Choose Tree Falls Post! Here's Why:
- Simple and competitive pricing.
- Convenient Los Angeles area location for locals. Easy remote workflow for everywhere else.
- Optional CheckFile process makes us an solid resource, no matter where you are.
- Full service Post Production experts, with deep knowledge & resources, even if your situation is unusual.
- A proven track record with many hundreds of DCPs that have screened all over the world, trouble free.
- Additional proven track record with numerous titles made as distribution masters for large releases.
- Knowledgeable. You will always talk with hands-on staff who know the process and have the answers.
- A company culture of product/service and quality. We have your back and will make yours the best it can be.
- In business for over 18 years. Owned and operated by a post production veteran of 30+ years.
- Lots of customers who say nice things about us and refer new one's. We are easy to work with and flexible.
Several Questions We've Heard When Choosing A DCP Provider:
Q: "I'm shopping around. I see you offer $5 a minute. I see others priced less, and some a lot more. How do I make sense of all of that?"
A: This can definitely be confusing. Not only the difference that different providers have in price-per-minute, but all the other variables that some competitors have for all kinds of things. Such as turnaround time, set up fees, leasing-versus-buying your DCP, hard drives, audio types, minimums, etc. Before you get WOW-ed by what looks like a low per-minute price, or skeptical one way or another, make sure you are comparing apples-to-apples. With our pricing the majority of projects are two price items only: The per-minute price and the delivery media. As significant as pricing is to many customers, our greatest value comes from our level of service and competence for handling your master materials. We put a lot of effort into making sure the materials you give us are right for a DCP, with our knowledgeable eyes and ears. If there is anything doubtful, we talk it through with you, before pressing "go" your DCP.
Q: "I've been told by others providers that If I'm going to have a DCP made it can be done right with the "Whizz-Bang-1000" (insert competitor's hardware and software of choice)...
A: There are a couple of platforms we advise against: 1.) Any free DCP making software, and 2.) Wraptor, through Adobe Premiere. While these might work in some instances, they have NOT proven as universally reliable. Aside from those 2 doubtful options, there are a number of reputable providers that are using their hardware and software of choice. We all have a slightly different way of getting DCPs done. If you have been pitched that a proper DCP can only be made from the "Whizz-Bang-1000" or any such claim, in all practicality, that provider's bias because of their investment in a particular set of tools, not because their workflow is actually superior. What really rings as superior is customer service and attention to the details. And we definitely have that covered.
Q: "My film's frame rate is 23.98fps, I've been told that it can be converted to a 24fps DCP, which creates random duplicated frames to make up the difference in the frame rate. No big deal. Right?"
A: No, not the best approach. There is no need to duplicate frames. Anyone who knows the film well (such as you), will likely see this as subtle, random jitters in your picture. Our process from 23.98 source to 24 involves no duplicate or dropped frames. Every single frame in your film that is natively 23.98 plays exactly once in your 24 frame DCP.
Q: "I'm shopping around. I see you offer $5 a minute. I see others priced less, and some a lot more. How do I make sense of all of that?"
A: This can definitely be confusing. Not only the difference that different providers have in price-per-minute, but all the other variables that some competitors have for all kinds of things. Such as turnaround time, set up fees, leasing-versus-buying your DCP, hard drives, audio types, minimums, etc. Before you get WOW-ed by what looks like a low per-minute price, or skeptical one way or another, make sure you are comparing apples-to-apples. With our pricing the majority of projects are two price items only: The per-minute price and the delivery media. As significant as pricing is to many customers, our greatest value comes from our level of service and competence for handling your master materials. We put a lot of effort into making sure the materials you give us are right for a DCP, with our knowledgeable eyes and ears. If there is anything doubtful, we talk it through with you, before pressing "go" your DCP.
Q: "I've been told by others providers that If I'm going to have a DCP made it can be done right with the "Whizz-Bang-1000" (insert competitor's hardware and software of choice)...
A: There are a couple of platforms we advise against: 1.) Any free DCP making software, and 2.) Wraptor, through Adobe Premiere. While these might work in some instances, they have NOT proven as universally reliable. Aside from those 2 doubtful options, there are a number of reputable providers that are using their hardware and software of choice. We all have a slightly different way of getting DCPs done. If you have been pitched that a proper DCP can only be made from the "Whizz-Bang-1000" or any such claim, in all practicality, that provider's bias because of their investment in a particular set of tools, not because their workflow is actually superior. What really rings as superior is customer service and attention to the details. And we definitely have that covered.
Q: "My film's frame rate is 23.98fps, I've been told that it can be converted to a 24fps DCP, which creates random duplicated frames to make up the difference in the frame rate. No big deal. Right?"
A: No, not the best approach. There is no need to duplicate frames. Anyone who knows the film well (such as you), will likely see this as subtle, random jitters in your picture. Our process from 23.98 source to 24 involves no duplicate or dropped frames. Every single frame in your film that is natively 23.98 plays exactly once in your 24 frame DCP.