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 3

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


Convert a short film in 1920×1080 16/9 25fps 10 bit Rec. 709 ProRes 422 (or 4444) with 5.1 sound to a standard DCP (DCI, 24 fps XYZ colorspace, 2.6 gamma, 5.1 sound) .

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.

Use Cinema Tools to convert to 24 fps

  • Make a copy of the ProRes file (or just rename it ….24 and open it in Cinema Tools
  • Meny: Clip – Open
  • Meny: Clip – Conform: 24 fps


Open the 24 fps conformed Cinema Tools Prores file in Apple Color to export a DPX sequence

  • Import the 24 fps conformed prores file
  • Go to setup tab- Project settings
  • Change Render Dir to where you want to render
  • Resolution Presets: 1920 x 1080 (or 1998 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


Open the 24 fps conformed Cinema Tools prores file in Soundtrack Pro to export wav files (without pitch shift)
Update:Another option is to use Wave Agent and Audacity to do this

  • In Soundtrack Pro: Drag the 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 Creator. Choose the first image in the DPX sequence to make the picture part. Compare the frame count with the sound part, they should be the same.

Link to Fraunhofer EasyDCP Creator (mac/pc)

To ingest a DCP on Doremi and Sony Cinema Server you can use a NTFS disk.

Update: Or you could copy the DCP to a linux ext3 harddrive

Fraunhofer EasyDCP assumes the DPX files are in the REC.709 2.2 gamma. You should check how it looks in a cinema and adjust your settings or make a 3D LUT.

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

  • 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 -depth 10 -format dpx "$f";done

Or try this: (thanks Eirik Schwenke. see comments for more info).

find . -iname "*.dpx" -exec mogrify -verbose -depth 10 -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.
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:

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

In Timefactory you can use the original sound from the 25 fps file and convert between 25 fps to 24 fps to get the correct pitch shift. You can also keep the formant with the natural setting. To get a good result on more difficult mixes I recommend using a professional.

It’s easier to do a pitch change when going from 24 fps to 25 fps.

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.

Tromsø International Film Festival/ Films from the North 2009 – Prores 422 and DCP deliverables

Knut Erik Evensen

Prores deliverables

Storage media:
Data Bluray 25/50 gb. External harddrive (ntfs/hfs+/ext3).

Will be played out to the digital cinema projector from a mac with a 10 bit 422 hd-sdi video card.

1920 x 1080 1:1.77 or scope

Stereo. Will be played out with Dolby surround decoding.

Alternatives(email me):
Deliver in dnxhd 10 bit 422 quicktime, blackmagic 10 bit 422 or aja 10 bit 422 and we can transcode it to Prores.

DCP deliverables

Storage media:
Data Bluray 25/50 gb. External harddrive (ntfs/hfs+/ext3). Will be copied to the doremi cinema server using ftp.

Will be played out from a Doremi Cinema server to the digital cinema projector in 12 bit dual HD-SDI. DCPs can be made with software like Fraunhofer Easydcp.

Resolution:2K 2048 x 1080 (1:1.85 1998 x 1080 or 1:2.39 2048 x 858). 1920 x 1080 1:1.77.

Preferable 5.1 or 3.0

Alternatives (email me):
Deliver a 10 bit full range linear DPX sequence /seperate sound files preferably in 24 fps or Prores 422 10 bit 24 fps and we can transcode it to DCP.