Example:
Convert a short film in 1920×1080 16/9 25fps 10 bit ProRes 422 with 5.1 sound to a standard DCP (DCI, 24 fps XYZ colorspace) .
Video
Use Apple Color to export DPX sequence
- Settings 1. (bottom, right corner) Change from 25 to 24 frames (important)
- Go to setup tab- Project settings
- Change Render Dir
- Resolution Presets: 1920 x 1080
- Render File Type: DPX
- Printing Density: Linear (0 Black - 1023 White)
- Go to “Render Queue” Tab
- Click “Add selected” button
- Click “Render” button
Sound
Using Cinema Tools and Soundtrack Pro without pitch shift
- Make copy of ProRes file and open in Cinema Tools
- Meny: Clip - Open
- Meny: Clip - Conform: 24 fps
- In Soundtrack Pro: Drag 24 fps Prores File from browser to a Video track in a Multitrack Project.
- Select Audio Track
- Export
- All Tracks, Wave, multiple mono, 24 bits, 48 khz
These files can now be used to make a DCP with Fraunhofer EasyDCP.
Link to Fraunhofer EasyDCP (mac/pc)
To ingest a DCP you can use a tool like Paragon ExtFS for Mac OS X to format and write to ext2 external harddrives.
Link to Paragon ExtFS for Mac OS X
Fraunhofer EasyDCP assumes the DPX files are in the REC.709 colorspace. If you grade on a 10 bit HD monitor with AJA or Blackmagic video hardware the resulting DCP should look the same in the cinema as on your monitor.
Other stuff
Updated : This step is no longer necessary. Easydcp 1.2.0 support dpx sequences from Color and 16 bit tiff sequences.Convert DPX (changes endian type and dpx version)
Install Macports http://www.macports.org/
- Open Terminal
- Install ImageMagic with this command
sudo port install ImageMagick - Go to directory with DPX sequence eg.
cd /Volumes/RAID/dpx/short1/1 - convert dpx with this command
find . -iname "*dpx" | while read f;do mogrify -verbose -format dpx "$f";done
Updated. Or try this: (thanks Eirik Schwenke. see comments for more info).
find . -iname "*.dpx" -exec mogrify -verbose -format dpx "{}" \;
Using Soundtrack Pro with pitch shift
Stretch the sound from 25 fps to 24 fps.
24 fps at 48 khz is 2000 samples per frame.
25 fps at 48 khz is 1920 samples per frame.
23,97 fps at 48 khz is 2002 samples per frame.
Example:
50000 samples 25 fps / 1920 = 26,041666 frames
26,041666 frames x 2000 = 52083,3333 samples 24 fps
- Use Process - timestretch to new samplerate.
- Save as Wave, 24 bit 48 khz. This works best if the 5.1 mix uses the center channel only, otherwise phase sync could be lost. Time stretch works best on the source audio files.
Notes on time stretch/pitch shift :
In Soundtrack pro when going from 25 fps to 24 fps the extra frames will be added to the sound files. If going from 23.98 fps to 24 fps cut away the frames at the end that are left empty from the time stretch. It’s not common practice to correct pitch when going from 23.98 to 24 fps.
To keep phase sync on a 5.1 mix or music mixed in stereo try Prosoniq TimeFactory 2. Quote from their website: “Version 2 supports all popular file formats and offers 5.1, 6.1 and even N.1 surround processing in perfect phase sync - converting between different frame rates for film and TV has never been easier!”
The pitch change is: 0.706724268642822855 semitones
source
One alternative is to get a professional to do the Pal to film pitch shift in Pro Tools. Bent Holm - Sound designer Chimney Pot Oslo, Norway (bent at chimney.no) gave me some pointers on pitch shifting.
He pitch shifts submixes/stems that has it’s samplerate changed to run faster or slower like a conform to 24 in Cinema Tools.
It’s easier to do a pitch change when going from 24 fps to 25 fps.
In theory you could use Soundtrack Pro to export three different 5.1 submixes (voice, foley/fx, music). And then use Timefactory 2 to change the pitch and then put the mix together again in Soundtrack Pro.
If the 24 fps mix is the most important, most of the sound mix could be done in 24 fps natively. Then change the pitch to do the 25 fps mix.