Digital Cinema Packages (DCP): The New Standard in Film Distribution

You’ve finished production on your film, you are ready for post-production and your deliverables require the creation of a Digital Cinema Package (DCP). Whether you’re submitting to a festival or preparing for a theatrical showing, DCPs are the standard. Join our panelists as they discuss DCPs, how the file is used, who can create it, and how to budget for it.


Jahil Maplestone is an Australian born editor and colorist who has been working in the post-production field for the last 20 years. He started in film production before making his way to television and, in particular, live sports broadcast editing. After moving to the US in 2006, Maplestone had a short freelance editing career and then began working as an editor and technical manager at Chromavision Corp. in New York. He now predominantly works as an editor/colorist and DCP editor for independent productions.


Nicole Scarano has been working as the Director of Delivery at Magnolia Pictures/Magnet Releasing for the past four years. Her work involves interfacing with producers, sales agents, filmmakers and every department at Magnolia in order to obtain the materials necessary to release all of Magnolia’s films. She has handled efforts on such award-winning films as BlackfishTangerineThe Hunt, and The Wolfpack. Prior to Magnolia, she worked in the quality control department of HBO and Cinemax, working on shows like Game of ThronesGirls and Boardwalk Empire.  


Matthew Schneider leads the research and workflow development effort at Technicolor PostWorks through the Test Lab. He assists clients in workflow design and implementation, and other issues related to digital camera systems and formats. He also serves as liaison to Avid and other technology manufacturers to assist in product development and customer support. Prior to joining Technicolor PostWorks in 2003, Schneider worked as a support engineer for Avid Technology, where he assisted with large-scale broadcast network deployments, and workflow design for feature film and television clients. He is an active member of SMPTE New York and the Sony CineAlta User Group.


Claire Shanley (Moderator) works at the intersection of technical, creative, and strategic concerns for production and post-production. In her current role as the Managing Director of Sixteen19, a full-service post production company, Shanley oversees locations in New York, Los Angeles, London, and Atlanta. A board member of both NYWIFT and the Post New York Alliance, she is active in advocacy for public policy that benefits the industry as a whole. Early in her career, she worked as an editor and technical specialist.


Produced by Mayela Wilson and Cheree Dillon


Special Thanks to Host Venue

April 27 @ 6:30pm
6:30 pm — 8:00 pm (1h 30′)

Nice Shoes
352 Park Avenue South, 16th Floor
(Between 25th & 26th Streets)

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NYWIFT programs, screenings and events are supported, in part, by grants from New York City Department of Cultural Affairs in partnership with the City Council, and New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature.