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Some ideas for best common practices when mastering DCPs

Before sending a hard drive with a DCP at least check the DCP with the free or full version of Fraunhofer Easydcp Player. That way you will see if the DCP fails the basic tests done by Easydcp player like “Check file hashes” and that the disk works and have the correct DCP on it. The Doremi and Sony (with recent firmware) accepts NTFS disks, otherwise, an ext2/ext3 Linux disk could be used.

If a movie uses a workflow like the movie Inception where there is no Digital Intermediate (DI) and the film is color timed photochemically in a film lab, the color timed print has to be scanned and fine tuned for 2.6 gamma 12 bit linear DCI P3/XYZ color space to make the DCP. Otherwise, the 35 mm print has to be screened. The offline edit or an SD videotape should not be used to make a DCP for theatrical distribution.

A DCP should be made from the DCDM with correct XYZ colorspace and 2.6 gamma made from the Digital Intermediate (DI) that has been graded on a DCI P3/XYZ color space projector with 14 foot-lambert of light. The DCP is normally made from the emulation of how the 35 mm print will look on a digital projector. This emulation (3D LUT) is baked into the DCDM. The resolution should be 2048×858 or 1998×1080.

A DCP could also be made from a file-based master in 10 or 12 bit, Rec. 709 HDTV colorspace graded on a HDTV monitor. The Director of Photography should approve of how this looks in the movie theatre because an HDTV monitor is not ideal because you don’t typically have 14 foot-lambert and a dark room when grading on an HDTV monitor. But the result you can get from a 10 bit HD master is good enough for films like The Social Network so it could be great when done correctly. The resolution should be 2048×858 or 1998×1080. If you grade the film in rec. 709, the movie could have less bright colors in the 35 mm version than in the DCP version.

The sound must be 5.1 (85 dB). If the theatre you will screen the DCP at accepts a stereo mixed DCP you could deliver that, but otherwise it has to be 5.1.

The Digital Cinema Naming Convention must be used to name the DCP.

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Tromsø International Film Festival/ Films from the North 2011 Deliver your HD master and we will convert it to a 24, 25 or 30 fps SMPTE Digital Cinema Package (DCP).

We have posted what deliverables/file formats are accepted for the Tromsø International Film Festival/ Films from the North 2011 festival programme

Translated to english:
Deliver your HD master and we will convert it to a 24, 25 or 30 fps SMPTE Digital Cinema Package (DCP) with Fraunhofer Easydcp.

Fileformat: Prores 422 HQ 10 bit Quicktime.
Image sequence: DPX 10 bit, TIFF 16 BIT (Adobe After Effects).

Frame Rates: 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 HD or DCI XYZ
Sound 5.1 (or stereo)

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DCPC, a frontend to open source DCP tools.

An free alternative to Easydcp and Cineasset that makes DCPs from image sequence and wav files is the Windows DCP tool called: DCPC. It is made by Lars Reichel.

Updated: DCPC was buggy and could crash on longer clips, but the maker Lars Reichel reports in the comment section that the new 1.4 version is more stable. It supports 25 fps, and can rewrap both 24 and 25 MXF files with missing or wrong PKL or CPL metadata files. I have not tested DCPC 1.4 except the rewrapping feature. The Easydcp software that I use has a faster jpeg2000 encoder.

Link to the german homepage for DCPC

Link to the german projectionist web forum thread where DCPC was first posted

To use it you download :

and extract the files to some folder with winrar or 7-zip
and install at least ImageMagick and Goldwave.

Then you download


and extract the files to some folder with winrar or 7-zip

Double Click Digital Cinema Package Creator
and in File-settings
choose the tools folder in the folder where you extracted DCPC.

I tested it on some small clip in Windows 7 and it worked.
On Windows XP you need to install Microsoft .NET Framework 3.5

Avoid blank spaces in the filenames.

(updated: this is now fixed)
I had to use a small fix to get DCPC To work,
I had to open the wav files
in the goldwave sound editor that is bundled with DCPC and save as “(obsolete) PCM signed 24bit” .
This fix was described here:
Have heard reports about DCPC crashing on longer clips,
but it has a feature called “Recovery start” that will let it start again where it crashed.
You may need to delete temp files.

Notes on DCPC

DCPC can make a DCP from sound and picture MXFs. So you could use this software to fix a DCP made from one audio MXF and one video MXF that has broken metadata (eg. someone has edited the CPL file and the DCP will not ingest because there is a mismatch between the hash values of the original files and the edited files.)

You can also use asdcp-test to wrap the jpeg2000 and wav files in MXF containers like I described in this post: and then use DCPC to make either a 24 fps or 25 fps SMPTE or interop DCP in 2D or 3D.

DCPC can make a 2D and 3D DCP from DPX or TIFF image sequences and wav files.
Like the sequences I made here:

I have not tested the Gamma/ color space conversion.

DCPC can also make DCPs from one still picture or multiple still pictures.

DCPC uses either 2, 4, 6, 8 or 16 openjpeg 1.3 jpeg2000 encoders at the same time, but it is still much slower than the Fraunhofer Easydcp jpeg2000 encoder.