Digital Cinema Package (DCP)

Here is the run-down. DCP mastering for Colombian theatrical release is produced at Toma Uno Bogotá through DCP-O-Matic and EasyDCP pipelines validated against the technical needs of the country's three major exhibition chains — Cine Colombia (the dominant operator with screens nationwide), Procinal (with strong regional coverage in secondary cities), and Caracol Cinemas. Each keeps its own preferences around audio channel mapping, trailer-versus-feature CPL structure, and KDM workflow, and we build SMPTE-compliant packages at 2K and 4K DCI resolution with Interop variants where legacy or independent-circuit projectors still need them.

Audio masters ship in 5.1 and 7.1 Dolby SR-D, with Dolby Atmos and Auro 11.1 immersive masters produced for prestige releases targeting the chains' top screens (Cine Colombia Top and Procinal IMAX equivalents). Subtitle deliveries cover neutral Spanish, Castilian (for Spanish co-productions), and English (for FICCI Cartagena global press screenings), authored in XML CineCanvas format.

For festival submissions, FICCI Cartagena's March DCP specs — the most important Latin American festival for Colombian cinema — drives a parallel workflow. We produce unencrypted DCPs for festival ingest, with picture handles and trailer reels structured to FICCI's tech-check pattern, alongside encrypted KDM-managed versions scoped to each cinema certificate and exhibition window for the commercial theatrical release that typically follows festival premiere.

Bogoshorts (December) and BAM Bogotá Audiovisual Market specs are likewise built into the workflow. Every package is validated on a reference cinema server before delivery, confirming load behaviour, audio routing, subtitle timing, and CPL integrity, with KDM generation handled through a tracked-key system so theatre managers across Cine Colombia, Procinal, and the heritage independents in Bogotá, Medellín, Cali, and Cartagena receive their keys without back-and-forth on certificate exchange.