Digital Cinema Package (DCP)

Here is how this works in practice. Digital Cinema Packages for theatrical release in Peru are produced against the same DCI specs used worldwide. But the practical needs of the domestic cinema circuit shape how we build them. Cineplanet — operated by the Centenario Group and the country's largest chain — Cinemark Perú, UVK Multicines, and Cinépolis Perú between them operate the bulk of multiplex screens, with arthouse venues including Cine Pacífico in Miraflores and the Filmoteca PUCP cinematheque handling specialty releases and retrospectives. Each keeps preferred ingest profiles covering audio channel mapping, Spanish subtitle delivery, and trailer-versus-feature CPL structure.

Here is the short of it. Our DCP team produces SMPTE-compliant packages at Cinesphere DI Lima and partner finishing houses, with Interop variants ready where festival or legacy projectors need them, in 2K and 4K resolutions, 5.1, 7.1, or Dolby Atmos audio, multiple subtitle languages, and aspect-ratio variants assembled as supplemental packages to avoid duplicating the main feature payload.

Here is the breakdown. For festival submissions to the Festival de Lima ordered by PUCP, Trasandino in Arequipa, regional Latin American festivals, or global circuits, encryption is typically omitted in favour of playback simplicity, while commercial theatrical releases through the Cineplanet or Cinemark Perú circuit are wrapped with professional KDM workflows scoped to specific projector certificates and exhibition windows. Every package is validated on a reference cinema server before delivery, confirming load behaviour, audio mapping, subtitle timing, and CPL integrity against the production's exhibition plan.

Here is what that looks like on the ground. Turnaround for a standard feature DCP is one to three business days, with rush services ready for festival deadlines or last-minute global screenings. Once delivered, packages are archived against the production's preservation master at Filmoteca PUCP or partner facilities so re-issues — for anniversary screenings, DAFO-recognised re-releases, or new territory deals — can be produced without re-mastering from scratch.