[Nick Avaliani]

I deal with only HD not SD

so I was told HD is not such sensitive to NTSC or PAL, it’s not an issue for HD.

What I need to know is in compressor there is video format , so I am indicating NTSC 23.98, (it automatically makes it)

[Nick Avaliani]

Thanks

It is 24 fps originally what was shot on camera. I have movie file 1920X1080 compresion method apple prores 444.

I I do not know any other data. As it seems it is very easy I was explained on multiple forums that if fps is 24 so pal and ntsc does not matter. I am burning now blue ray disc and tomorrow I will test in theater finally, if it does not work then I will panic on forums

thanks 🙂

[Nick Avaliani]

Thanks for reply.

What about filters remove filters or leave unchanged? I removed because I could not add them back for example cross dissove, but when there is space between shots on timeline then I can add cross dissolve back again. But when I do not remove filters then I cannot add on renderred shots

Thanks

[Nick Avaliani]

I got blue ray disc, I want simply to play vide, I do not care about authoring and such matters, as far as I will take back blue ray after I test video.

I just want to test how my color correction looks like in theater, that’s only reason I need to record video on blue ray.

I have got toast on my mac and it seems very easy, but I need advice what format I should write from final cut pro. So little advice here please

[Nick Avaliani]

Thanks for reply

unfortunately I do not have additional budget for it, Today I interacted with theater and they told me they prefer blue ray, I do not know why but I think they do not have special projector supporting DCP. it is 500 seats theater not big one.

Regarding blue Ray what is best tool to write on blue ray for best quality both video and audio?

Despite this I am going to dig in DCP workflow as far as I feel in future theaters will have such projectors

thanks

[Nick Avaliani]

Hi

What is to make the best quality?

I was planning to give DCP to theater, but they told me they prefer Blue Ray disc. So I intend to write as good quality as possible despite it is time consuming or not

so please advise

[Nick Avaliani]

Yes it gone bankrupt I also know it and its raptor is only for compressor 3.0.4 it does not work with new version of compressor

I found this

how correct it may be

u can build a DCI compliant JPEG2000 digital cinema package using only open source tools with the work-flow outlined here. This post assumes you have all the necessary tools compiled and installed.

* You can find the list of necessary tools here: Open Source Tools
* You’ll probably want to read up on compiling and installing the tools for your operating system

There are 4 main steps to creating a DCP:

* Content normalization – Getting your content into JPEG2000 frames or MPEG2 and PCM WAV files.
* Colorspace Conversion – Converting content into the XYZ colorspace. This only needed for JPEG2000.
* MXF Container – Putting MXF wrappers around your content.
* XML Descriptors – Generate XML files to describe content for ingest and playback.

Setup
For the purpose of this work-flow, we’ll start with a 1920x1080p MPEG-4 file, called sample.mp4. You will need to have all of the tools compiled, installed and executable. The actual steps may vary slightly depending on your OS. The following are based on linux and you’ll need to adjust them for your needs.

1. In the folder where sample.mp4 is located, create some directories to organize the intermediate files.

Code: [Select]
#mkdir audio
#mkdir tiff
#mkdir j2k
Content Normalization
The first step is getting your content into the right format. It is generally best to get your original source as close to the specification as possible. That is, while ffmpeg can convert the frame rate from 29.97 to 24fps, resize or change the aspect ratio, it is better to do this during editing or filming. If your editing package can export to a TIFF and 24-bit 48khz or 96khz uncompressed PCM wave files, then go to the next section. Your software may also export to JPEG2000. However, unless it will perform XYZ colorspace conversion and is DCI compliant, you’ll want to export to TIFF.

1. De-mux the video into TIF frames. This command will create 24 TIF files per second in the tif folder. The %06d tells FFmpeg to create a 6 digit padded file name for each frame, 000001.tif, 000002.tif, etc.

Code: [Select]
ffmpeg -y -i sample.mp4 -an -r 24 -vcodec tif tif/%06d.tif
2. De-mux the audio into a wav file.

Code: [Select]
ffmpeg -y -i sample.mp4 -acodec pcm_s24le -r 24 -ar 48000 audio/sample.wav
A limitation of FFmpeg is that it doesn’t allow you to write individual tracks, so you if want 5.1, 6.1, etc you’ll need to split your sound into separate audio tracks with a program like audacity or quicktime. You can also use SoX (Sound Exchange) to split the audio tracks.

Code: [Select]
sox sample.wav left.wav remix 1
sox sample.wav right.wav remix 2
sox sample.wav center.wav remix 3
sox sample.wav lfe.wav remix 4
sox sample.wav surrleft.wav remix 5
sox sample.wav surrright.wav remix 6

Thanks jonathanj.

XYZ Colorspace
Now that we have an image sequence in the correct frame rate, we need to adjust the color from the original colorspace to the XYZ. You can use OpenDCP to do the color conversion and jpeg2000 creation in one step.

Use the tool opendcp_j2k to convert the TIFF sequence to a JPEG200 frame sequence. It takes an input folder containing your tif images and an output folder to save the XYZ color converted JPEG2000 images. You can set the frame rate and profile as well.

Code: [Select]
opendcp_j2k -i tiff -o j2k -r 24 -p cinema2k
MXF Container
Now, we have all of the content in the correct format for digital cinema. The next step is to place these inside media containers, in this case MXF. This part is a simple step to perform, but why it needs to be done can be a little confusing to understand for a lot of people. This is because it is easy to confuse the difference between and codec and a container. A codec is the method of encoding or decoding data, which in most cases is a way of compressing or decompressing data. The container only describes how elements are stored into a single file. The elements in a container could be anything, even other containers. A single MXF file could contain encoded audio and encoded video, but in the case of digital cinema, the audio and video elements are stored in separate MXF containers. As a result, you’ll have an MXF file containing one or more audio files (wav files) and another MXF file containing one or more video files (jpeg frames).

We can use opendcp_mxf create the MXF wrappers.

1. Create the audio MXF file.
You can supply a single wav file on the command line or if you have multiple channels, a folder containing wav files. When supplying a folder, you to need map each wav file to the correct channel. This is done by prefixing each wav file with the channel number, so the software knows how to assemble them.

01 Left
02 Right
03 Center
04 Sub
05 Left surround
06 Right surround

So, we would simply prefix the file names.

Code: [Select]
Ex.
01_sample.wav (left channel)
02_sample.wav (right channel)
…

In our original example, we only have one audio file. We want to specify that we are using 24fps with the -r argument.

Code: [Select]
opendcp_mxf -i audio/sample.wav -o sample.audio.mxf -r 24
2. Create the video MXF file.
This will take all the jpeg frames in a directory and place them into a single file.

Code: [Select]
opendcp_mxf -i j2c -o sample.video.mxf -r 24
XML Descriptors
We now have two nice and neat MXF files. In a lot of cases, you’d have a single MXF that contained the audio and the video and that would be it. You’d give the MXF file to somebody and they could play it. However, in digital cinema, we need have a few more steps that are needed to tell the digital server what to do with the MXF files. This may sound redundant and just adds another level of confusion. However, we can quickly see the advantage with an example. Let’s say you want to distribute your film worldwide in multiple languages. The video is going to be the same for all of them, just the audio would be different. So, rather than creating a single huge file for every language, we can keep them separate. We can use the same video MXF and include one or more audio MXFs, which can be linked together using XML files. This saves a lot of space and time.

We need to create 4 XML files, the composition playlist (CPL), package list (PKL), assetmap, and volume index. We can use OpenDCP to create these XML files.

OpenDCP will create all of the XML files in one step. You supply the MXF files and any additional tags. Only the –reel is mandatory.

Code: [Select]
opendcp_xml –kind feature –title SAMPLE_DCP –reel sample.video.mxf sample.audio.mxf
The END
That is it, you should now have a working DCP. The final step would be to get the content onto each server. That varies depending on the server. Some have utilities that upload the content over the network, support CD/DVD, USB drives, etc. If you using a storage medium, like a USB drive, you’ll need to have it formatted in a way that it can be read by the server. A lot of servers use linux, which would use the ext3 format.

[Nick Avaliani]

Thanks for response

so there is no way to do it from Final cut pro? or what are softwares I can do it with? I heard of wraptor with compressor is it good enough? I will find out with theater the format, i can interact with them everyday.

Does DCP files played in projector have big difference from Blue ray disc from quality point of view?

thanks

[Nick Avaliani]

Hey thanks

Is not final cut pro 7.0.3 capable of doing this? there is option in file > share > blue ray, I also watched it on youtube that it burns video on blue ray directly from FCP.

[Nick Avaliani]

Thanks for reply

I am attaching image that demonstrates the error problem. I changed frame size in final cut pro several times but it has same error message.

please see and if you experienced that help me

thanks

1389_screenshot20101212at1.05.50am.png.zip