Print Traffic

A booking isn’t real until the file plays.

DCPs replicated and shipped, KDMs cut and scheduled, venue specs confirmed, and playback checked against the booking calendar.

01Map the run
Every booking, venue, format, and date in one place before the first shipment.
02Build the assets
DCPs and versions validated per venue, so a format surprise surfaces here, not at the theater.
03Key and ship
KDMs cut to the right server and window, drives shipped or sent electronically, all tracked.
04Confirm playback
Checked with the venue ahead of doors, while there’s still time to cut a new key.

Send us the booking calendar.

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Getting the right file to the right room on the right night

A booking is not real until the file plays. Between the master and the projector sit encrypted keys tied to specific servers and specific dates, venues with their own quirks and their own formats, drives in transit, and a schedule that does not move. Print traffic is the job of making sure none of that becomes the filmmaker’s problem on opening night.