• You can deliver your master on any storage medium and leave any necessary conversions to Charbon.
• Quicktime ProRes XQ, 4444, HQ, or DNxHR 444 or HQX is ideal.
• Above all, don't convert your existing master for us, as the quality won't be any better and the colours and gamma may be distorted.
• Editing software (Final Cut Pro, Avid, Premiere, After Effects) do poor-quality re-scaling. It is better to deliver the master as is, even if the resolution is not good. Charbon will take care of adapting it to the DCP format.

• DCP supports the audio from mixing as is and maintains full quality.
• DCI standards require at least a 5.1 soundtrack. In pratice, most theaters broadcast stereo (2.0) correctly, although audiences at the edges of the room are not used to hearing dialogue coming from the sides. If possible, you should mix in at least 3.0, so that the dialogue comes from the center.
• The audio must be in 24 bits and last at least as long as the image. If need be, it will be converted or lengthened.
• Surround sound must be delivered separately from the image, with a clear track assignment (for example: L.wav, R.wav, C.wav, LFE.wav, Ls.wav, Rs.wav).

• A DCP can be made in many different subtitled versions.
• Subtitles can be either streamed (which is cheaper and more flexible) or burned into the image (which solves the rare problems of incompatibility and gives total control over their formatting).
• Subtitle files created externally can be transmitted as .srt, .stl, .xml, .stp, or as simple text generators (≠ plugins) in a Final Cut Pro sequence.

At the synchronisation level, care must be taken to ensure that sound, subtitles and images can be synchronised without any possible errors. The images, sound and subtitle timecode 00:00:00:00 will then begin.

• either all with the same lead-in time before the first image of the film (e.g.: 15 seconds pre-roll)
• or all without a leader, start of the delivered image = first image of the film
• or with a beep in the image and the sound, and subtitled "beep"