X-Git-Url: https://main.carlh.net/gitweb/?a=blobdiff_plain;f=doc%2Fmanual%2Fdcpomatic.xml;h=734e13de54b5b53c87d3904e2d7d499904854308;hb=d934bbc8fde882bb7c418320c5eaba62745b0376;hp=dafa67962e4ddfaee4abbc7dfa5b674d28590476;hpb=8aeb741ccbe2edb528e98a431bf55459a6836a9b;p=dcpomatic.git diff --git a/doc/manual/dcpomatic.xml b/doc/manual/dcpomatic.xml index dafa67962..734e13de5 100644 --- a/doc/manual/dcpomatic.xml +++ b/doc/manual/dcpomatic.xml @@ -27,6 +27,7 @@ Hello, and welcome to DCP-o-matic! +
What is DCP-o-matic? @@ -46,6 +47,8 @@ your cinema.
+ +
Licence @@ -55,6 +58,8 @@ DCP-o-matic is licensed under the Tango Installation + +
Windows @@ -89,12 +96,14 @@ version.
+ +
Mac OS X DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and -higher. To install it, download the DMG from .dmg from http://dcpomatic.com/ and double click to open it. Then drag the DCP-o-matic icon to your Applications folder or wherever else you would @@ -108,9 +117,7 @@ like to install it. You can install DCP-o-matic on Ubuntu 12.04 (‘Precise -Pangolin’), 12.10 (‘Quantal Quetzal’), 13.04 -(‘Raring Ringtail’) or 13.10 (‘Saucy -Salamander’) using .deb packages: download the +Pangolin’) or 14.04 (‘Trusty Tahr’) using .deb packages: download the appropriate package from http://dcpomatic.com/ and double-click it. Ubuntu will install the necessary bits and pieces @@ -119,14 +126,28 @@ and set DCP-o-matic up for you.
+ +
Debian Linux -Packages are also available for Debian 7 (squeeze) from http://dcpomatic.com/.
+ + +
+Centos Linux + +Packages are available for Centos 6.5 and 7 from http://dcpomatic.com/. + +
+ + +
Arch Linux @@ -136,6 +157,8 @@ thanks to Stefan Karner.
+ +
Other Linux distributions @@ -143,8 +166,7 @@ thanks to Stefan Karner. Installation on non-Ubuntu Linux is currently a little involved, as there are no packages available (yet); you will have to compile it from source. If you are using a non-Ubuntu distribution, do let me -know via the mailing -list and I will see about building some packages. +know by email and I will see about building some packages. @@ -198,6 +220,8 @@ in a shell.
+ + Creating a video DCP @@ -263,6 +287,8 @@ will write its working files.
+ +
Adding content @@ -332,6 +358,8 @@ url="http://www.mplayerhq.hu/design7/news.html">mplayer or + +
Making the DCP @@ -368,12 +396,14 @@ linkend="ch-files"/> for details about the files that DCP-o-matic creates. Alternatively, if you have a projector or TMS that is accessible via SCP across your network, you can upload the content directly from -DCP-o-matic. See the preferences in . +DCP-o-matic. See the .
+ + Creating a still-image DCP @@ -447,6 +477,8 @@ to encode a single frame which it can then repeat. + + Content settings @@ -497,6 +529,9 @@ clicking the Remove button.
+ + +
Content Properties @@ -517,6 +552,8 @@ in each section are described below.
+ +
Video @@ -533,6 +570,8 @@ The Video tab controls properties of the image, as shown in + +
Image type @@ -569,6 +608,18 @@ linkend="fig-3d-top-bottom"/>. + +Another option is 3D alternate which takes the +first frame of the content as for the left eye, the second for the +right eye, the third for the left, and so on. Finally, you can +specify 3D left only or 3D right +only if this content contains only the the left or right +eye images. This is useful when you have the left and right eye image +sets in different files; you can specify one content as 3D +left only and another as 3D right only +and DCP-o-matic will pick up the appropriate frames from each. + +
@@ -603,6 +654,52 @@ image is much smaller and of lower resolution than a projected image!
+ + +
+Colour conversion + + +The Colour conversion setting specifies what +colour transforms and gamma correction DCP-o-matic will use when +converting the selected content into the XYZ colourspace for the DCP. + + + +Clicking Edit... will open the colour conversion +dialogue box, as shown in . + + +
+ Dialogue box for setting colour conversion + + + + + +
+ + +In most cases, it is only necessary to select one of DCP-o-matic's +presets. DCP-o-matic knows how to convert from two common +colourspaces: sRGB and Rec. 709, so if your content was graded using +one of those you can select the appropriate preset. + + + +For other colour spaces you can edit the values in the lower half of +the dialogue box as you wish. Alternatively, create a new colour +conversion preset using the preferences dialog, as described in . + + + +Colour conversion is discussed in more detail in a separate document +colour.pdf. + + +
+
Other settings @@ -622,6 +719,8 @@ ratio that your content should be presented in.
+ +
Video description @@ -645,6 +744,8 @@ will happen to it when it is played at the DCP's frame rate.
+ +
Audio @@ -661,6 +762,8 @@ The Audio tab controls properties of the image, as shown in + +
Show audio @@ -710,6 +813,8 @@ auditorium, but it can be useful to get levels in the right rough area.
+ +
The audio map @@ -722,10 +827,35 @@ in the DCP. Down the left-hand side of the map is the list of audio channels in the currently-selected piece of content. Along the top is each -channel in the DCP. A checked box means that the corresponding +channel in the DCP. A green box means that the corresponding content channel will be copied into the corresponding DCP channel. + +When content channels are copied into DCP channels they can be done +with variable gain. If, for example, you want to copy a channel +as-is, you can set a gain of 0dB. Alternatively, if you want to mix +two channels into one, you may want to use a gain of -6dB on each one +to prevent clipping when the two channels are added. + + + +The green boxes of the audio mapping view tell you (very roughly) how +much gain is applied to each channel. A full-height box means 0dB +(i.e. unity) gain. Any less height indicates lower gain. + + + +To map one channel to another with 0dB gain, click in the empty box +and it will turn green to reflect the mapping. A second click will +turn the mapping back off. To set some other gain, right-click on the +box to open the gain menu. This allows you to set +Off (no mapping or negative infinity gain), +Full (0dB gain), -6dB gain or +Edit which allows you to set the required gain +precisely. + + Consider, for example, the case in . @@ -741,8 +871,9 @@ Consider, for example, the case in . Here, we have two channels in the source which are mapped to left and -right, respectively, in the DCP. If we modify that as in +right, respectively, in the DCP. The full green boxes show that the +mapping is at unity gain (0dB) in each case. Imagine that we modify +the settings to those shown in
@@ -755,8 +886,13 @@ linkend="fig-audio-map-eg2"/>
-we now have the content's streams mapped to left and right and also -mixed together and placed in the DCP's centre channel. +We now have the content's streams mapped to left and right and also +mixed together and placed in the DCP's centre channel. The smaller +green boxes on the centre mappings show that those channels are added +with some non-unity gain; you can see by hovering the mouse pointer +over those boxes that the gain for content channels 1 and 2 is -6dB +when being sent to the centre channel and 0dB when being sent to left +and right.
@@ -775,6 +911,8 @@ shows the mapping of a 5.1 source into a 5.1 DCP.
+ +
Other controls @@ -835,6 +973,7 @@ might be different soundtrack languages, for example.
+
Subtitles @@ -855,24 +994,240 @@ content, as shown in . DCP-o-matic will extract subtitles from the content, if present, and they can be ‘burnt into’ the DCP (that is, they are -included in the image and not overlaid by the projector). Note that -DVD and Blu-Ray subtitles are stored as bitmaps, so it is not possible -(automatically) to use non-burnt-in subtitles with these sources. +included in the image and not overlaid by the projector). + + + Select the With Subtitles check-box to enable -subtitles. The offset control moves the -subtitles up and down the image, and the scale -control changes their size. +subtitles. -All being well, future versions of DCP-o-matic will include the option to -use text subtitles (as is the norm with most professionally-mastered -DCPs). +The X Offset and Y Offset +controls move the subtitles around within the image. The offsets are +expressed as a percentage of the video frame size; 100% X offset is +the entire width of the frame, and 100% Y offset is the entire height. +Hence, to move the subtitles down by half the frame height you would +use a Y offset of 50%. + + + +The X Scale and Y Scale +controls scale the subtitles. Scale values of 1 make the subtitles +the same size (relative to the size of the image) as they are on the +original. Values lower than 1 make them smaller, and values higher +make them larger. You can stretch the subtitles in either direction +by specifying different values for X and Y scale. Subtitles from DVD +and Blu Ray sources are frequently larger (relative to the video +frame) than those typically used for DCP, so it is often useful to +scale such subtitles down using these controls. + + + +The Stream control changes the subtitle stream +that is used when the content has more than one.
- + + +
+Timing + + +The timing tab contains settings related to the timing of your +content, as shown in . + + +
+ Timing settings tab + + + + + +
+ + +Most of the timing tab's entries are time-codes. +These are expressed as four numbers, as shown in . + + +
+ Timecode + + + + + +
+ + +Position is the time at which this piece of +content should start within the DCP. In most cases, this will be +0:0:0:0 to make the content start at the beginning of the +DCP. + + + +Full length is the length of the piece of +content. This can only be set for still-image content: for video or +sound content, it is fixed by the nature of the content file. If +still-image content is being used you can set the length for which it +should be displayed using this control. + + + +Trim from start specifies the amount that should be trimmed from the start of the content. + + + +Trim from end specifies the amount that should be trimmed from the end of the content. + + + +Play length indicates how long this piece of +content will be once the trims have been applied. This will be equal +to the full length minus trim-from-start and minus trim-from-end. + + + +Video frame rate specifies the frame rate for still-image content. + + + +Each timecode control has a Set which you should +click when you have entered a new value for a timecode. The +Set button will make DCP-o-matic take account of +any changes to the corresponding timecode. + + +
+ + + +
+Video processing pipeline + + +This section gives a little more detail about how DCP-o-matic process +video as it takes it from a source and puts it into a DCP. + + + +Consider, as a somewhat over-the-top example, that we have a 720 x 576 +image which is letterboxed with 36 black pixels each at the top and +bottom, and the video content within the letterbox should be presented +in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might +happen with a trailer). The source image is shown in . + + +
+ Example image to demonstrate video processing + + + + + +
+ + +DCP-o-matic runs through the following steps when preparing an image for a DCP: + + + +Crop +Scale +Place in container + + + +First, some amount of the image can be cropped. This is almost always +used to remove black borders (letterboxing and/or pillarboxing) around +images. + + + +In our example image, we would use 36 pixels of crop from the top and +bottom. This would give the new image shown in . + + +
+ Example image after cropping + + + + + +
+ + +The next step is to scale the image. Since this content should be +presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select +Scope from the Scale to +option in the Video tab and +Flat from the Container +option in the DCP tab. + + +The Scale to option should always be set to +the aspect ratio at which the content should be seen. The +Container option should be set to the preset that +you want to use on the projector. Of course, these two settings will +often be the same. + + + +Given the scaling and container information, DCP-o-matic will look at +the DCP's container size, and then scale the source image up until one +or both of its dimensions (width, height or both) fits the size of the +container, all the while preserving the desired aspect ratio. + + + +In our example here, the DCP's container is specified as 1.85:1 (so +that the DCP will play back correctly using the projector's +‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080. +Scaling the source up whilst preserving its 1.85:1 aspect ratio will +result in the image hitting the sides of the container first, at a +size of 1998 x 836. This gives us a new version of the image as shown +in . + + +
+ Example image after cropping and scaling + + + + + +
+ + +The final step is to place the image into the DCP. In this case, +since we have a 2.39:1 image that should be presented as a 1.85:1 DCP, +we have set the container in the +DCP tab to be Scope. Since the content has been +scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will +be some black bars at the top and bottom of the image. DCP-o-matic +shares out this black equally, as shown in . + + +
+ Example image in the DCP + + + + + +
+ +
@@ -896,19 +1251,19 @@ the main window, as shown in . The first thing here is the name. This is generally set to the title -of the film that is being encoded. If Use DCI +of the film that is being encoded. If Use ISDCF name is not ticked, the name that you specify will be used -as-is for the name of the DCP. If Use DCI name +as-is for the name of the DCP. If Use ISDCF name is ticked, the name that you enter will be used as part of a -DCI-compliant name. +ISDCF-compliant name. Underneath the name field is a preview of the name that the DCP will -get. To use a DCI-compliant name, tick the Use DCI -name check-box. The DCI name will be composed using details +get. To use a ISDCF-compliant name, tick the Use ISDCF +name check-box. The ISDCF name will be composed using details of your content's soundtrack, the current date and other things that -can be specified in the DCI name details dialogue box, which you can +can be specified in the ISDCF name details dialogue box, which you can open by clicking on the Details button. @@ -942,6 +1297,11 @@ content to fit the specified frame rate. Frame rates are discussed in more detail in . + +The Signed check-box sets whether or not the DCP +is signed. This is rarely important; if in doubt, tick it. + + The Encrypted check-box will set whether the DCP should be encrypted or not. If this is ticked, the DCP will require a @@ -989,8 +1349,8 @@ more modern of the two). -Finally, the scaler is the method that will be used to scale up -your content to the required size for the DCP, if required. Bicubic is a fine choice in +Finally, the Scaler is the method that will be used to scale up +your content for the DCP, if required. Bicubic is a fine choice in most situations. @@ -1005,6 +1365,8 @@ chapter discusses the basic principles of DCP encryption, and how DCP-o-matic can create encrypted DCPs and KDMs for them. + +
Basics @@ -1014,10 +1376,12 @@ encoded in such a way that only cinemas ‘approved’ by the DCP's creators can read them. In particular, this means copies of the DCP can be distributed by insecure means: if an ne'er-do-well called Mallory obtains a hard drive containing an encrypted DCP, there is no -way that he can play it. Only those cinemas who receive a key +way that he can play it. Only those cinemas who receive a correct key delivery message (KDM) can play the DCP. + +
How it works (in a nutshell) @@ -1029,7 +1393,7 @@ methods to understand it. We suppose that we are trying to distribute a DCP to -Alice's cinema, without a troublemaker called Mallory being able to +Alice's cinema without a troublemaker called Mallory being able to watch it himself. @@ -1093,6 +1457,8 @@ does not).
+ +
Encryption using DCP-o-matic @@ -1106,7 +1472,7 @@ those cinemas that are allowed to play the DCP. The first part is simple: ticking the Encrypted box in the DCP tab of DCP-o-matic will encrypt the DCP using a random key that DCP-o-matic generates. The key will -be written to the film's metadata file, so that should be kept +be written to the film's metadata file, which should be kept secure. @@ -1182,6 +1548,11 @@ generate the KDMs. + + + + + Preferences @@ -1190,31 +1561,36 @@ DCP-o-matic provides a few preferences which can be used to modify its behaviour. This chapter explains those options. + +
The preferences dialogue The preferences dialogue is opened by choosing Preferences... from the Edit -menu. The dialogue is split into five tabs. +menu. The dialogue is split into eight tabs. +
-Miscellaneous +General -The miscellaneous tab is shown in . +The general tab is shown in . -
- Miscellaneous preferences +
+ General preferences - +
+ +
Language @@ -1232,6 +1608,8 @@ read about how to contribute a translation.
+ +
Threads @@ -1245,30 +1623,57 @@ to set this up correctly when you run it for the first time.
+
-KDM emails +Updates + + +The Check for updates on startup option, if +enabled, will tell DCP-o-matic to check on dcpomatic.com to see if there any +newer versions of DCP-o-matic then the one you are running. If so, a +dialogue box will open with a link to download the new version. +available + -DCP-o-matic can send KDMs (see ) to -cinemas (or anywhere else) via email. To make this work, enter a -suitable outgoing mail (SMTP) server and ‘from’ address -for these emails. +The Check for testing updates as well as stable +ones option will also check for test updates as well as +those that are formally ‘released’. This is useful if you +like to live on the bleeding edge! +
+
Defaults -The next few options allow you to set up default values for several -properties of new films that you create. +The defaults tab is shown in . + + +
+ Defaults preferences + + + + + +
+ + +The options in this tab simply allow you to set up default values for +various properties of new films. -
-
+ + + +
Colour conversions @@ -1302,31 +1707,66 @@ converting from common input colour spaces to XYZ.
+ +
-Metadata +Keys -The metadata tab is shown in . +The Keys tab (shown in ) holds options +related to the keys and certificates used in some parts of DCP +creation. -
- Metadata preferences +
+ Keys preferences - +
-This allows you to set up a couple of identifiers that are written -into the DCP. The default values should cause no problems. +At the top of the tab is the chain of certificates that will be used +to sign DCPs and KDMs. DCP-o-matic creates a random chain when you +first run it, so if you are happy to use a randomly-generated chain +you can ignore the preferences. Otherwise, you can add or remove +certificates from the chain using the Add... and +Remove buttons. + + + +If you want DCP-o-matic to re-create the certificate chain (using new, +random certificates) click Re-make +certificates... and specify your organisation and common +names in the dialogue box that opens. + + + +Underneath the certificate chain is the private key that corresponds +to the leaf certificate in the chain. You can specify your own +private key by clicking Load.... You must do +this if you change the leaf certificate, so that the leaf private key +corresponds to the public key held in the leaf certificate. + + + +The bottom of the tab specifies the certificate and private key that +is used to decrypt DCPs if they are imported as sources to +DCP-o-matic. If you want to import an encrypted DCP you will need to +give the decryption certificate to the distributor of the DCP so that +they can generate a DKDM for you. As with the certificate chain, +DCP-o-matic will create a certificate and private key for you. You +can also choose to load your own certificate and key.
+
TMS +TMS preferences The TMS tab (shown in ) gives some @@ -1355,6 +1795,8 @@ credentials required to log into the TMS via SSH.
+ +
KDM email @@ -1373,14 +1815,91 @@ The KDM email is shown in . This is a template for the email that is used to send KDMs out to -cinemas. You can change it to say whatever you like. The -‘magic’ string $CPL_NAME will be replaced by -DCP's title. +cinemas. You can change it to say whatever you like. A few +‘magic’ strings will be replaced by information from the +KDM that is being sent: + + + +‘Magic’ KDM strings + + + +$CPL_NAMEDCP title + + +$CINEMA_NAMECinema name + + +$SCREENSName of screen or screens that KDMs are being generated for + + +$START_TIMEThe time from which the KDMs are valid + + +$END_TIMEThe time until which the KDMs are valid + + + +
+ + +The Reset to default text will replace the current KDM email with DCP-o-matic's default. -
+ + +
+Advanced +Advanced preferences + + +The advanced preferences are shown in . + + +
+ Advanced preferences + + + + + +
+ + +Maximum JPEG2000 bandwidth specifies the maximum +bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You +are advised to leave this at 250Mbit/s in normal use for maximum DCP +compatibility. + + + +Allow any DCP frame rate removes the limits on +the DCP video frame rates that DCP-o-matic will create. This may be +useful for experimentation. Again, you are strongly advised to leave +this unticked for normal use. + + + +The four checkboxes labelled Log control what +sort of messages DCP-o-matic writes to its log file when creating a +DCP. It is useful to leave General, +Warnings and Errors ticked +as this makes the log files useful for tracking down bugs. + + + +The Timing checkbox will enable extra log entries +to allow developers to investigate and optimize the speed of +DCP-o-matic. It will significantly increase the size of the log files +that are generated, so in normal use it is best to leave this +unticked. + + +
+
@@ -1392,17 +1911,21 @@ video frame and audio sampling rates as the DCP. This is not, however, always possible. + +
-DCP rate limitations +DCP frame rate limitations -There are some limitations to video and audio rates in DCPs. This is +There are some limitations to video and audio frame rates in DCPs. This is complicated by the fact that not all projectors will play DCPs at the -same rates. It is possible to create a DCP which one projector will +same frame rates. It is possible to create a DCP which one projector will play fine, but another (of a different type) will refuse to play, or even refuse to ingest. + +
Guaranteed rates @@ -1415,6 +1938,8 @@ consider using these rates if at all possible.
+ +
Other often-supported rates @@ -1423,6 +1948,8 @@ Many projectors now in the wild support additional video frame rates:
+ +
Adapting content to fit the DCP rate @@ -1437,12 +1964,12 @@ with minimal loss in quality. -Video rate conversion is harder. DCP-o-matic's basic strategy to deal +Video rate conversion is harder. DCP-o-matic's strategy to deal with a non-supported content rate is to run it at the wrong speed, and to adjust the audio to keep it in sync. -Let us consider the example of a 25fps source for which you want +Consider the example of a 25fps source for which you want to create a 24fps DCP. DCP-o-matic will put the frames from the source directly into the DCP without modification, but will tell the projector to play them back at 24fps. This means that the DCP's video @@ -1454,7 +1981,7 @@ If DCP-o-matic did nothing else, the result of this would be that the audio would be running at the original speed with the video running slowly. Hence the audio would drift slowly out of sync. To avoid this, DCP-o-matic also resamples the audio such that the projector -will play it too fast by the same amount. Hence it will sound +will play it too slow by the same amount. Hence it will sound slightly different but will remain in sync with the video. @@ -1465,6 +1992,8 @@ For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
+ +
Setting up @@ -1472,7 +2001,7 @@ For very low or high frame rates, DCP-o-matic can also skip or duplicate frames. The Frame Rate control in the DCP tab sets the video frame rate that the DCP will use. Clicking Use best sets the rate to -what DVD-o-matic thinks is the best for your content. With this +what DCP-o-matic thinks is the best for your content. With this button, DCP-o-matic assumes that the whole range of frame rates (24, 25, 30 and 48fps) are allowable. @@ -1483,6 +2012,15 @@ content will give a summary of what DCP-o-matic is doing with that content. + +If you want to experiment with other non-standard frame rates, you can +do so by ticking the Allow any DCP frame rate in +the Advanced tab of the preferences dialogue (see the +). You are strongly advised to +use this only on your own equipment, and only for experimentation +purposes. + +
@@ -1505,6 +2043,8 @@ The master and server machines do not need to be the same type, so you can mix Windows PCs, Macs and Linux machines as you wish. + +
Running the servers @@ -1559,6 +2099,8 @@ without touching your standard operating system install.
+ +
Setting up DCP-o-matic @@ -1571,6 +2113,8 @@ servers that DCP-o-matic has found.
+ +
Some notes about encode servers @@ -1653,6 +2197,8 @@ to the cinema which is showing your DCP. This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual. + +
Resuming encodes