @ 2K or 4K|
|Encoding||JPEG 2000 (variable bitrate preferred)|
|Bitrate||<= 250 MBit/s|
|3D||Available in some venues. See Venues (206 KB) for details.|
|HFR||Available in most venues. See Venues (206 KB) for details.|
|EclairColor||Available in some venues. Contact for details.|
|Format||The festival prefers subtitles to be burned into the picture but XML and PNG subtitles are also accepted.
See subtitles for more information. Please note that the image can be cropped by up to 3% during projection
Since 2012, the festival requests Distribution KDMs (DKDMs) for all encrypted DCPs. The keys have to be uploaded to the Berlinale's servers via web upload and are automatically verified upon entry. The festival cannot accept DKDMs sent by e-mail. All DKDMs must be valid from the moment the DCP arrives in Berlin until the day the festival/EFM ends.
You will automatically receive an e-mail containing personalized login information to the festival's Digital Cinema Portal. Please do not pass this information on to any third parties (postproduction companies, labs, service providers), but instead contact the to have a separate account created for your contractors.
Using DKDMs is currently the only alternative for managing the vast number of DCP screenings during the Berlinale and the EFM. Without them, the festival/EFM would not be able to execute suitable quality assurance measures and to exercise its responsibility for the smooth functioning of all screenings.
All DKDMs should be SMPTE ST 430-1 compliant and in the “Modified Transitional 1“ formulation as per ISDCF guidelines – see PDF for details.
All DKDMs should follow the KDM Naming Convention.
All ProRes files will be converted to DCP by the festival, this process is free of charge. These DCPs will be destroyed at the end of the festival and can not be handed out to the participants / customers.
|Codec||ProRes, ProRes 444, ProRes HQ|
|Frame Dimensions||HD (1920 x 1080) or 2K (1998 x 1080)|
|Colour Sampling||4:2:2 or 4:4:4|
|Frame rates||JPEG 2000 (variable bitrate preferred)|
|Gamma||Apple ProRes codecs have a native gamma of 2.2|
|Audio Format||2.0 Stereo* or 5.1 Linear PCM|
|Channel Layout||L-R or L-R-C-Sub-LS-RS|
|Format||Subtitles must be "burned-in" and positioned in the “active” picture area of the projected frame. See subtitles for more information. Please note that the image can be cropped by up to 3% during projection.|
If you would like your film to be screened using an analog film print, please contact the as soon as possible to discuss details.
The festival offers different methods to deliver films to the festival and EFM:
|Aspera Upload (DCP / ProRes)||preferred|
|Hard Drives (DCP / ProRes)||accepted|
|Film (70mm, 35mm, 16mm)||Please contact the|
The Berlinale uses Aspera™ technology to securely and efficiently receive DCP or ProRes files via internet upload. The upload process is browser-based and integrated into the festival's Digital Cinema Portal which also provides the DKDM upload functionality.
An internet connection with an upload speed of at least 50 Mbit/s is required to use the Aspera™ Upload. Uploading a 150 GB DCP will take about 8 hours at 50 Mbit/s. Please use the aspera performance calculator to get an estimate on your transfer time.
You can test your upload bandwidth by using the speedtest.
Supported Browsers and Aspera Connect Plugin
The festival's Digital Cinema Portal at https://dcinema.berlinale.de/ requires a modern internet browser and the Aspera Connect Browser Plugin.
The supported platforms are:
macOS 10.12 or higher
|Browsers||Chrome Version 66.0 or higher
Firefox 60.0 or higher
Safari Version 11.1 or higher
|Aspera Connect Plugin||Version 3.8 or higher|
The "Transfer Monitor" shows the current upload rate and the maximum bandwidth to use for uploading. You can manually adjust the target upload speed by moving the arrow up and down. Important: Do NOT select an upload rate that is higher than the upstream bandwidth of your internet access. This will make Aspera send more data than your connection can handle and will result in package loss and retransmits.
Quicksupport for Aspera Upload
Should you encounter problems uploading to the Berlinale's Aspera servers please contact the to have one of the festival's tech-team members help you.
If, for some reason, you cannot use the Berlinale's Aspera Upload, you can still deliver DCP and ProRes files using hard drives. However, the full cost of transport including customs fees and insurance, as well as the return freight, must be borne by the sender.
The festival prefers subtitles to be “burned” into the picture. Please see below for accepted file formats:
|Subtitles “burned” into the picture||preferred||preferred|
|XML, PNG, MXF Subtitles||accepted||not accepted|
|Other formats (.sub, .srt, etc.)||not accepted||not accepted|
The image can be cropped by up to 3% during projection, due to the position of the projector and the venue’s architecture. The Film Office therefore recommends that you observe a safe area of at least 5%.
From experience the Film Office recommends subtitles to have:
Please note: Bilingual subtitles are only needed for films invited to the Competition. For all other sections only English subtitles are requested (for non English dialogues).
|Spoken Language||Competition||All other sections|
|English||German subtitles||No subtitles required|
|German||English subtitles||English subtitles|
|All other Languages||Bilingual subtitles: German / English||English subtitles|
Can I get a copy of the DCP that Berlinale creates from my QuickTime file?
No. For technical as well as for legal reasons the Film Office may not give you a copy of the DCP created from your QT-file.
Should we prepare an Interop or an SMPTE DCP?
Currently all systems used by the festival and the EFM are capable of playing both Interop and SMPTE DCPs. The Film Office highly recommends that you prepare a SMPTE DCP as it has various advantages over the older Interop format, specifically they provide a wider range of frame rates and metadata, improved security and more robust subtitles.
Can I be present while you test my DCP?
No, due to security reasons the Film Office does not allow any visitors to be present during the internal QC process.
Can I schedule a test-screening or rehearsal for my DCP screening?
Due to the tight schedule of the festival and the EFM the Film Office generally does not offer test-screenings for DCPs. Your DCP has to be tested before it is submitted. The only exceptions to this rule apply to films in the Competition and to EFM customers who have booked an additional test-screening.
Why and how is Berlinale testing my DCP?
Experience has shown that quite a number of DCPs delivered to the festival have technical errors and would cause issues during presentation. As a precaution the Film Office has developed an automated testing routine that all DCPs pass through. It is, however, the participant’s responsibility to properly test the DCP in a SMPTE compliant cinema from beginning to end before sending it to the festival. The tests by the Film Office then focus on data-structure errors and interoperability issues that might arise during playback on a specific projection system.
Why does Berlinale need a DKDM (master key) for my screenings?
There are two reasons why the Film Office asks you to supply the Berlinale with a DKDM:
1) A DKDM allows the festival to generate KDMs (keys) on very short notice for the theatres that are used during the festival and EFM. In case the festival needs to reschedule a screening or swap projectors / servers it is able to generate new keys as they are needed.
2) It enables the Film Office to test your DCP in a secure environment in advance. Without a key the Film Office cannot perform a number of critical tests.
How does the festival store my DCP and KDM?
Both DCPs and KDMs are stored in a secure environment. Special access-control applies to the DCP storage room, ingest-systems and the data-center where all data is centrally stored.
Internationale Filmfestspiele Berlin
Tel. +49 • 30 • 259 20 • 888
Fax +49 • 30 • 259 20 • 899
Internationale Filmfestspiele Berlin
Tel. +49 • 30 • 259 20 • 888
Fax +49 • 30 • 259 20 • 899