Re: Download Film The Day He Arrives English Subtitles
Ethelyn Mullice
The delivery deadline for all cinema presentation material including DKDMs is January 31, 2024. This deadline applies to all festival participants and EFM clients. All material has to arrive at the Berlinale Film Office by that date.
Please notify the as soon as you know that your material cannot be delivered by January 31, 2024 to arrange for Express Handling of your film at the EFM. In that case, the latest possible date for delivery is 5 days before the first screening of the film.
Please note: The festival can only guarantee the correct side-masking for DCPs that are using the entire area of Full, Flat, Scope or HD containers. For all other pillar- or letterboxed formats the festival will do its best to position the side-masking as accurately as possible.
*Please note: All Stereo (2.0) DCPs will be upmixed to 5.1 during playback unless you explicitly request stereo playback. The Film Office does not recommend stereo playback in larger venues due to the missing center channel.
Since 2012, the festival requests Distribution KDMs (DKDMs) for all encrypted DCPs. The keys have to be uploaded to the Berlinale's servers via web upload and are automatically verified upon entry. The festival cannot accept DKDMs sent by e-mail. All DKDMs must be valid from the moment the DCP arrives in Berlin until February 26, 2024.
Upon request you will receive personalised login information to the festival's Digital Cinema Portal where you can digitally transmit your DKDMs as well as your DCPs and/or ProRes files. Please do not pass this information on to any third parties (postproduction companies, labs, service providers), but instead contact the to have a separate account created for your contractors.
Using DKDMs is currently the only alternative for managing the vast number of DCP screenings during the Berlinale and the EFM. Without them, the festival/EFM would not be able to execute suitable quality assurance measures and to exercise its responsibility for the smooth functioning of all screenings.
All ProRes files will be converted to DCP by the festival, this process is free of charge. These DCPs will be destroyed at the end of the festival and can not be handed out to the participants/customers.
*Please note: All Stereo (2.0) files will be upmixed to 5.1 during playback unless you explicitly request stereo playback. The Film Office does not recommend stereo playback in larger venues due to the missing center channel.
The Berlinale provides a securely encrypted and efficient file upload system to receive DCP or ProRes files via digital transfer. The upload process is browser-based and integrated into the festival's Digital Cinema Portal which also provides the DKDM upload functionality. Upon request festival participants and EFM clients will receive their personalised login information to the festival's Digital Cinema Portal where they can digitally transmit their DKDMs as well as their DCPs and/or ProRes files.
Prerequisites
An internet connection with an upload speed of at least 50 Mbit/s is required to use the system. Uploading a 150 GB DCP will take about eight to ten hours at 50 Mbit/s. You can test your upload bandwidth by using the speedtest.
Credentials
Once you have received your invitation to the festival or have confirmed your EFM participation, you can request personalised login information to the festival's Digital Cinema Portal where you can digitally transmit your DKDMs as well as your DCPs and/or ProRes files. Please do not pass this information on to any third parties (postproduction companies, labs, service providers), but instead contact the to have a separate account created for your contractors.
If, for some reason, you cannot upload your film, you can still deliver DCP and ProRes files using hard drives. However, the full cost of transport including customs fees and insurance, as well as the return freight, must be borne by the sender.
Please note: Bilingual subtitles are needed for feature films invited to the Competition and Berlinale Special Gala if their original version is neither English nor German. For most of the other sections generally only English subtitles are requested (for non-English dialogues). If in doubt, please consult the festival section inviting the film.
Can I get a copy of the DCP that Berlinale creates from my QuickTime file?
No. For technical as well as for legal reasons the Film Office may not give you a copy of the DCP created from your QT-file.
Should we prepare an Interop or an SMPTE DCP?
Currently all systems used by the festival and the EFM are capable of playing both Interop and SMPTE DCPs. The Film Office highly recommends that you prepare a SMPTE DCP as it has various advantages over the older Interop format, specifically they provide a wider range of frame rates and metadata, improved security and more robust subtitles.
Can I schedule a test-screening or rehearsal for my DCP screening?
Due to the tight schedule of the festival and the EFM the Film Office generally does not offer test-screenings for DCPs. Your DCP has to be tested before it is submitted. The only exceptions to this rule apply to films in the Competition and to EFM customers who have booked an additional test-screening.
Why does Berlinale need a DKDM (master key) for my screenings?
There are two reasons why the Film Office asks you to supply the Berlinale with a DKDM:
1) A DKDM allows the festival to generate KDMs (keys) on very short notice for the theatres that are used during the festival and EFM. In case the festival needs to reschedule a screening or swap projectors/servers it is able to generate new keys as they are needed.
2) It enables the Film Office to test your DCP in a secure environment in advance. Without a key the Film Office cannot perform a number of critical tests.
How does the festival store my DCP and KDM?
Both DCPs and KDMs are stored in a secure environment. Special access-control applies to the DCP storage room, ingest-systems and the data-center where all data is centrally stored.
Hi! I recently finished watching the Region 1 special edition of You Only Live Twice and I thought something was out of place. There were no English subtitles for Japanese dialogue in the scenes were Bond arrives in Japan and is followed, and when Bond is in the back seat of a car disguised as Henderson's killer. I was pretty sure I saw subtitles during these scenes so I pulled out my VHS tape to check and there were indeed subtitles.
According to IMDB there were subtitles on a VHS version of YOLT, though in a different part of the movie.
But according to DVDTalk there never were any subtitles on American prints of the movie.
So what's the deal? Are the subtitles seen on my VHS tape something added to the movie that wasn't there originally? Is the special edition DVD missing subtitles that should be there like the special editions of Octopussy and The Living Daylights? Do the ultimate editions of YOLT have subtitles for the scenes I mentioned? I'd greatly appreciate help with this
That would be Godzilla Minus One, the low-budget but extremely impressive feature that serves as a contrast to the much larger-scale Godzilla/Kong movies. Directed by Takashi Yamazi, it reportedly had just a $15 million budget, which is almost unbelievable given how high quality its rendition of Godzilla is, and it feels like a movie that would have cost $100 million in the west. It was rewarded this year with an Oscar for Best Visual Effects.
The Japanese film is available both subtitles and dubbed on Netflix. I prefer the original Japanese, but whatever it takes to get you to watch the film. It follows a surviving Kamikaze pilot whose life intersects with the resurgence of Godzilla, which forces the country to band together to try to stop him.
There's no doubt about it. Attack on Titan is the most anticipated foreign movie of the year! And we finally have the full-length trailer with English subtitles. A true phenomenon in it's native country of Japan, Hajime Isayama's manga series has attacked the globe, achieving widespread acclaim on par with Marvel and DC. It first arrived in 2009, and since then, we've seen a novel prequel series, a TV anime adaptation, and more than one video game. Now, we get the crown jewel in this epic franchise, a live-action movie!
Attack on Titan takes place in a time when humanity is on the verge of extinction. The world has been wiped out by a race of giants known as Titans. They spawned from nowhere, wandering the lands and eating every human they can get their hans on. The Titans don't make their game plan known, as they continue to trudge forth with no seeming motivation. And at first, it seems impossible to kill or communicate with them.
The few remaining human survives hide in little pockets of civilization, fortifying themselves behind giant walls. Eren is our hero. He joins the Survey Corps, a military division who set out to destroy the Titans. He's witnessed the death of his mother during a Titan attack, and wants his revenge. Director Shinji Higuchi has taken this simply, yet powerful story, and turned it into a sci-fi action thriller unlike anything ever seen before.
Attack on Titan features an all-Japanese cast, which includes Haruma Miura, Kiko Mizuhara, Kanata Hongô, Satomi Ishihara, Nanami Sakuraba, Takahiro Miura, Hiroki Hasegawa, Ayame Misaki, Pierre Taki and Jun Kunimura. FUNimation Entertainment has already announced that the movie will be hitting American shores this fall. Before today, all of the marketing materials have been in Japanese. Anyone who had difficulty following the previous trailer, everything is laid out here clear as day. In this latest sneak peek, we get to meet the cast of characters. And the main story is set up quite nicely, for anyone interested in the poprerty yet not familiar with all it has to offer.
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