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1Fix the driver behind crashes, sound loss and screen glitches2Repair Windows errors before they cause bigger problems3Scan for outdated or missing drivers - takes under a minuteNot always. Festivals may accept an online screener or another format for judging, then require a DCP or another cinema-ready format only after a film is selected. Requirements differ by festival, edition, program, and venue, so use the current instructions for the specific screening—not a general assumption—before ordering a DCP or sending a drive.
Do you need a DCP to submit a film?
Often, no. A selection screener is the copy programmers use to evaluate a film; a screening copy is the final version prepared for presentation at a venue. These can have different format and subtitle requirements. Venice publishes separate instructions for screeners and selected films, and Cannes distinguishes preselection formats from selected-film delivery requirements (Venice technical specifications; Cannes submission instructions).
For example, Cannes’s 2026 general submission instructions list DCP or online upload for preselection. For selected films, the page lists a DCP, JPEG 2000 file, or 35mm print. Short films and special categories have separate workflows, so the general feature-film instructions should not be applied to every entry. The 2026 rules and deadlines are edition-specific; consult the page for the edition you intend to enter.
A DCP is more likely to be required when a festival is presenting a film theatrically, but even then the accepted format depends on the program and venue. Moscow International Film Festival regulations call for DCP screening in competition and out-of-competition programs and allow 35mm or DCP for retrospectives (Moscow regulations). That is an event-specific example, not a rule for all festivals.
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What formats do festivals accept for a selected film?
Do not treat one festival’s technical sheet as a universal standard. Check the exact edition and program. The official examples below show how much delivery rules can vary:
| Festival and edition | What its instructions say | Important limit |
|---|---|---|
| Cannes, 2026 | General preselection accepts DCP or online upload; selected films are asked for a DCP, JPEG 2000 file, or 35mm print. | Categories have distinct instructions; the published rules and deadlines apply to the 2026 edition. Cannes instructions |
| Venice, 83rd festival / 2026 | Prefers SMPTE DCP Application Profile Bv2.1; compliant Interop DCP can also be accepted. Selected-film delivery can be by digital transfer or two identical physical devices. | This is the selected-film delivery guide for one edition, not a universal DCP specification. Venice DCP specifications |
| Moscow International Film Festival | Calls for DCP in competition and out-of-competition programs; retrospectives may use 35mm or DCP. | Program exceptions and post-selection technical instructions matter. Moscow regulations |
| Nederlands Film Festival | Requires QC before delivery, strongly prefers unencrypted DCPs, and encourages digital transfer. | Delivery procedures and deadlines belong to the relevant edition. NFF delivery specifications |
Sundance’s available presentation sheet is for 2024; it covers theatrical and online-screening deliverables, captions, audio description, and encryption, but should be treated as a historical example rather than current Sundance guidance (Sundance 2024 specifications).
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How should you handle subtitles and accessibility versions?
Ask which language version and presentation method the festival needs. Subtitles, captions, and audio description are not interchangeable:
- Burned-in subtitles are part of the image.
- Timed subtitles are separate assets in the DCP and may be switched on or off, depending on the package and playback setup.
- Closed captions may be delivered for personal captioning equipment rather than displayed on the theater screen.
- Open captions are visible to the audience as part of the picture.
- SDH captions include relevant sound information as well as dialogue; audio description is a separate accessibility track or version.
Rules depend on the film’s original language and the festival’s audience. Cannes’s 2026 preselection instructions say films in French or English may be submitted without subtitles, while films in other original languages need French or English subtitles. Venice’s 2026 guide requires Italian on-screen subtitles, or English for Italian-language films; it permits burned-in subtitles or XML, and makes the submitter responsible for timing and safe-area placement. Moscow prefers soft on/off subtitles in a supplemental DCP file but accepts hard subtitles. These requirements are specific to those events and editions (Cannes; Venice; Moscow).
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AFIN’s guidance for its 2026 event at Dendy Portside explains the practical difference between subtitles and closed captions. Sundance’s 2024 sheet is an example of a festival specifying distinct treatments for open captions, closed captions, SDH, and audio description; neither document establishes what another festival requires (AFIN DCP guidance; Sundance 2024 specifications).
Should you encrypt the DCP?
Do not encrypt a DCP unless the festival or its lab has confirmed how it will be unlocked. An encrypted DCP needs a matching key delivery process—often involving a KDM, certificates, specified cinema servers, and an authorized time window. Coordinate those details with the festival rather than guessing.
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Venice’s 2026 guide recommends non-encrypted DCPs and says KDM validity must cover arrival. Sundance’s 2024 presentation sheet preferred unencrypted DCPs and required a DKDM to its lab partner if a film was encrypted. NFF and Moscow also provide event-specific key arrangements. These are not interchangeable procedures; verify the current festival’s recipient, certificates, test window, and validity dates before delivery (Venice; Sundance 2024; NFF; Moscow).
Do you need to send a hard drive?
Not necessarily. Some festivals accept digital transfer, while others may specify physical media or offer both routes. Venice’s 2026 guide permits transfer or two identical physical devices and prefers SSDs for physical delivery. It also specifies filesystem and labeling requirements. NFF encourages digital delivery through Filmfetch. Those instructions apply to the named events, not every festival (Venice DCP specifications; NFF delivery specifications).
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Before buying storage or shipping a package, confirm whether physical delivery is needed and ask for the required interface, filesystem, copy count, label, packaging, and arrival deadline. If the festival specifies a physical drive, match its instructions exactly.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Who should create and quality-check the DCP?
A professional mastering facility can create a DCP and help validate its assets, but hiring one does not remove the submitter’s responsibility to meet the festival’s requirements. Venice recommends professional mastering and says the producer or distributor and mastering facility should carry out QC together; its technical check does not replace that work. NFF likewise requires QC before delivery. AFIN recommends professional creation but allows self-made DCPs and says it tests them too. The right choice depends on your expertise and the festival’s instructions—not on a universal rule that DIY is either always acceptable or always prohibited (Venice; NFF; AFIN).
Selected-film DCP delivery checklist
- Identify the deliverable. Confirm whether the request is for a selection screener, final theatrical copy, or both.
- Confirm the profile. Ask which DCP profile and version the venue accepts, including whether it accepts SMPTE, Interop, or both.
- Confirm picture, sound, and access needs. Ask about image format, frame rate, sound configuration, subtitle language and format, captions, and audio description for this title and screening.
- Settle encryption before mastering. If encryption is required or proposed, get the certificate, KDM or DKDM recipient, server, test, and validity-window details.
- Agree on delivery method. Confirm digital transfer or physical media; for physical media, get the exact filesystem, interface, label, number of copies, packing, and arrival deadline.
- Arrange QC and a test. Confirm who checks the final package and whether it can be tested before the screening.
- Record the final version. Keep the exact delivered version and its CPL/title/version metadata. Venice’s 2026 guide says CPL naming references need to match across DCP information and warns that a delivered DCP cannot simply be replaced without authorization.
Also check venue-specific playback instructions. For example, Venice’s 2026 guide says stereo playback may be up-mixed to 5.1 unless stereo playback is explicitly requested; that is a Venice instruction, not a general cinema rule (Venice DCP specifications).
No comparable official figure establishes what share of festivals require DCPs, how often DCPs fail, or a typical mastering price. Use the festival’s current technical sheet and delivery contact as the authority for its own event.
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