Upmixing stereo to 5.1

Stereo soundtracks are usually played with Dolby Prologic 1 or 2 decoding in cinemas. Many cinemas have not the option to use Dolby prologic on stereo DCPs. If the stereo soundtrack is played in stereo, the audience not sitting in the middle will hear the dialogue coming from either the left or right side.
This makes a 5.1 mix essential on DCPs. Film festivals often specify that they do not accept stereo sound.

A good 5.1 sound mix is important, but if you do not have the budget you can use one of these 5.1 upmixing  plugins:

Pro Tools 12 plugins Anymix Pro, Auro-matic Pro, Penteo. DTS Neural™ Surround Collection

Pro Tools 12 has a fast bounce to disk mode.

-You often need to normalize the dialogue on the stereo soundtrack to a lower sound level before using the plugin to avoid clipping.

-Limiters will often alter the relationship between dialogue/music/effects on the stereo mix. But sometimes you may need to lower the dynamics on stereo mixes.

Phase detection mode
Pro logic uses a phase detection algorithm to convert stereo to 5.1. Film makers are not always mixing stereo sound in Pro Logic so you can try other algorithms.

DTS Neural™ Surround Collection
-Uses a phase detection algorithm.
-I have used it on the Auto setting to convert different material to 5.1.
-If the calibration of sound levels is OK this plugin works great on a lot material.


Penteo Pro
-I have used this with both music and film soundtracks.
-The LCR mode is compatible with cinemas with bad sound calibration.
-Does not have a phase detection mode.

Auro-matic Pro
-Does not have a phase detection mode.
-Does not use LFE.

Pro Tools 12 30 days trial

How I converted all the short films at a film festival that were not DCPs to DCPs

In 2011, 2012 (2013,20142015) I converted all the short films (30) for a film festival that were not DCPs to the DCP format. In 2012 I used Easydcp Creator 2.0 that supports Quicktime files so the process was very simple. The DCPs was mostly 25 FPS SMPTE DCPs, but there were also some 24 FPS and some 30 FPS SMPTE DCPs.

Here are some tips if you want to do this for your festival:
– When using only DCPs the people who make the films can know that their film will not be shown on different equipment. Instead of using time and money on scalers and videocassette decks you can make sure the screen follows DCI specs, is 14 fL, has good enough intra frame contrast ratio and that the sound follows the 85 dbc per channel standard. The main advantages is that Scope films will be shown in Scope and will not letterboxed and that 5.1 sound is not a problem.

-Ask for 24, 25, 30 FPS 1998×1080, 2048×858 or 1920×1080 Prores 422 Quicktime files. The stereo track or 5.1 track from the Quicktime could be used to make the DCP. But I prefer separate 5.1 mono 24 bit 48 hz audio tracks. Scope should be 2048×858.
We accepted videocassettes that we captured with HD-SDI, but I don’t see why a festival should accept them anymore.
Videocassette formats like HDCAM is only 8 bit and do not have 2K resolutions and are often in stereo. The Prores codec can be bought cheaply with Apple Motion from the Apple App store and is 10 bit, has 5.1 sound, is 4444 and has 2K resolutions. This makes it better than HDCAM SR masters which are usually 1920×1080. There are hardware players for 422 Prores files (AJA KI) and Prores files can be converted directly to DCPs in Fraunhofer Easydcp Creator 2.0.
I also converted h264, DV and other formats. But I don’t see why a festival should accept them either, they involve a lot of extra work in Adobe After Effects.

-Ask them to upload the films using a filemail corporate account or FTP server.
Why use a physical medium at all, downloading the films is much easier. Zipping the files and using a fast wired connection to the internet is recommended.

-Have a deadline for submissions so you have enough time to convert and test the DCPs.

-Stereo DCPs should be played with Dolby Prologic 1 or 2 like stereo videocassettes. Alternatively you can tell the people on the submission form that films with stereo soundtracks will be normalized and converted to 5.1 with the DTS neural upmix Pro Tools plugin on the auto setting. Note: You should not make a fake center channel by mixing the right and left channels, this will make the movie sound like it is in mono. The volume setting for each film should be checked and written down.

-Fraunhofer Easydcp Creator 2.0 can convert Prores Quicktime files to DCPs in 2-3x real time on cheap quad core computers. If you buy a quad core computer together with a non profit license for easydcp creator, the cost could be justified because videocassette rental fees would be less for the festival or the quality of the screenings would be better.

I have run Easydcp Creator on a mac mini



This is the text I used with the submission form:

Deliver on mac or windows hard drive or send it with this corporate file mail account:
(link to corporate filemail upload page)

SD file: Deliver as a 10 bit Prores 422 HQ Quicktime file and it will be converted to a 24 or 25 FPS Digital Cinema Package (DCP).

HD file: Deliver as a 10 bit Prores 422 HQ Quicktime file and it will be converted to a 24 or 25 FPS Digital Cinema Package (DCP).

DCP: ZIP file with the DCP.

File format: Prores 422 HQ 10 bit Quicktime. Cineform Quicktime.
Image sequence: DPX 10 bit linear (After Effects), TIFF 16 BIT (After Effects).

Frames per second: 23.97, 24, 25, 29.98 fps.


1:1.77 = 1920×1080
1:1.85 = 1998×1080
1:2.39 = 2048×858

Color space: Rec.709/SRGB or DCI XYZ 2.6 gamma

Quicktime with 5.1 sound: 24 bit, 48 hz, L, R, C, Lf, Ls, Rs
mono wav files: 24 bit, 48 hz

Quicktime with stereo: 24 bit, 48 hz,


If you deliver a 24 FPS or 25 FPS Prores/image sequence you can supply a SRT file with the subtitles.

Safe zone:

Do not have text too close to edges of the picture

More info: knut.erik.evensen@gmail.com


-To make it easier to convert all films, only accept 1920×1080, 1998×1080 and 2048×858 Prores 422 Quicktime files with separate mono 24 bit, 48 khz audio 5.1 tracks.

Using the free Blackmagic DaVinci Resolve for DCP mastering. (updated for Resolve 12.5)

Is the free Blackmagic DaVinvi Resolve 12.5 grading/color correction software usable for DCP mastering?


Free version:
2K support

Studio version: 
DCI 4K support.

-12 Bit monitoring.
Desktop Video 10.1.3 adds dual link 3GB HD-SDI 12 bit monitoring in Resolve 11 with Decklink 4K extreme and the BlackMagic Design UltraStudio 4K.

-Easydcp integration
You can buy the Easydcp plugin that can export a finished DCP.
You can also buy the Easydcp plugin that can play DCPs.
Interop subtitles is supported.

Example Resolve DCP workflow
RAW camera footage is run through these steps in the Davinci 32 bit color engine to make the DCP:
-convert colors to Rec.709/P3
-use the built-in Easydcp color transformation from Rec.709/P3 to X´Y´Z
-encode a DCP that can be used in cinemas with the Easydcp plugin.


Running Resolve 12.5 on a Mac
The Mac Pro is compatible.

Resolve 12.5 also support macs with intel graphics like mac minis.

Running Resolve 12.5 on a generic windows pc
Resolve runs on most hardware. You need at least 8 GB ram.


Using the Easydcp plugin

-Example. You can crop the top and bottom of 1920 x 1080 material and scale it to get it to fit inside Flat 1998×1080.
-Example. You can add black pillarboxing to 1920×1080 to fit it inside Flat 1998×1080.
-Example. You can crop the top and bottom of 2.35 letterboxed 1920 x 1080 and scale it to get it to fit inside Scope 2048×858

-If the source is 2.5 K you will get better quality rendering to 2K directly instead of rendering to HD sequences and then upscaling them.

-The easyDCP Resolve encoder will apply the correct color transform according to the setting in “Timeline Color space” in “Project settings – Color Management”.  P3 D60, P3 D65, P3 DCI, Rec 709 2.2, Rec709 2.4 fits inside the current DCI X´Y´Z´ color space. You can use different gamma values like 2.2, 2.4 or 2.6.

Example: If you use a Blackmagic Cinema Camera to rec 709 3d LUT you choose the rec 709 2.4/2.2 setting. Easydcp plugin will then use the rec 709 2.2/2.4 to XYZ matrix. If you choose DCI X´Y´Z´, no color matrix will be used.

-You can use subtitles.

-You can open encrypted DCPs and make encrypted DCPs.

-You can make SMPTE DCPs with 24, 25, 30, 50, 60 FPS and Interop DCPs with 24 and 48 FPS.

-You can open and play DCPs in Resolve. (with the easyDCP player plugin)

Using external DCP software:

You can export 16 bit RGB TIFF sequences.

These can be converted in Easydcp Creator and other software.


How to make a 25 FPS SMPTE DCP and a 24 FPS INTEROP DCP from a 25 FPS Quicktime file in Easydcp 2.0 (and convert sound FPS)


Converting Sound FPS

You can use Wave Agent to convert between different frame rates with the changing sample rate/resampling trick. Example: 23.98 fps sound files to 24 fps, use 48048 as the sample rate in Wave Agent.

Sample rates conversions:
23,976 (NTSC with 3:2 pulldown) -> 24 = 48048
24 > 23,98 = 47952
25 -> 24 (4800×24/25) = 46080
24 -> 25 (4800×25/24) = 50000

How to change sound frame rate with Sound Devices Wave Agent and iZotope RX

Wave Agent changes the sample rate in the metadata of the sound files similar to what Cinema Tools conform did on Quicktime files. iZotope RX does batch processing, SRC resampling and MBIT+ dithering. This method keep phase sync, but pitch will be lower.

Make a copy of sound files.
-Drag sound files to Wave Agent.
-In Wave Agent mark all files, choose new sample rate and press enter, then save.


in iZotope RX
-Open Batch processing,
-Drag the modified sound files to the Input files window
-Choose apply resample
-Choose view
-Choose the 48 kHz DVD preset and post limiter
-Choose record
-Choose 24 bit and MBIT dither

Alternatively you can use Timefactory 2.5 to change the frame rate on soundtracks.
-You keep phase sync
-The pitch shift algorithm will try to keep the same pitch as the original, but this may introduce audible artifacts.

-Drag sound files to Timefactory
-Join soundfiles (if necessary).
-Use Expert settings – IN FPS and OUT FPS. Example 25 > 24 (104,166). 25 -> 23.976 PAL (104.27094)
-Choose algorithm. Example: Dirac.
-Choose process.

How to make a 25 FPS SMPTE DCP and a 24 FPS INTEROP DCP from a 25 FPS Quicktime file in Easydcp 2.0

With Easydcp 2.0 you can make DCPs from Quicktime files like 1920×1080 ProRes 422 HQ. The Apple Prores codec and the JPEG2000 codec used in DCPs are both visually lossless codecs. If you do not have a fast RAID setup this can speed up the process of making DCPs compared to making them from a TIFF or DPX image sequence. But if the source files need deinterlacing and scaling you still need to deinterlace/scale the source to either 1998×1080, 1920×1080 or 2048×858 in Adobe After Effects, MPEG streamclip or similar software. To make a ProRes 422 Quicktime you can use use Adobe Premiere Pro on a mac, You can also do this in MPEG Streamclip, Compressor or Final Cut X/7. You need to buy at least Apple Motion in the Apple App store to encode Quicktime files with the ProRes 422 codec on a mac, to decode Prores 422 on windows you need Quicktime 7 .

You can also use the cineform codec on pc and macs in easydcp creator.

When you make a 25 FPS SMPTE DCP from a Quicktime file, Easydcp stores the audio files in a directory of your choice and you can convert these files later to 24 FPS and use them to make a 24 FPS INTEROP DCP that will play on older hardware. Using Adobe Audition to extract sound files from Quicktime files is faster. (The old Dolby server does not play 25 FPS DCPs, Doremi and Sony plays 25 FPS DCPs. The old Sony needs 25 FPS DCPs with burned in subtitles.)

If you copy the sound files from the directory to a new directory and open them with Wave Agent you can slow the sound down to 46080 hz (25 -> 24 FPS). When you open these in software like Audacity in a 48 khz project you will resample them to 48000 when you save them to 24 bit 48000 wav files. You can also use iZotope RX 3 to resample 46080 to 48000 and then save as 24 bit.

These files can then be used together with the 25 fps Quicktime or MXF in a 24 FPS INTEROP Easydcp project to make a 24 FPS INTEROP DCP. With a 24 FPS INTEROP Easydcp project you can also add Interop subtitles. You can also add a 25 FPS picture MXF file with the subtitles burnt in. A 25 FPS SMPTE DCP can only use SMPTE subtitles/burnt in subtitles (Easydcp Creator 2.1).

You can use FFMPEG to encode prores hq on a pc, these FFMPEG prores Quicktime files are not compatible with some programs like quicktime player (they will crash windows easydcp creator, but not mac easydcp creator.)
FFMPEG binaries

(Read this KOSTYA weblog post for more info)

You can use a command like this if you want to convert a uncompressed 422 avi file to a prores hq 422 mov file.

in cmd.exe
c:\downloads\ffmpeg\bin\ffmpeg -i c:\video\input.avi -c:a copy -c:v prores_ks -profile:v 3 -pix_fmt yuv422p10le c:\video\output.mov

Some tips on checking a DCP on a PC

With Easydcp Player.you can adjust the Player´s quality settings and play DCPs on slower computers without visual quality loss. Read more here

You can play back DCPs with Stereoscopic player and jpeg2000 decoder

These can be used to check the DCP for some common problems or to screen the DCP. You could use the trial version of Easydcp Player (It plays only the first 15 seconds of a DCP) to check if the DCP loads correctly, the colors are OK and even do a file hash check. With stereoscopic player you can check for audio sync and see if the colors seem OK (The trial version plays DCPs for 5 minutes at a time).
Only Easydcp player can play :
-DCPs with offsets on audio and video,
-DCPs with interop/SMPTE subtitles,
-DCPs that need customs 3D LUTs
Easydcp player also support SMPTE DCPs and can export DCPs to Prores Quicktime files with P3, rec709 or custom color/gamma encoding.

Some limitations:
-These players can only use 8/10 bit color, not 12 bit.
-They need fast computers, Both can play DCPs on a i7 quad core CPU PC.
-Your DCP will look and sound different in a movie theatre than on your typical PC.

Easydcp player with a Blackmagic HD-SDI device could be used to play DCPs originating from 8 bit HDCAM/10 bit HDCAM SR since the source is 8/10 bit. For smaller venues at film festivals without digital cinema equipment this could be an alternative to HDCAM player rental. It could also be used to play 25 and 30 fps SMPTE DCPs made from video sources in cinemas that has digital cinema servers that do not support these. The money a festival saves on HDCAM player rental for some years could pay for a non profit license bundle of easydcp creator and easydcp player and computers. When transferring HDCAM to DCP you could replace the stereo mix with a 5.1 mix. Or add subtitles.
But there is the added logistics of asking for permission to transfer each movie, and if the transfer is done incorrectly you could loose quality.

Some tips on using subtitles in Fraunhofer Easydcp

You can use Cinecanvas XML subtitles in a 24 fps Interop DCP in Fraunhofer Easydcp.
You can also use SMPTE 2010 subtitles in SMPTE 25 FPS DCPs in Fraunhofer Easydcp.
I worked with the creator of Subtitle Edit to get it to support SMPTE 2010 subtitles.
It now supports SMPTE 2010 subtitles.
I have tested DCPs with SMPTE 2010 subtitles on the Doremi, and they worked.

Update: you can also burn in the subtitles from a Interop/SMPTE XML files in Easydcp Creator 2.2.





Some tips:

Remember to save as UTF-8.

Use a text editor like textpad.
or notepad ++ http://notepad-plus-plus.org/
Use a text editor like BBEdit

You need a font that is not bigger than 640 kb according to the Texas Instruments Cinecanvas Specification posted here:

TI has made a utility that can compress fonts.

Place the font with the xml subtitle file.
Easydcp will place it in a special subtitle directory on the DCP.

You need your subtitles in the cinecanvas XML format with 24 fps timecode.

Update: You can also use SMPTE 2010 XML when making 25, 30 FPS DCPs.
You need to rename the font as a UUID number that is referenced in the XML, the font will then be packaged with the XML in a MXF file when generating the DCP.
The MXF can be encryted.

Use height values of 8 and 14 (10 and 16 are also often used) .
These works with Flat and Scope movies.

With letterboxed full container movies that will be shown with a Scope preset on the projector you need to either convert to 2048×858 (Use Scope letterboxing in Easydcp). Or you can use higher height values like 22 and 28.

If there is only one line it is at 8.

You can generate a unique UUID for the subtitleID here:

You can not use offsets on subtitles, if your sound and video has an offset
you either have to sync the timecode to that offset or delete frames from the video and sound.
(or choose a later frame as the starting frame, see comments)

A good idea is to split the DCP in reels.

Some subtitles tools:
Subtitle Edit
Can change frame rate. Convert most subtitle formats to interop or SMPTE 2010.

Doing versioning.

Update: With Easydcp Creator 2.0 you can just use the MXF files from the first DCP to make another. You can also make supplemental packages that references the original DCP.

When working with subtitles you may need to make fixes or different languages.
To do this faster I extract the jpeg2000 image sequence from the video MXF from the first DCP with asdcp-test
asdcp-test -x picture xxx.j2c.mxf
You can also use Fraunhofer Easydcp Player to extract the image sequence.
In Franhofer Easydcp Creator choose this extracted j2c image sequence as your picture trackfile, right click it, and choose “Color processing” – “bypassed”. And untick Options – Image Processing – Use JPEG2000 Codestream (*.j2c) Reencoding.

Some info on 5.1 movie theatre sound mixes

This is a good resource for info on 5.1 mixes: http://duc.avid.com/showthread.php?t=87830

Among his links is this “Model DP564 Multichannel Audio Decoder User’s Manual” from Dolby:
Model DP564 Multichannel Audio Decoder User’s Manual

For film work, test noise at reference level should produce an SPL of 85 dBC for each of the main front channels (Left, Center, Right) and 82 dBC for each Surround channel . The lower Surround level is specific to film-style mixing rooms. For television work, test noise at reference level is typically set to produce an SPL ranging from 79 to 82 dBC for each of the main five channels. The lower reference level for television reflects the lower average listening levels preferred by the consumer (typically 70 to 75 dBC)

Often a stereo sound mix for TV uses limiters and compressors and has less dynamics than a theatre mix. This is because it is mixed at a 79 dBC per channel instead of 85 dBC per channel.
A movie theatre mix is also mixed with 20 db of headroom.
A TV mix converted to a 5.1 movie theatre mix will have less dynamics. The best option is to go back to the stems/sources that was used to make the TV mix and mix it again at 85 dBC per channel.
I recommend having all movie theatre mixes done at a professional film mixer that uses the 85 dBC per channel standard.

If you are converting a stereo TV mix to 5.1 mix for DCP use I recommend using Pro tools and a upmixing plugin. You can match the dialogue normalization level, but not the the dynamics of a proper 85 dbC movie theatre mix.

Some best common practice DCP color space workflows part 1

See also:
Cinematic Color Motion-Picture Color Management

Arri – Working with hd – color grading

Real-Time Rendering – 2011 Color and Imaging Conference, Part II: Courses A

Some best common practice DCP color space workflows part 2

How to make 3D LUTs in Nuke PLE

Easydcp Creator 2.2 includes a color transformation from P3 DCI WHITE to DCDCM X’Y’Z and let’s you make custom transformations.
See this post

Updated for clarity.
This is an example of a best common practice VFX color space workflow used at Sony Dreamworks:

Color Space (Wikipedia)
3D LUT (Wikipedia)

“Color and Mastering for Digital Cinema” has some examples of DCP color space workflows:

Glenn Kennel says in “Color and Mastering for Digital Cinema” that the standard DCP workflow (in 2004) is to retain the film look on the digital version of the film instead of using brighter colors that are only possible with digital cinema. A similar 3D lookup table (film stock emulation 3D LUT) that was used to grade the film on a P3 projector can be used when making the DCP.

Arri Alexa whitepaper:
In this Arri Alexa whitepaper Arri have some suggestions for color space workflows using their Alexa Digital Video Camera. They suggest you can use a bleach bypass 3D LUT on dailies if that is the look you intend to use on the final product.

Some thoughts on low budget DCP color space workflows:
In “Color and Mastering for Digital Cinema” the author explains how the 2.6 gamma 12 bit, DCI XYZ color space standard of DCPs was made for the standard Digital Intermediate workflow of 2004 which uses P3 projectors for grading.

Now you have more options when choosing a workflow: You can use filmconvert and 3D LUTs with software like Fraunhofer Easydcp +, After Effects, Nuke and Davinci Resolve.

It is now cheaper to use similar workflows to the ones big budget productions used in 2004. But big budget post production workflows have access to a P3 reference grading projector.

This is still expensive.

Even if low budget productions intend to directly convert to DCI XYZ from Rec 709 and retain it´s white point, color space and gamma the greys would seem darker and your picture seems more washed out because of less luminance (14 Fl) in the cinema than on your monitor. A computer monitor or TV could have double the luminance of cinema projection. That is why what could look like a film look on your monitor could look less like film when watched in the cinema.

In the Alexa white paper they suggested watching material shot with the Alexa with a bleach bypass LUT and this attraction to the look from 35 mm seems to be common in DCP color space workflows.

This attraction to the look of 35 mm is also seen in the choice of using film camera optics with ND filters to get a shallow depth of view in low budget films.

For a good looking DCP that looks more like Hollywood films shot on expensive cameras and graded on p3 projectors it seems low budget filmmakers should also try to mimic the projector based grading workflow.

Even though they can not afford to view the material in the full dynamics of 12 bit or in P3 color space, a projector that is calibrated for 14 Fl could help.
Using first a 3D LUT from LOG to rec709 on a cheaper rec709 projector and then later using a 3D LUT from LOG to P3 on a more expensive P3 projector could be an option.


The future of DCP color space workflows may be brighter colors and cooler white, even though most workflows now mimics the look and feel of the less brighter colors and warmer white of 35 mm projection.

How to output (EASY)DCP friendly DPX sequences from After Effects

UPDATE: In Easydcp 2.0 you can also make DCPs from (Prores 422) Quicktime files.

These DPX sequences can be used with Fraunhofer Easydcp to make DCPs.
Thanks to colorist Christian Berg-Nielsen (christian at sementbetong.no) at Sement & Betong Post Production.
If you need to have your film graded for digital cinema send him an email.

Step by step guide to make DPX sequence from a progressive REC.709 source. If your source is deinterlaced a quick solution is to deinterlace the source with MPEG Streamclip

Drag a clip to a project.

Change the project settings to >16 bit.


Right Click and interpret footage. Choose correct frame rate. Seperate Fields = off, The Audio may need to be corrected also.


Drag the clip to a new composition.


Right click the new composition, change resolution to 2048×858 for scope and 1998×1080 for flat.


Double click composition, right click on layer, choose transform and Fit to Comp Width (or Height).


Choose Composition – Add to Render Queue

Change the Output Module to “Format: DPX”

Choose Color Management , Cineon Settings, Full Range DPX


and choose a output directory with enough free space. (approx. 800 GB per hour)

Then Render.

The best common practice to deliver a Digital Cinema Package (DCP)

The best common practice is to deliver the DCP in a Cru Dataport DX-115 hard drive caddy with USB 2/3 adapter. These hard drive caddys loads directly into a lot of digital cinema equipment. Like Dolby/Doremi and the new Sony media block.
-Some film festivals only accept Cru-DX115 hard drives.
-You are now allowed to have many DCPs and Assetmaps on the same hard drive according to the ISDCF Disc File Format guide and updated SMPTE standards.

Standard DCP deliverables are made from these parts:

The Cru Dataport DX-115 harddrive carrier/caddy:

Western Digital Caviar Blue 500 GB 3.5 Inch Hard Drive or similar :

The Cru Dataport Docking Station DX115 USB 2/3 with USB 2 cable, universal power supply

To transport these safely you could use a Pelican 1400 Case:

Together these could look something like this:



Upgrades to the old DX115 package

Replace the USB 2 cable with a USB 2/3 cable.

Use a more robust Solid State Drive (SSD) and a smaller Pelican 1200 case (I recommend SSDs >240, I have tested some 240 that worked and a 120 GB that did not work in the DX115) :

Together these could look something like this:

Pelican 1200 cables

Pelican 1200 dx115

Pelican 1200 case

Alternative 2
You could use a USB 2 /USB 3 hard drive like the Rugged Lacie mini 500 gb.

or a modern SSD portable hard drive like the Samsung T5 250 GB USB 3.1

in a smaller Pelican 1120 case

Together these could look like this:

You are allowed to deliver DCPs on USB 2 hard drives, but the DX-115/movedock adapter also works with equipment that does not supply the standard power on the USB 2 port. You can supply a Y cable with the lacie rugged hard drive to support powerless USB 2 ports. (Cinemas with non-standard USB2 connections most likely have their own adapters.)

Alternative 3

Fast USB 3 flash drives like the Corsair Flash Voyager Slider

in a Pelican 1010 microcase

Together these could look like this:

These USB 3 flash drives are fast, but you will only get USB 2 transfer speed on older digital cinema equipment. But a USB 2 transfer speed of 25-35 MB/sec is still much better than the 5-10 MB/sec transfer speed you get on some older/cheaper flash drives. If the cinema transfers the content on the flash drive to their own DX115 hard drive they can get 60-100 MB/sec USB 3 transfer speed to the DX115 and 100 MB/sec speed from the DX115 to the digital cinema equipment.

Alternative 4
Cru DX115 DCP kit #2 with 500 GB hard drive

The physical medium specification for DCPs

The physical medium specification for DCPs is a USB 2/3 external hard drive formatted as MBR Ext 2/3. (2 TB limit)
Doremi and Sony (and others) support MBR NTFS, but the recommended format is the linux format Ext 2 or Ext 3 with a inode size of 128 that is read and executable only.
Source: ISDCF Disc File Format

To format Ext 2/3 harddrives I have used:
-a PC running Ubuntu Linux
-Ubuntu Linux run from a USB pendrive made with USB linux creator.
-Ubuntu run in virtualbox on a mac. Read more here.

You can copy the DCP to a inode 128 read and executable only EXT2/EXT3 hard drive in many ways.

This is one way:

In terminal. Install gparted.
sudo apt-get install gparted

Run gparted
sudo gparted

In Gparted

Click on “Device” – “Create a partition table”
Choose msdos.

Use add partition and format the drive as ext2 or ext3.

Note the name of the partition (like sdb1) and format it again in terminal with -I 128 inode.

sudo mkfs.ext3 -I 128 -L DCP123 /dev/sdb1

sudo mkfs.ext2 -I 128 -L DCP123 /dev/sdb1

Run Terminal
Run sudo Nautilus in Terminal to get a root GUI file manager.
Then copy the dcp directory to the harddrive in the Files/Nautilus file manager.
Then make the dcp directory read only and executable:
In Terminal use the chmod command on the folder you made.
sudo chmod -R 755 /media/kese/harddrivename/foldername

To make the ext 2/3 partition without reformatting you can use parted.
More detailed explanation  here 

In terminal. Install parted.
sudo apt-get install parted

Run parted to make a  MBR partition
sudo parted /dev/sdb mklabel msdos

run mkpart and make a ext 3 partition
sudo parted -a opt /dev/sdb mkpart primary ext 3 0% 100%

then format the partition with -I 128 inode

sudo mkfs.ext3 -I 128 -L DCP123 /dev/sdb1

sudo mkfs.ext2 -I 128 -L DCP123 /dev/sdb1

MBR NTFS 1 partition hard drives are readable by all digital cinema equipment and are used on some DCP hard drives.
If you are formatting a 1 partition MBR NTFS hard drive on a mac (high sierra) you can use Paragon NTFS for mac to format the hard drive in disk utility. In disk utility enable “show all devices” in View in the top left corner so you can choose the hard drive. When using erase (format) choose Master boot record as the scheme when formatting as Windows NT file system.

If you are formatting a 1 partition MBR NTFS hard drive in Windows using Computer Management – Storage – Disk Management you can right click a hard drive and see in the Volumes tab if the partition style is Master Boot Record.

Cinema DCP players often use the Linux OS and it does not natively support exFAT formatted hard drives.

Do not use folders inside folders like this: /DCP/MYFILM.

Use only 1 partition on the hard drive.

The name of the folder will not be shown when ingesting the DCP on a Doremi.