How to make a SMPTE 25 fps (or 30,50,60 fps) DCP (Digital Cinema Package) with Fraunhofer Easydcp 1.4

UPDATE: In Easydcp 2.0 you can make DCPs from (Prores 422) Quicktime files. Prores 422 exported from Color do not get darker.

Tested a 25 SMPTE DCP made with Fraunhofer Easydcp Creator 1.3 beta on a Doremi DCP-2000 cinema server. It worked, I am not sure if all cinema servers support 25 fps SMPTE DCPs yet. I know the Doremi and Sony does. Update: Have also tested a 30 fps DCP on a Doremi DCP-2000. It also worked. But it may not work on all projectors. To convert the sound in a 29.97 (no inverse telecine) video file to 30 fps you could use the cinema tools tips from this post:
How to make dpx and wav files that can be converted to a DCP (Digital Cinema Package) with Fraunhofer EasyDCP Creator using Final Cut Studio 2 or 3


Fraunhofer Easydcp Creator

Final Cut Studio 3 with Apple Color and Soundtrack Pro (Discontinued in 2011)

Note: Check that the DPX sequence from Color matches your monitor. You may have to compensate that the picture gets darker.

Update: To export a DPX sequence from After Effects follow this step by step guide.
In Apple Color:

To export an image sequence from Apple Color you have to work with a supported file format like Prores 422 HQ.
MPEG Streamclip is a good tool to convert file formats like VOB, WMV, MPEG to Prores 422 HQ.
MPEG streamclip

MPEG streamclip can also do a quick deinterlacing if the clip is interlaced.
Alternative deinterlacers are:
Final Cut/Compressor, Color, Adobe After Effects.

Step 1.

Export a TIFF or DPX image sequence Hopefully from a 10 or 16-bit application like Apple Color or Adobe After Effects. Quicktime Pro 7 is as far I know not capable of more than 8 bit.
Note: Check that the DPX sequence from Color matches your monitor. You may have to compensate that the picture gets darker.

In Apple Color:
Import shot. I let Color match the timeline to the clip. This way the framerate will be the same as the clip.

Change the Project Settings
Render File type: DPX
Width and Height : All DCI digital cinemas have two presets:
Scope (2.39:1) = 2048 x 858 and
Flat (1.85:1) = 1998 x 1080. HD
(1.77:1) 1920 x 1080 will fit inside the Flat preset with perhaps some empty space on the sides.
I let Color scale my clip to the preset.

Broadcast Safe: If you turn this off you will see in the RGB parade scope if the material is graded with values above 100 and below 0. The material should be graded so black is not below 0 and white is not above 100. Everything below and above will be clipped. If you turn broadcast safe on everything will be forced inside the legal 0-100 values.

Choose a render folder with a lot of free space. Each frame is about 8 mb.

Sometimes you want to fix the geometry. Scope film inside an HD container (1920×800) will have to be zoomed and RED (2:1) material in 2048 x 1024 does not fit either of the presets.

Example: zooming in on a scope film inside an HD container. Choose 2048×858 in project setting and zoom in on the Geometry tab.
Remember to check that the project has the correct framerate.

Finally, you want to export the image sequence:
In the Render Queue. Click on the clip, click add selected, and start render. Then the start render button will turn into rendering,

Step 2.

Make the sound files

Drag the video file to a multitrack project in Apple Soundtrack Pro

Click on the sound to highlight it and export it (cmd + e)
Use these settings:
Exported Items: Selected
File Type: Wave File
Create multiple mono files
Bit depth: 24 bit
Sample Rate: 48 kHz

Watch out that you have not just selected a part of the sound.

Step 3

Make the DCP

Start Fraunhofer Easydcp 1.4

Choose a Project name
uncheck “Use interop instead of SMPTE packing”
Choose framerate 25 fps
and Create

Add picture track

Choose the first DPX image from the Color render to select the image sequence

Add soundtrack

Use the sound files from Soundtrack Pro export

Drop the track files in the new reel window.

Give the project a name and double-click the perforation to the right of the name input field to edit the composition settings. Choose content type, eg. Feature or Trailer.
Choose an annotation text
Choose a Content title,

uncheck Options – Automatic pillarboxing -/letterboxing. If you have a valid resolution.

Check that the frame numbers match and click the Generate DCP button.

Sometimes the frame count is off, but this can be fixed with the offset option.


  1. Great article.

    I have a question. If I have a 1920 x 1080 movie in 1.85:1 and I export it to a tiff sequence in 1998 x 1080, do I have to zoom the picture as well or should I add some black padding in left and right side to prevent the the image from being stretched vertically?


  2. If you have 1.85 (1920×1038) inside a 1920×1080 container you should zoom it to 1998×1080. If you have 1.777 16/9 1920 x 1080 you could add black padding on the sides to get 1998×1080.

  3. Hi! Thank you for this article! I have a Q: I have a video master on an Uncompressed QT, its a 1.78/1920×1080 but framed for 2.35, so there are top/bottom black bars inside the 1.78 frame (originally shot 1.78 on a Sony XDCAM, but with 2.35 safelines)… What would be your workflow to extract the 2.35 usable footage onto a SCOPE DCP for 2.35 projection on the theater?

    Thank you!

  4. Of would you say to stay on the 1.78 with top/black bars and project it FLAT full frame?

  5. One more Q: Is it better to generate a “DPX with Color” or export to “TIFF (compression: none) from Final Cut” using EXPORT/USING QUICKTIME CONVERSION/IMAGE SEQUENCE?

  6. Hello Knut,

    Is the DoReMi DCP 2000 also able to play back DCP files at 50FPS ?
    We are currently recording images on the osx desktop straight out of the dvi card of one mac computer, through a gefen hdmi-to-3gSDI converter, into another mac with Aja Kona LHi card at 1920 1080 50p .. Would be a shame to have to throw away half of the frames ?

    many thanks !


  7. Have only tested SMPTE 25 FPS and SMPTE 30 FPS, but all servers support INTEROP 48 FPS. So that could be an option.

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