![]() ![]() You need JavaScript enabled to view it.ħ. The submitters can also send the links and password via email to This email address is being protected from spambots. Links and passwords to online screeners to be sent with the Film Submission form. Online submission form is available on the festival’s Eventival visitors page.Ħ. The final programme will be announced at the end of January 2023.ĥ. The selection committees are chosen by the festival management. Selection committee will choose the films competing in the Documentary Competition. Selection committee will choose twelve shorts competing for Best Bulgarian Short Film Award. The films are selected by programme board, advisors and selection committees. Feature fiction films and documentaries from all over the world produced after January 1st 2022.ĭeadline for Bulgarian features: December 1st, 2022ĭeadline for Bulgarian short films: December 1st, 2022 Bulgarian Short Films Competition – Bulgarian short films produced after January 1st 2022 with length no longer than 30 minutes. International Documentary Competition – feature documentaries over 60’, worldwide, produced after January 1st 2022. Balkan Competition – regional feature fiction films from Albania, Bulgaria, Bosnia and Herzegovina, Croatia, Cyprus, Greece, Kosovo, Montenegro, North Macedonia, Romania, Serbia, Slovenia, Turkey), produced after January 1st 2022. International Competition – first or second feature fiction films of the directors, produced after January 1st 2022, worldwide. Film Submissions are accepted for the following sections: Documentary Programme – out of competitionģ. International Competition for First or Second Feature Films ![]() The programme of the 27th Sofia IFF includes the following sections: ![]() The 27th Sofia IFF will be held from 16th to 26th of March 2023 (main programme) with an additional programme until the beginning of April.Ģ. The festival is presenting the best of the world contemporary cinema, including works of masters, discoveries and retrospectives. Sofia International Film Festival (Sofia IFF) is the biggest competitive film festival in Bulgaria, accredited by FIAPF. This ensures no unauthorized modifications have occurred.1. DCPs are verifiableĪs soon as a DCP gets copied onto a cinema server, a SHA265 checksum validation automatically runs to verify the content “is in the same state as it left the lab,” he says. Instead of having to update the entire film, a small metadata update is all that’s required. “Let’s say somewhere down the line, somebody realizes ‘Oh, my God – we forgot to credit the director of photography,’” Sergeant says. For example, by adding dub tracks or subtitles as small pieces of metadata. One master file can be localized for dozens of regions. DCPs are easily updatedīecause DCPs are a package of files (and not one big file), they can be edited without having to update the entire production. “Very famously, there was a Brian De Palma film playing at the New York Film Festival a couple years back, and they had to cancel the screening because the keys were for the wrong time zone. “Film festivals need a little bit more flexibility (than movie theatres),” Sergeant explains. This has led to some…embarrassing incidents at film festivals. KDM’s also specify the date and time a DCP can be played. You can make a million copies of a DCP, he explains, but if you don’t have the KDM configured for your equipment, you can’t play them. The DCP for Spider Man: No Way Home is around 500 GB and includes the 3D and 4K versions of the 2h 28m-long film). KDMs specify when, where, and how that version of the film can be played.Ī digital cinema package can be around 200 GBs in size or larger. You can think of a KDM as a content encryption key. Digital cinema servers run on Linux operating systems, which means DCP hard drives are formatted in Linux EXT3.īecause DCPs are usually encrypted, a Key Delivery Message (KDM) is required to ingest and play the content. The majority of digital projectors at theatres can’t handle anything higher. Most DCPs have a bitrate of around 250 Mbps. The audio file is a 24-bit linear PCM uncompressed multichannel WAV file. This is a lossless compression codec mastered at 24 frames-per-second (FPS), with high-resolution picture quality. The video track is encoded frame-by-frame in JPEG-2000. MXF is a video file container that wraps the track files according to Society of Motion Picture and Television Engineers (SMPTE) standards. A typical DCP includes XML files for metadata and MXF (Material Exchange Format) files. Every single frame of a film is a separate folder within the DCP. These servers connect to the digital projectors we mentioned earlier. subtitles) configured for cinema servers. DCPs are audio, video, and metadata files (e.g. ![]()
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