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11 <book xmlns="http://docbook.org/ns/docbook" xmlns:mml="http://www.w3.org/1998/Math/MathML" version="5.0" xml:lang="en">
14 <title>DCP-o-matic users' manual</title>
15 <author><firstname>Carl</firstname><surname>Hetherington</surname></author>
18 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
19 <title>Introduction</title>
22 Hello, and welcome to DCP-o-matic!
25 <!-- ============================================================== -->
27 <title>What is DCP-o-matic?</title>
29 <para>DCP-o-matic is a set of programs to allow you to:</para>
32 <listitem>Create <ulink
33 url="https://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
34 Cinema Packages</ulink> (DCPs) from video, audio, subtitle and closed-caption files.</listitem>
35 <listitem>Play and verify DCPs.</listitem>
36 <listitem>Create KDMs for DCPs.</listitem>
37 <listitem>Write cinema-format drives containing DCPs.</listitem>
43 <!-- ============================================================== -->
45 <title>Licence</title>
48 DCP-o-matic is free and open-source and is licensed under the <ulink
49 url="https://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
56 <!-- ============================================================== -->
58 <title>Acknowledgements</title>
61 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
66 <!-- ============================================================== -->
68 <title>This manual</title>
71 This manual presents bits of DCP-o-matic's user interface (such as menu items or buttons) <guilabel>like this</guilabel>.
75 Notes of an advanced nature are presented like this. Ignore them unless you want to know the details.
82 <!-- ============================================================== -->
83 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
84 <title>Installation</title>
87 <!-- ============================================================== -->
89 <title>Windows</title>
92 To install DCP-o-matic on Windows, download the installer from
93 <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
94 and double-click it. Click through the installer wizard, and
95 DCP-o-matic will be installed onto your machine.
99 Use the 64-bit installer unless you are using a 32-bit version of Windows.
100 You may find that DCP-o-matic crashes if run the 32-bit version on a CPU with more than 4 cores.
106 <!-- ============================================================== -->
111 DCP-o-matic versions 2.16.0 and higher will run on macOS version 10.10 (Yosemite) and
112 higher. DCP-o-matic is split into eight separate applications, each of
113 which can be installed by downloading the <code>.dmg</code>,
114 double-clicking to open and then dragging the icon to your
115 <guilabel>Applications</guilabel> folder.
119 If you don't know which parts of DCP-o-matic to install, start
120 with the first (main) part.
124 If you are using macOS 10.9 (Mavericks) or older you will need to install the latest 2.14.x version of DCP-o-matic.
129 <!-- ============================================================== -->
131 <title>Debian, Ubuntu and Mint Linux</title>
133 <para>There are <code>.deb</code> packages for Debian, Ubuntu and Mint on
134 <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
137 <!-- ============================================================== -->
140 <!-- ============================================================== -->
142 <title>Fedora, Centos and Mageia Linux</title>
144 <para>There are <code>.rpm</code> packages for Fedora, Centos and Mageia on
145 <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
148 <!-- ============================================================== -->
150 <!-- ============================================================== -->
152 <title>Arch Linux</title>
154 Packages for Arch Linux are available from <ulink
155 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
156 thanks to Stefan Karner.
161 <title>Building from source</title>
163 Since DCP-o-matic is open-source you can also build it yourself,
164 though this can be quite a difficult process (especially on Windows and macOS).
165 There are instructions for how to do it on <ulink url="https://dcpomatic.com/development">https://dcpomatic.com/</ulink>
173 <!-- ============================================================== -->
174 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
175 <title>Creating a DCP from a video</title>
178 In this chapter we will see how to create a DCP from a video file using
179 DCP-o-matic. We will gloss over the details and look at the basics.
183 <title>Creating a new film</title>
186 Let's make a very simple DCP to see how DCP-o-matic works. First, we
187 need some content. Download the low-resolution trailer for the open
188 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
189 url="https://download.blender.org/durian/trailer/Sintel_Trailer.480p.DivX_Plus_HD.mkv">their
190 website</ulink>. Generally one would want to use the
191 highest-resolution material available, but for this test we will use
192 the low-resolution version to save on download time.
196 Now, start DCP-o-matic and its window will open. First, we will
197 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
198 some pieces of content, along with some settings, which we will make into
199 a DCP. DCP-o-matic stores its ‘film’ data in a folder on your disk while it
204 You can create a new film by selecting
205 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
206 shown in <xref linkend="fig-file-new"/>.
209 <figure id="fig-file-new">
210 <title>Creating a new film</title>
213 <imagedata fileref="screenshots/file-new&scs;"/>
219 This will open a dialogue box for the new film, as shown in <xref
220 linkend="fig-video-new-film"/>.
223 <figure id="fig-video-new-film">
224 <title>Dialogue box for creating a new film</title>
227 <imagedata fileref="screenshots/new-film&scs;"/>
233 In this dialogue box you can choose a name for the film. This will be
234 used to name the folder to store its data in, and also as the initial
235 name for the DCP itself. You can also choose where you want to create
236 the film. In the example from the figure, DCP-o-matic will create a
237 folder called ‘DCP Test’ inside my existing folder <code>DCP</code> into which it
238 will write its working files.
244 <!-- ============================================================== -->
246 <title>Adding content</title>
249 The next step is to add the content that you want to use. DCP-o-matic
250 can make DCPs from multiple pieces of content, but in this example we
251 will use a single piece. Click the <guilabel>Add
252 file(s)...</guilabel> button, as shown in <xref
253 linkend="fig-add-file"/>, and a file chooser will open for you to
254 select the content file to use, as shown in <xref
255 linkend="fig-video-select-content-file"/>.
258 <figure id="fig-add-file">
259 <title>Adding content files</title>
262 <imagedata fileref="screenshots/add-file&scs;"/>
267 <figure id="fig-video-select-content-file">
268 <title>Selecting a video content file</title>
271 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
277 Select your content file and click <guilabel>Open</guilabel>. In this
278 case we are using the Sintel trailer that we downloaded earlier.
282 When you do this, DCP-o-matic will take a look at your file. After a
283 short while (when the progress bar at the bottom right of the window
284 has finished), you can look through your content using the slider to
285 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
288 <figure id="fig-examine-content">
289 <title>Examining the content</title>
292 <imagedata fileref="screenshots/examine-content&scs;"/>
298 Dragging the slider will move through your video. You can also click
299 the <guilabel>Play</guilabel> button to play the content back.
307 <!-- ============================================================== -->
309 <title>Making the DCP</title>
311 <para>In most cases, some adjustments would be made to DCP-o-matic's
312 settings once the content has been added. For our simple test,
313 however, the default values will suffice, so we can go straight onto
314 making the DCP.</para>
317 Choose <guilabel>Make DCP</guilabel> from the
318 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
319 This may take some time (many hours in some cases). While the job is
320 in progress, DCP-o-matic will update you on how it is getting on with
321 the progress bar in the bottom of its window, as shown in <xref
322 linkend="fig-making-dcp"/>.
325 <figure id="fig-making-dcp">
326 <title>Making the DCP</title>
329 <imagedata fileref="screenshots/making-dcp&scs;"/>
335 When it has finished, the DCP will be written into its own folder inside the film's folder.
336 You can copy this to a projector via a USB stick, hard-drive or network connection. See <xref
337 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
341 Alternatively, DCP-o-matic can upload your DCP directly to a projector
342 or Theatre Management System (TMS) that is accessible via SCP or FTP
343 across your network. See <xref linkend="sec-prefs-tms"/>.
350 <!-- ============================================================== -->
351 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
352 <title>Creating a DCP from a still image</title>
355 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
356 for an advertisement or an on-screen announcement. This chapter shows you
361 As with DCPs made from video files, the first step is to create a new
362 ‘Film’; select <guilabel>New</guilabel> from the
363 <guilabel>File</guilabel> menu and the new film dialogue will open as
364 shown in <xref linkend="fig-still-new-film"/>.
367 <figure id="fig-still-new-film">
368 <title>Dialogue box for creating a new film</title>
371 <imagedata fileref="screenshots/new-film&scs;"/>
377 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
378 the content. As before, click <guilabel>Add file(s)...</guilabel>.
379 For our example, we will add a single image file, as shown in <xref
380 linkend="fig-still-select-content-file"/>.
383 <figure id="fig-still-select-content-file">
384 <title>Selecting a still content file</title>
387 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
393 Most of the default settings will be fine for a simple test. The one
394 thing that you might wish to change is the length of the still.
395 Select the <guilabel>Timing</guilabel> tab and you will see a
396 <guilabel>Full length</guilabel> setting, as shown in <xref
397 linkend="fig-timing-tab"/>.
400 <figure id="fig-timing-tab">
401 <title>The timing tab</title>
404 <imagedata fileref="screenshots/timing-tab&scs;"/>
410 This length is a ‘timecode’: it consists of four numbers.
411 The first is hours, the second minutes, the third seconds, and the
412 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
416 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
417 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
418 be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
419 to encode a single frame which it can then repeat.
425 <!-- ============================================================== -->
426 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" id="ch-disk-writer">
427 <title>Writing DCP drives</title>
430 Once a DCP has been created it must often be transferred to a cinema for playback. The most reliable way to do this is to write a specially-formatted drive (in the ext2 format) containing your DCP.
434 Writing ext2-formatted drives is difficult from macOS and Windows without custom software. DCP-o-matic includes a tool called the ‘DCP-o-matic Disk Writer’ which makes it easy.
440 <!-- ============================================================== -->
441 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" id="ch-manipulating-existing-dcps">
442 <title>Manipulating existing DCPs</title>
445 DCP-o-matic is often used to take content in formats such as MP4 and
446 make it into a DCP. It can also be used to take existing DCPs and
447 modify them in various ways.
451 <title>Importing a DCP into DCP-o-matic</title>
454 The first step in manipulating an existing DCP is to import it. Click
455 <guilabel>Add DCP...</guilabel> and select your DCP's folder. It will
456 be added to the DCP-o-matic project. If the DCP is unencrypted you
457 can preview it in the normal way, though playback may be slow as
458 decoding of DCPs is almost as computationally intensive as encoding
463 If your DCP is a Version File (VF) (i.e. it refers to
464 another DCP's assets) you should import it as follows:
468 <listitem>Use <guilabel>Add DCP...</guilabel> to import the VF DCP.
469 The VF DCP will be added to the content list and marked “NEEDS
470 OV”.</listitem>
471 <listitem>Right-click on the VF DCP in the content list and choose <guilabel>Add OV...</guilabel> from the menu.</listitem>
472 <listitem>Choose the folder that contains the OV DCP. The VF will now be playable as normal.</listitem>
478 <section xml:id="sec-decrypting">
479 <title>Decrypting encrypted DCPs</title>
482 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
483 details). If you import an encrypted DCP you will need a key, in the
484 form of a Key Delivery Message (KDM), to decrypt it.
488 KDMs must be prepared by the organisation which created the DCP. They
489 contain the keys to decrypt the DCP wrapped up in such a way that only
490 the intended recipient can read them. You will need to provide the
491 organisation with a certificate which identifies your copy of
492 DCP-o-matic and allows them to create a KDM for you.
496 To get DCP-o-matic's decryption certificate, open the Preferences
497 dialogue (see <xref linkend="ch-preferences"/>) and go to the
498 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
499 decryption certificate...</guilabel> button at the bottom of this tab
500 and save the certificate. Send this certificate to the DCP creators
501 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
505 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
506 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and the DCP
507 will be decrypted and become available for preview.
514 <title>Making a DCP from a DCP</title>
517 In many ways, using DCPs as <emphasis>content</emphasis> in
518 DCP-o-matic is the same as using any other content. There are a few
519 things to note, though.
524 <title>Re-use of existing data</title>
527 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
528 data from DCP content without modification. This has the advantage
529 that creation of the new DCP will be quick, as the time-consuming
530 JPEG2000 encoding is not necessary.
534 DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
535 the following content settings:
539 <listitem>Crop</listitem>
540 <listitem>Scaling</listitem>
541 <listitem>Subtitle burn-in</listitem>
542 <listitem>Fades</listitem>
543 <listitem>Colour conversion</listitem>
547 DCP-o-matic will be forced to decode and re-encode your JPEG2000 data
548 if you change any of these settings on a piece of DCP content.
554 <section xml:id="sec-overlay">
555 <title>Making overlay files</title>
558 With its default settings, DCP-o-matic will take any data from DCP
559 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
562 <figure id="fig-dcp-copy">
563 <title>Creating a new DCP by copying an existing one</title>
564 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
568 This can be inefficient in some cases. Consider, for example, a film
569 which has ten different translations for which the subtitles are
570 different but video and audio are the same. If the video and audio
571 content takes up, say, 100Gb this means that the set of DCPs for every
572 translation would be about 1Tb with a lot of duplicated data.
576 The DCP format has a solution to this problem. One DCP can refer to
577 the ‘assets’ (picture, sound or subtitle) of another DCP.
578 For our translation example this means that we could have a
579 ‘base’ DCP (often called the OV or Original Version)
580 containing video, audio and one set of subtitles and then any number
581 of overlay DCPs (often called VF or Version Files) which refer to the
582 base version and replace the original subtitles with their own. <xref
583 linkend="fig-dcp-refer"/> shows this principle for one of our
584 translations. The DCP that we make refers to the original content
585 DCP's video and audio rather than containing a copy.
588 <figure id="fig-dcp-refer">
589 <title>Creating a new DCP by referring to an existing one</title>
590 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
594 To play back the subtitled DCP the projectionist ingests both the base
595 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
599 To make a DCP like this:
603 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
604 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
605 <listitem>Select the DCP in the content list</listitem>
606 <listitem>Tick the <guilabel>Use's this DCP's ... as OV and make VF</guilabel> checkbox
607 in the tabs for the parts of the DCP that you want to refer to in your
608 new DCP. For example, to refer to the Content DCP's video and audio you would select the <guilabel>Video</guilabel> tab, click <guilabel>Use this DCP's video as OV and make VF</guilabel> then select the <guilabel>Audio</guilabel> tab and click <guilabel>Use this DCP's audio as OV and make VF</guilabel>.</listitem>
609 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
619 <!-- ============================================================== -->
622 <!-- ============================================================== -->
623 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
624 <title>Content settings</title>
627 The previous chapters showed DCP generation using the default
628 settings. DCP-o-matic offers a range of features to adjust the
629 content that goes into your DCP, and this chapter describes those
634 <title>Adding and removing content</title>
637 At the top of the <guilabel>Content</guilabel> tab is a list of the
638 content that will go into our DCP. There can be as many pieces of
639 content as you like, and they can be of the following types:
643 <listitem>Movie — a file containing some video, probably some
644 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
647 <listitem>Sound — a file containing one or more channels of
648 audio; for example, a WAV or AIFF file.
651 <listitem>Still image — a file containing a single still image; for
652 example, a JPEG, PNG or TIFF file.
655 <listitem>Moving image — a directory containing many still
656 images which should be treated as the frames of a video.
659 <listitem>Subtitle — a file containing subtitles which will be
660 superimposed on the image of the DCP. These can be
661 <guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel>, <guilabel>.ass</guilabel> or <guilabel>.xml</guilabel>
662 files. Subtitle files can also be used to make closed captions.</listitem>
664 <listitem>DCP — an existing DCP.</listitem>
666 <listitem>ATMOS MXFs — if you have Dolby ATMOS content in MXF format (created using Dolby's tools) you can add it to a DCP just like any other content.</listitem>
670 To add one or more movie, sound, still-image or subtitle files, select
671 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
675 DCP-o-matic will automatically map a set of audio files to the correct channels if you include appropriate ‘tags’ in your filenames, as shown in <xref linkend="tab-audio-file-naming"/>.
678 <table id="tab-audio-file-naming">
679 <title>Audio file naming</title>
680 <tgroup cols='3' align='left' colsep='1' rowsep='1'>
684 <entry>Examples</entry>
685 <entry>Channel</entry>
690 <entry><code>L</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
691 <entry>film-L.wav my_movie_L_final.wav</entry>
695 <entry><code>R</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
696 <entry>film-R.wav my_movie_R_final.wav</entry>
700 <entry><code>C</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
701 <entry>film-C.wav my_movie_C_final.wav</entry>
702 <entry>Centre</entry>
705 <entry><code>Lfe</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
706 <entry>film-Lfe.wav my_movie_Lfe_final.wav</entry>
707 <entry>LFE (sub)</entry>
710 <entry><code>Ls</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
711 <entry>film-Ls.wav my_movie_Ls_final.wav</entry>
712 <entry>Left surround</entry>
715 <entry><code>Rs</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
716 <entry>film-Rs.wav my_movie_Rs_final.wav</entry>
717 <entry>Right surround</entry>
724 To add a directory (folder) of images, choose <guilabel>Add
725 folder...</guilabel> and choose the directory from the selector.
726 DCP-o-matic will open a small dialogue box where you can enter the
727 frame rate that the image sequence should be run at.
731 To add a DCP, choose <guilabel>Add DCP...</guilabel> and choose the
732 DCP's directory from the selector.
736 You can remove a piece of content by clicking on its name and then
737 clicking the <guilabel>Remove</guilabel> button.
742 <!-- ============================================================== -->
744 <title>Adding existing DCPs</title>
746 <para>Adding existing DCPs to a DCP-o-matic film is a little different
747 to adding other types of content. Most content has to be converted to
748 JPEG2000, the compression scheme used by DCPs, which is a very
749 time-consuming process. Existing DCPs are already in JPEG2000 format
750 so do not require conversion. This means that, provided no settings
751 such as crop are used on the DCP content, picture and sound data will
752 be passed from existing to new DCP unaltered.
755 <para>Encrypted DCPs that are added as content will require a KDM
756 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
757 should ask the creator of the imported DCP to provide a KDM for
758 DCP-o-matic's decryption certificate, which can be obtained by
759 clicking <guilabel>Export DCP decryption certificate...</guilabel>
760 from the <guilabel>Keys</guilabel> tab of the
761 <guilabel>Preferences</guilabel> dialog (see <xref
762 linkend="sec-prefs-keys"/>).
767 <!-- ============================================================== -->
769 <title>Content properties</title>
772 Below the content list are the controls to set content properties. To
773 adjust the properties for a piece of content, click its name in the
774 content list. The content property controls will then become active
775 for that piece of content.
779 If you want to change the properties for multiple pieces of content at
780 the same time, select the content in the list by clicking the first
781 piece then clicking the other pieces with <keycap>shift</keycap> key
782 held down. Note that not all settings can be changed in this way.
786 The content properties are split up into four sections:
787 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
788 <guilabel>Timed text</guilabel> and <guilabel>Timing</guilabel>. Not
789 all of these sections will be active for all content types. The controls
790 in each section are described below.
796 <!-- ============================================================== -->
801 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
804 <figure id="fig-video-tab">
805 <title>Video settings tab</title>
808 <imagedata fileref="screenshots/video-tab&scs;"/>
814 <!-- ============================================================== -->
816 <title>Use this DCP's video as OV and make VF</title>
819 This option is only applicable if the selected content is an existing
820 DCP. It allows you make a VF DCP, using the video content from the
821 existing DCP by referencing it (rather than copying). See <xref
822 linkend="sec-overlay"/>.
827 <!-- ============================================================== -->
829 <title>Image type</title>
832 The next option on this tab is the ‘type’ of the video.
833 This specifies how DCP-o-matic should interpret the video's image.
834 <guilabel>2D</guilabel> is the default; this just takes the video
835 image as a standard 2D frame. The <guilabel>3D
836 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
837 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
840 <figure id="fig-3d-left-right">
841 <title>3D left/right image type</title>
844 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
850 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
851 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
852 linkend="fig-3d-top-bottom"/>.
855 <figure id="fig-3d-top-bottom">
856 <title>3D top/bottom image type</title>
859 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
865 Another option is <guilabel>3D alternate</guilabel> which takes the
866 first frame of the content as for the left eye, the second for the
867 right eye, the third for the left, and so on. Finally, you can
868 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
869 only</guilabel> if this content contains only the the left or right
870 eye images. This is useful when you have the left and right eye image
871 sets in different files; you can specify one content as <guilabel>3D
872 left only</guilabel> and another as <guilabel>3D right only</guilabel>
873 and DCP-o-matic will pick up the appropriate frames from each.
879 <!-- ============================================================== -->
881 <title>Colour conversion</title>
884 The <guilabel>Colour conversion</guilabel> setting specifies what
885 colour transforms and gamma correction DCP-o-matic will use when
886 converting the selected content into the XYZ colourspace for the DCP.
890 The easiest way to select the required conversion is to choose one of
891 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
892 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
893 know which preset you should use, refer to the suggestions in <xref
894 linkend="tab-colour-conversion"/>.
897 <table id="tab-colour-conversion">
898 <title>Suggested colour conversion settings</title>
899 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
900 <colspec colwidth='1*'/>
901 <colspec colwidth='5*'/>
904 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs.</entry>
907 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
910 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
913 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
920 For other required colour conversions, and if you know what you are
921 doing, you can choose <guilabel>Custom</guilabel> which will open the full
922 colour conversion editing dialogue box:
925 <figure id="fig-colour-conversion">
926 <title>Dialogue box for custom colour conversion</title>
929 <imagedata fileref="screenshots/colour-conversion&scs;"/>
935 Alternatively, choose <guilabel>None</guilabel> if your source files
936 are already in the XYZ colour space and require no conversion.
940 DCP-o-matic's colour conversion processes are discussed in much more
941 detail in a separate document <ulink
942 url="https://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
947 <!-- ============================================================== -->
949 <title>Other settings</title>
952 The <guilabel>crop</guilabel> settings can be used to crop your
953 content, which is often used to remove black borders from the edges of
954 the image. The specified number of pixels will be trimmed from each
955 edge, and the content image in the right of the window will be updated
956 to show the effect of the crop.
960 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
961 settings can be used to apply linear fades into and out of a piece of
962 content. Specify the time for each, clicking <guilabel>Set</guilabel>
963 after making any changes.
967 The <guilabel>Scale to</guilabel> option governs the shape that
968 DCP-o-matic will scale the content's image into. Select the aspect
969 ratio that your content should be presented in.
974 <!-- ============================================================== -->
976 <title>Video description</title>
979 At the bottom of the video tab is a short description of what will
980 happen to your video with the current settings. In the example of
981 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
982 video file is 2048x872 pixels and it has square pixels (a pixel
983 aspect ratio of 1.00) hence its display aspect ratio is 2.35:1. Since
984 the controls specify ‘2.35’ for the ratio, DCP-o-matic
985 does not scale the image but pads it to the DCP's container ratio of
986 1.85:1. For a 2K DCP this is 1998x1080 pixels.
990 This description also gives the frame rate of the content and what
991 will happen to it when it is played at the DCP's frame rate. See
992 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
993 frame-rate conversion.
1001 <!-- ============================================================== -->
1003 <title>Audio</title>
1006 The <guilabel>Audio</guilabel> tab controls properties of the sound, as shown in <xref linkend="fig-audio-tab"/>.
1009 <figure id="fig-audio-tab">
1010 <title>Audio settings tab</title>
1013 <imagedata fileref="screenshots/audio-tab&scs;"/>
1018 <!-- ============================================================== -->
1020 <title>The audio map</title>
1023 The section at the bottom of the audio tab is the ‘audio
1024 map’. This governs how sound from the content will be arranged
1029 Down the left-hand side of the map is the list of audio channels in
1030 the currently-selected piece of content. These are labelled with two
1031 numbers; the first is the stream index within the content and the
1032 second is the channel number within that stream. Some content will
1033 have different streams for different languages or audio mixes. Along
1034 the top is each channel in the DCP. A green box means that the
1035 corresponding content channel will be copied into the corresponding
1040 When content channels are copied into DCP channels they can be done
1041 with variable gain. If, for example, you want to copy a channel
1042 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1043 two channels into one, you may want to use a gain of -6dB on each one
1044 to prevent clipping when the two channels are added.
1048 The green boxes of the audio mapping view tell you (very roughly) how
1049 much gain is applied to each channel. A full-height box means 0dB
1050 (i.e. unity) gain. Any less height indicates lower gain.
1054 To map one channel to another with 0dB gain, click in the empty box
1055 and it will turn green to reflect the mapping. A second click will
1056 turn the mapping back off. To set some other gain, right-click on the
1057 box to open the gain menu. This allows you to set
1058 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1059 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1060 <guilabel>Edit</guilabel> which allows you to set the required gain
1065 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1068 <figure id="fig-audio-map-eg1">
1069 <title>Audio map example 1</title>
1072 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1078 Here, we have two channels in the source which are mapped to left and
1079 right, respectively, in the DCP. The full green boxes show that the
1080 mapping is at unity gain (0dB) in each case. Imagine that we modify
1081 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1084 <figure id="fig-audio-map-eg2">
1085 <title>Audio map example 2</title>
1088 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1094 We now have the content's streams mapped to left and right and also
1095 mixed together and placed in the DCP's centre channel. The smaller
1096 green boxes on the centre mappings show that those channels are added
1097 with some non-unity gain; you can see by hovering the mouse pointer
1098 over those boxes that the gain for content channels 1 and 2 is -6dB
1099 when being sent to the centre channel and 0dB when being sent to left
1103 <figure id="fig-audio-map-eg3">
1104 <title>Audio map example 3</title>
1107 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1113 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1114 shows the mapping of a 5.1 source into a 5.1 DCP.
1120 <!-- ============================================================== -->
1122 <title>Other controls</title>
1125 The <guilabel>Use this DCP's audio as OV and make VF</guilabel>
1126 checkbox is only applicable if the selected content is an existing
1127 DCP. It allows you to make a VF DCP, using the audio content from the
1128 existing DCP by referencing it (rather than copying). See <xref
1129 linkend="sec-overlay"/>.
1133 <guilabel>Show graphs of audio levels</guilabel> will analyse the
1134 audio of the selected content and plot it on a graph. See <xref
1135 linkend="sec-show-audio"/> for more details.
1139 ‘Audio Gain’ is used to alter the volume of the
1140 soundtrack. The specified gain (in dB) will be applied to each sound
1141 channel of your content before it is written to the DCP.
1145 If you use a sound processor that DCP-o-matic knows about, it can help
1146 you calculate changes in gain that you should apply. Say, for
1147 example, that you make a test DCP and find that you have to run it at
1148 volume 5 instead of volume 7 to get a good sound level in the screen.
1149 If this is the case, click the <guilabel>Calculate...</guilabel>
1150 button next to the audio gain entry, and the dialogue box in <xref
1151 linkend="fig-calculate-audio-gain"/> will open.
1154 <figure id="fig-calculate-audio-gain">
1155 <title>Calculating audio gain</title>
1158 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1164 For our example, put 5 in the first box and 7 in the second and click
1165 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1166 that it should apply to make this happen. Then you can re-make the
1167 DCP (this will be reasonably fast, as the video data will already have
1168 been done) and it should play back at the correct volume with 7 on
1169 your sound-rack fader.
1173 Current versions of DCP-o-matic only know about the Dolby CP650 and
1174 CP750. If you use a different sound processor, and know the gain
1175 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1180 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1181 between audio and video. A positive delay will move the audio later
1182 with respect to the video, and a negative delay will move it earlier.
1189 <!-- ============================================================== -->
1191 <title>Timed text (subtitles and closed captions)</title>
1194 The timed text tab contains settings related to subtitles and closed captions in your
1195 content, as shown in <xref linkend="fig-timed-text-tab"/>.
1198 <figure id="fig-timed-text-tab">
1199 <title>Timed text settings tab</title>
1202 <imagedata fileref="screenshots/timed-text-tab&scs;"/>
1208 Depending on where timed text comes from it can sometimes be used as
1209 either an open subtitle (to be overlaid onto the cinema screen and
1210 seen by everybody) or as a closed caption (to be displayed to
1211 individual viewers using a special system such as the Doremi
1216 DCP-o-matic can either:
1220 <listitem>Extract timed text that is embedded in video files, or</listitem>
1221 <listitem>Use timed text from SubRip (<code>.srt</code>), SubStation
1222 Alpha (<code>.ssa</code> or <code>.ass</code>) or DCP XML files. You may find the great
1224 url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
1225 for creating such files.</listitem>
1229 Embedded timed text is usually represented using a set of bitmaps,
1230 especially on files that have come from DVD or BluRay. Such text can
1231 be used as a subtitle, but not a closed caption (since the closed
1232 captioning system requires the text to be delivered as
1233 character codes rather than an image).
1236 <para>In contrast, SubRip, SubStation Alpha or DCP text can be used as either a subtitle or a closed caption.</para>
1239 With subtitles you have the further choice of whether to burn the
1240 subtitles into the image or include them as a separate subtitle
1241 ‘asset’ within your DCP (in which case the projector
1242 overlays them onto the image on playback). The difference between
1243 burn-in and overlay is illustrated by <xref linkend="fig-burn-in"/>
1244 and <xref linkend="fig-discrete"/>.
1247 <figure id="fig-burn-in">
1248 <title>Burnt-in subtitles</title>
1251 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1256 <figure id="fig-discrete">
1257 <title>Separate subtitles</title>
1260 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1266 The advantage of separate subtitles is that the same video content can
1267 be used for DCPs in many different languages. This means that only a
1268 small text file needs to be changed for each target language, rather
1269 than a large video file. It also means that the time-consuming video
1270 encoding need only be done once for the project rather than once for
1275 Select the <guilabel>Use as</guilabel> check-box to enable the timed
1276 text in the selected content, then choose what you want to use the
1277 text for: open subtitles or closed captions.
1281 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1282 burn subtitles into the image; if this is not ticked the
1283 subtitles will be included separately in the DCP to be rendered by the
1288 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1289 controls move subtitles around within the image. These controls have
1290 no effect for closed captions. The offsets are expressed as a
1291 percentage of the video frame size; 100% X offset is the entire width
1292 of the frame, and 100% Y offset is the entire height. Hence, to move
1293 the subtitles down by half the frame height you would use a Y offset
1298 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1299 controls scale subtitles. These controls have no effect for closed
1300 captions. Scale values of 1 make the subtitles the same size
1301 (relative to the size of the image) as they are on the original.
1302 Values lower than 1 make them smaller, and values higher make them
1303 larger. You can stretch the subtitles in either direction by
1304 specifying different values for X and Y scale. Subtitles from DVD and
1305 Blu Ray sources are frequently larger (relative to the video frame)
1306 than those typically used for DCP, so it is often useful to scale such
1307 subtitles down using these controls.
1311 The <guilabel>Line spacing</guilabel> control adjusts the line spacing
1312 of the subtitles. This only works for subtitles that did not come from bitmaps.
1316 The <guilabel>Stream</guilabel> control changes the subtitle stream
1317 that is used when the content has more than one.
1321 If you are using non-image (text) subtitles or closed captions you can see the
1322 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1323 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1327 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1328 change how the subtitles look. Some of the controls in the
1329 <guilabel>Appearance</guilabel> only apply to burnt-in subtitles, as
1330 only limited control is available for subtitles rendered by the
1337 <!-- ============================================================== -->
1339 <title>Timing</title>
1342 The timing tab contains settings related to the timing of your
1343 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1346 <figure id="fig-timing-tab-detail">
1347 <title>Timing settings tab</title>
1350 <imagedata fileref="screenshots/timing-tab&scs;"/>
1356 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1357 These are expressed as four numbers, as shown in <xref
1358 linkend="fig-timecode"/>.
1361 <figure id="fig-timecode">
1362 <title>Timecode</title>
1365 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1371 <guilabel>Position</guilabel> is the time at which this piece of
1372 content should start within the DCP. In most cases, this will be
1373 <code>0:0:0:0</code> to make the content start at the beginning of the
1378 <guilabel>Full length</guilabel> is the length of the piece of
1379 content. This can only be set for still-image content: for video or
1380 sound content, it is fixed by the nature of the content file. If
1381 still-image content is being used you can set the length for which it
1382 should be displayed using this control.
1386 <guilabel>Trim from start</guilabel> specifies the amount that should
1387 be trimmed from the start of the content. You can set this amount to
1388 trim up to the current preview position by clicking <guilabel>Trim up
1389 to current position</guilabel>.
1393 <guilabel>Trim from end</guilabel> specifies the amount that should be
1394 trimmed from the end of the content. You can set this amount to trim
1395 after the current preview position by clicking <guilabel>Trim after to
1396 current position</guilabel>.
1400 <guilabel>Play length</guilabel> indicates how long this piece of
1401 content will be once the trims have been applied. This will be equal
1402 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1406 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1407 still-image content. It can also be used to override the detected
1408 frame rate of other content if DCP-o-matic has got it wrong.
1412 Each timecode control has a <guilabel>Set</guilabel> which you should
1413 click when you have entered a new value for a timecode. The
1414 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1415 any changes to the corresponding timecode.
1421 <!-- ============================================================== -->
1423 <title>Timeline</title>
1426 The timeline window gives an overview of all the pieces of content
1427 in your film, and how they are arranged. You can open the
1428 timeline by clicking the <guilabel>Timeline...</guilabel> button
1429 next to the content list. This will open a window like the one in <xref linkend="fig-timeline1"/>.
1432 <figure id="fig-timeline1">
1433 <title>Timeline</title>
1436 <imagedata fileref="screenshots/timeline1&scs;"/>
1442 The horizontal axis represents time, and you can see the time codes (in
1443 hours:minutes:seconds) along the bottom of the window. Pieces of
1444 content are represented with rectangles in the main part of the
1445 window. Content containing different types of data (e.g. a MP4
1446 file with video, audio and subtitles) have a rectangle for each
1451 Within the timeline you can select content by clicking, and drag
1452 it to change its position. Right-clicking a piece of content will
1453 open the content menu.
1457 The toolbar at the top of the window offers the following tools:
1461 <listitem>Select — to select and move content.</listitem>
1462 <listitem>Zoom in — to drag out an area that you want to see more closely.</listitem>
1463 <listitem>Zoom out — to zoom out so that the window shows the whole film.</listitem>
1464 <listitem>Snap — when enabled, content will snap to other content when you drag it close.</listitem>
1465 <listitem>Sequence — when enabled, content will be kept in sequence, without gaps, even if some content is removed.</listitem>
1469 <!-- ============================================================== -->
1471 <title>Video processing pipeline</title>
1474 This section gives a little more detail about how DCP-o-matic process
1475 video as it takes it from a source and puts it into a DCP.
1479 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1480 image which is letterboxed with 36 black pixels each at the top and
1481 bottom, and the video content within the letterbox should be presented
1482 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1483 happen with a trailer). The source image is shown in <xref
1484 linkend="fig-pipeline1"/>.
1487 <figure id="fig-pipeline1">
1488 <title>Example image to demonstrate video processing</title>
1491 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1497 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1501 <listitem>Crop</listitem>
1502 <listitem>Scale</listitem>
1503 <listitem>Place in container</listitem>
1507 First, some amount of the image can be cropped. This is almost always
1508 used to remove black borders (letterboxing and/or pillarboxing) around
1513 In our example image, we would use 36 pixels of crop from the top and
1514 bottom. This would give the new image shown in <xref
1515 linkend="fig-pipeline2"/>.
1518 <figure id="fig-pipeline2">
1519 <title>Example image after cropping</title>
1522 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1528 The next step is to scale the image. Since this content should be
1529 presented in a 2.39:1 (scope) aspect ratio inside a 1.85:1 (flat) DCP we would select
1530 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1531 option in the <guilabel>Video</guilabel> tab and
1532 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1533 option in the <guilabel>DCP</guilabel> tab.
1536 <para>The <guilabel>Scale to</guilabel> option should always be set to
1537 the aspect ratio at which the content should be seen. The
1538 <guilabel>Container</guilabel> option should be set to the preset that
1539 you want to use on the projector. Of course, these two settings will
1544 Given the scaling and container information, DCP-o-matic will look at
1545 the DCP's container size, and then scale the source image up until one
1546 or both of its dimensions (width, height or both) fits the size of the
1547 container, all the while preserving the desired aspect ratio.
1551 In our example here, the DCP's container is specified as 1.85:1 (so
1552 that the DCP will play back correctly using the projector's
1553 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1554 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1555 result in the image hitting the sides of the container first, at a
1556 size of 1998 x 836. This gives us a new version of the image as shown
1557 in <xref linkend="fig-pipeline3"/>.
1560 <figure id="fig-pipeline3">
1561 <title>Example image after cropping and scaling</title>
1564 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1570 The final step is to place the image into the DCP. In this case,
1571 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1572 we have set the <guilabel>container</guilabel> in the
1573 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1574 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1575 be some black bars at the top and bottom of the image. DCP-o-matic
1576 shares out this black equally, as shown in <xref
1577 linkend="fig-pipeline3"/>.
1580 <figure id="fig-pipeline4">
1581 <title>Example image in the DCP</title>
1584 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1593 <title>Copy and paste settings</title>
1596 Once you have set up a piece of content it is possible to copy the
1597 settings you have applied to another piece of content. To do this,
1598 select the content to copy from and choose <guilabel>Copy</guilabel>
1599 from the <guilabel>Edit</guilabel> menu. Then select the content to
1600 copy to and choose <guilabel>Paste</guilabel>. A dialogue box will
1601 open to allow you to choose which settings you want to copy. Clicking
1602 <guilabel>OK</guilabel> will apply the copied settings.
1609 <title>Advanced content settings</title>
1612 There are a few more content settings that you can change by right-clicking a piece of content in the list and choosing <guilabel>Advanced settings...</guilabel>
1613 This opens the dialogue box shown in <xref linkend="fig-advanced-content"/>.
1616 <figure id="fig-advanced-content">
1617 <title>Advanced content dialogue</title>
1620 <imagedata fileref="screenshots/advanced-content&scs;"/>
1626 <!-- ============================================================== -->
1628 <title>Video filters</title>
1631 The <guilabel>Video filters</guilabel> setting allows you to apply various
1632 filters to the image. These may be useful to try to improve
1633 poor-quality sources like DVDs. You can set up the filters by clicking the
1634 <guilabel>Edit</guilabel> button next to the filters entry; this opens the filters selector
1635 as shown in <xref linkend="fig-filters"/>.
1638 <figure id="fig-filters">
1639 <title>Filters selector</title>
1642 <imagedata fileref="screenshots/filters&scs;"/>
1651 <title>Override frame rate</title>
1654 The <guilabel>Override detected video frame rate</guilabel> setting has some different effects depending on the type of content
1659 For video content, it sets the frame rate that DCP-o-matic will run the video at. This is useful if DCP-o-matic has mis-detected
1660 the video frame rate. For example, if DCP-o-matic says your content is 24fps when you know for a fact it's 25fps, you can set the
1661 override value to 25 to force DCP-o-matic to do the right thing.
1665 On audio, subtitle and caption content this setting behaves slightly differently. It sets the video frame rate that the content
1666 in question was intended to work with. As an example, consider a project with a 23.976fps video source and some separate audio files.
1667 Perhaps those audio files have been mastered alongside a 24fps version of your video. By default, DCP-o-matic will see the 23.976fps
1668 video file and decide to run it slightly fast at 24fps to fit the DCP standard. It will then also run the audio slightly fast so that
1669 it stays in sync with the video.
1673 In this case, though, that is not what you want, since the audio is already ‘fixed’ to work alongside 24fps video. If you
1674 override the video frame rate of the <emphasis>audio</emphasis> content to 24fps this will stop DCP-o-matic altering it.
1678 A similar situation can occur if you have video at one rate and a subtitle file that was prepared with its timing at a different rate.
1679 In that case, you should override the video frame rate of the <emphasis>subtitle</emphasis> content to the one that it was prepared for.
1680 This will mean that DCP-o-matic can get the relative timing right.
1684 Do <emphasis>not</emphasis> use this setting to change the DCP frame rate. Doing so will result in strange effects and sync problems.
1690 <title>Video has burnt-in subtitles</title>
1692 Details about subtitle language are stored in various places within the DCP metadata. If a piece of video content already has subtitles
1693 burnt into the image you can tell DCP-o-matic the language that they are in by clicking the <guilabel>Edit...</guilabel> button.
1699 <title>Ignore this content's video</title>
1701 Tick this if you have some content which includes video along with other things (such as audio or subtitles) and you do
1702 <emphasis>not</emphasis> want the video to appear in the DCP.
1712 <!-- ============================================================== -->
1713 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1714 <title>DCP settings</title>
1717 This chapter describes the settings that apply to the whole DCP. The
1718 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1719 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1722 <figure id="fig-dcp-tab">
1723 <title>DCP settings tab</title>
1726 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1732 The first thing here is the name. This is generally set to the title
1733 of the film that is being encoded. If <guilabel>Use ISDCF
1734 name</guilabel> is not ticked, the name that you specify will be used
1735 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1736 is ticked, the name that you enter will be used as part of a
1737 ISDCF-compliant name.
1741 Underneath the name field is a preview of the name that the DCP will
1742 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1743 name</guilabel> check-box. The ISDCF name will be composed using details
1744 of your content's soundtrack, the current date and other things that
1745 can be specified in the ISDCF name details dialogue box, which you can
1746 open by clicking on the <guilabel>Details</guilabel> button.
1750 If you want to take the ISDCF-compliant name that DCP-o-matic
1751 generates and modify it, click <guilabel>Copy as name</guilabel> and
1752 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1753 You can then edit it as you wish. The DCP name should not matter (in
1754 that it should not affect how the DCP ingests or plays) but
1755 projectionists will appreciate it if you use the standard naming
1756 scheme as it makes it easier to identify details of the content.
1760 The <guilabel>Content Type</guilabel> option can be
1761 ‘feature’, ‘trailer’ or whatever; select the
1762 required type from the drop-down list. On some projection systems
1763 this will affect where your content appears in the projector's server
1764 user interface, so take care to select an appropriate type.
1768 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1769 is signed. This is rarely important; if in doubt, tick it.
1773 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1774 should be encrypted or not. If this is ticked, the DCP will require a
1775 KDM to play back. Encryption is discussed in <xref
1776 linkend="ch-encryption"/>.
1780 If you use encryption DCP-o-matic will generate a random encryption
1781 key for you. To specify your own key, click the
1782 <guilabel>Edit..</guilabel> button next to the key.
1786 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1787 controls specify how the DCP will be split up into
1788 ‘reels’. See <xref linkend="sec-reels"/>.
1792 The <guilabel>Standard</guilabel> option specifies which of the two
1793 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1794 more modern of the two).
1798 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1799 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1803 At the bottom of the DCP tab are a further two tabs, one each to
1804 contain the settings for the DCP's video and audio parts.
1808 The <guilabel>Container</guilabel> option sets the ratio of the image
1809 in the DCP. If this ratio is different to the ratio used for any
1810 content, DCP-o-matic will pad the content with black. In simple cases
1811 this should be set to the same ratio as that for the the primary piece
1812 of video content. Alternatively, you might want to pillarbox a small
1813 format into a Flat container: in this case, select the small format
1814 for the content's ratio and ‘Flat’ for the DCP.
1818 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1819 your DCP. This can be a little tricky to get right. Ideally, you
1820 want it to be the same as the video content that you are using. If it
1821 is not the same, DCP-o-matic must resort to some tricks to alter your
1822 content to fit the specified frame rate. Frame rates are discussed in
1823 more detail in <xref linkend="ch-frame-rates"/>.
1827 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1828 to what DCP-o-matic thinks is the best given the content that you have
1833 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1834 is checked. A 3D DCP will then be created, and any 2D content will be
1835 made 3D compatible by repeating the same frame for both left and right
1836 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1837 Real-D etc.) but not on a 2D system.
1841 The <guilabel>Resolution</guilabel> tab allows you to choose the
1842 resolution for your DCP. Use 2K unless you have content that is of
1843 high enough resolution to be worth presenting in 4K.
1847 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1848 the final image files used within the DCP will be. Larger numbers
1849 will give better quality, but correspondingly larger DCPs. The
1850 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1851 Most commercial DCPs use bit rates between 75 and 125 Mbit/s.
1855 <guilabel>Re-encode JPEG2000 data from input</guilabel> governs
1856 whether or not JPEG2000-encoded data from a piece of content (usually
1857 a DCP) will be re-used in the output data as-is or whether it will be
1858 decoded and re-encoded by DCP-o-matic. If the option is enabled
1859 DCP-o-matic will decompress any JPEG2000 data it finds and re-encode
1860 it. This is useful if you want to reduce the bitrate of a DCP.
1861 Usually you will achieve better quality and quicker results by leaving
1862 this option switched off.
1866 The <guilabel>Audio Channels</guilabel> control sets the number of
1867 audio channels that the DCP will have. If the DCP has any channels
1868 for which there is no content audio they will be replaced by silence.
1869 You can only set an even number of channels here, since that is
1870 required by the DCI standard. If you want an odd number of channels,
1871 set the DCP channel count to one greater than you need and the
1872 unused channel will be filled with silence.
1876 The <guilabel>Processor</guilabel> control allows you to select a
1877 process to apply to the audio before it goes into the DCP. Three processes are currently provided:
1881 <listitem>Mid-side decode — this will take a L/R
1882 stereo input and extract the common part (corresponding to the
1883 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1884 The remaining L/R parts will be kept in the L/R channels of the DCP.
1885 This may be useful to make near-field L/R mixes more compatible with
1886 cinema audio systems.</listitem>
1887 <listitem>Stereo to 5.1 up-mixer A — this will take a stereo input and up-mix it to ‘fake’ 5.1. The input L/R are treated as follows:
1889 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1890 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1891 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1892 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1893 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1894 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1897 This upmixing algorithm is due to Gérald Maruccia.
1900 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1902 <listitem>DCP L is input L.</listitem>
1903 <listitem>DCP R is input R.</listitem>
1904 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1905 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1906 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1911 The up-mixers are not particularly advanced and should be used with care. You are strongly advised to check how the DCPs sound in a cinema if you have used one of DCP-o-matic's upmixers.
1913 <!-- ============================================================== -->
1914 <section xml:id="sec-reels">
1915 <title>Reels</title>
1918 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1919 way as a 35mm reel is a section of a film. A DCP can be split up into
1920 any number of reels and the joins (the equivalent to 35mm splices or changeovers)
1921 between the reels are seamless.
1925 There is no reason why you can't just use a single reel for the whole
1926 of your DCP, as there is no limit to their length. Many people choose
1931 There are, however, some possible advantages of splitting things up
1937 The picture, sound and subtitle data of the DCP will be
1938 split up into more smaller files on disk, rather than fewer larger
1939 files. This can be useful if the DCP is to be transferred on storage
1940 that have file size limits. The FAT32 filesystem, for example, can
1941 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1942 not be transferred using a FAT32-formatted disk. If that DCP were
1943 split up into two 3Gb reels it could be transferred.
1946 It is easier to re-use DCP components if they are in reels. Consider,
1947 for example, a film company who wants to put a 5 second ident onto the
1948 beginning of DCPs that they distribute. If they receive a feature
1949 film DCP they can modify it to add their ident as a separate reel.
1950 This is easier than attaching the picture data to the feature's existing data.
1955 DCP-o-matic offers three options for setting up the reels in your DCP:
1956 <guilabel>single reel</guilabel>, <guilabel>split by video content</guilabel> or <guilabel>custom</guilabel>.
1960 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1961 This is a perfectly good option if you have no particular reason to
1966 <guilabel>Split by video content</guilabel> puts each piece of source
1967 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1970 <figure id="fig-reels-by-video">
1971 <title>Making reels using split by video content</title>
1972 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1976 Here we have three video files (<code>ident.mp4</code>,
1977 <code>feature.ts</code> and <code>cred.mov</code>). With
1978 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1979 reel to hold each video file.
1983 <guilabel>Custom</guilabel> splits reels by the size of the files that
1984 will make up their video content. With <guilabel>Custom</guilabel>
1985 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1991 <!-- ============================================================== -->
1992 <section xml:id="sec-show-audio">
1993 <title>Show audio</title>
1996 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1997 to examine the audio in your content and plot a graph of its level
1998 over time. This can be useful for getting a rough idea of how loud
1999 the sound will be in the cinema auditorium. A typical plot is shown
2000 in <xref linkend="fig-audio-plot"/>
2003 <figure id="fig-audio-plot">
2004 <title>Audio plot</title>
2007 <imagedata fileref="screenshots/audio-plot&scs;"/>
2013 The plot gives the audio level (vertical axis, in dB) with time
2014 (horizontal axis). 0dB represents full scale, so if there is anything
2015 near this you are in danger of clipping the projector's audio outputs.
2019 There are two plot types: the peak level and the RMS, which can be
2020 shown or hidden using the check-boxes on the right hand side of the
2025 The channel check-boxes will show or hide the plot(s) for
2026 the corresponding channels in the DCP.
2030 The smoothing slider applies a variable degree of temporal smoothing
2031 to the plots, which can make them easier to read in some cases.
2035 Obviously the audio plot is no substitute for listening in an
2036 auditorium, but it can be useful to get levels in the right rough area.
2044 <!-- ============================================================== -->
2045 <chapter xml:id="ch-templates" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2046 <title>Templates</title>
2049 If you frequently make DCPs with similar settings you may find it
2050 useful to use templates.
2054 Say, for example, you often make 4K feature DCPs from video files in
2055 ’scope at 25fps. You can speed up this process by following
2060 <listitem>Create a film with any content and set it up how you like;
2061 in our example, set the content to scale to DCP, the DCP resolution
2062 to 4K, and so on.</listitem>
2063 <listitem>Choose <guilabel>Save as template...</guilabel> from the <guilabel>File</guilabel> menu.</listitem>
2064 <listitem>Enter a name for your template.</listitem>
2068 Then in the future you can create a new film, tick the
2069 <guilabel>Template</guilabel> box and choose your previously-saved
2070 template. The basic film's settings will come from your template, and
2071 when you add some content it will take on the settings of the
2072 first similarly-typed piece of content in your template.
2076 For example, if the template has a piece of video content and some
2077 subtitles, any video that you add to the new film will take on the
2078 settings of the video in the template. Similarly, any subtitles that
2079 you add will take on the settings of the subtitles from the template.
2083 The following settings from the <guilabel>DCP</guilabel> tab are saved
2088 <listitem>“Use ISDCF name” checkbox</listitem>
2089 <listitem>Content type (FTR, TLR etc.)</listitem>
2090 <listitem>Container</listitem>
2091 <listitem>Resolution</listitem>
2092 <listitem>JPEG200 bandwidth</listitem>
2093 <listitem>Video frame rate</listitem>
2094 <listitem>Signed and encrypted checkboxes</listitem>
2095 <listitem>Audio channels</listitem>
2096 <listitem>Standard (Interop / SMPTE)</listitem>
2097 <listitem>Audio processor</listitem>
2098 <listitem>Reel type and length</listitem>
2099 <listitem>Upload after make DCP checkbox</listitem>
2103 In addition to this, the settings (but not the filenames) of any
2104 content in the template are stored, as discussed above. The status of
2105 the <guilabel>Keep video and subtitles in sequence</guilabel> checkbox
2106 from the timeline is also preserved.
2112 <!-- ============================================================== -->
2113 <chapter xml:id="ch-export" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2114 <title>Export</title>
2117 As well as creating DCPs from the content you specify, DCP-o-matic
2118 can also export projects to ProRes and MP4 files. This is most
2119 often useful to convert DCPs to a file that is smaller and easier to play back.
2123 To convert a DCP to ProRes or MP4, the first step is start a new
2124 project and import the DCP (see <xref
2125 linkend="ch-manipulating-existing-dcps"/>). Then, choose
2126 <guilabel>Export...</guilabel> from the <guilabel>Jobs</guilabel>
2127 menu to open the export dialogue, as shown in <xref linkend="fig-export"/>.
2130 <figure id="fig-export">
2131 <title>Export dialogue</title>
2134 <imagedata fileref="screenshots/export&scs;"/>
2140 From this dialogue you can select the required output format,
2141 output file and, in the case of MP4, the quality of the output
2142 file (by setting the <ulink url="https://trac.ffmpeg.org/wiki/Encode/H.264#crf">CRF value</ulink>).
2146 The useful range of CRF values is from 17 (high quality but large file size) to 28 (smaller file size and still reasonable quality).
2150 The time needed to export, and the resulting size, depend partly on the DCP resolution set in the project. To change that, see chapter <xref linkend="ch-dcp"/>.
2154 You can also choose whether to mix down multichannel sources to stereo and whether you want to write separate reels to separate files.
2158 <!-- ============================================================== -->
2159 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2160 <title>Encryption</title>
2163 DCP's do not have to be encrypted, but they can be. This
2164 chapter discusses the basic principles of DCP encryption, and how
2165 DCP-o-matic can create encrypted DCPs and KDMs for them.
2169 <!-- ============================================================== -->
2171 <title>Basics</title>
2174 DCPs can be encrypted. This means that the picture and sound data are
2175 encoded in such a way that only cinemas ‘approved’ by the
2176 DCP's creators can read them. In particular, this means copies of the
2177 DCP can be distributed by insecure means: if a bad person called
2178 Mallory obtains a hard drive containing an encrypted DCP, there is no
2179 way that he can play it. Only those cinemas who receive a correct key
2180 delivery message (KDM) can play the DCP.
2184 <!-- ============================================================== -->
2186 <title>How it works</title>
2189 This section attempts to summarise how DCP encryption works. You can
2190 skip it if you like. You may need some knowledge of encryption
2191 methods to understand it.
2195 We suppose that we are trying to send a DCP to
2196 Alice's cinema without a third party called Mallory being able to
2201 There are two main families of encryption techniques. The first,
2202 symmetric-key encryption, allows us to encode some data using some
2203 numeric key. After encoding, no-one can decode the data unless they
2208 The first step in a DCP encryption is to encode its data with a random key
2209 using symmetric-key encryption. The encrypted DCP can then be sent
2210 anywhere, safe in the knowledge that even if Mallory got hold of a
2211 copy, he could not decrypt it.
2215 Alice, however, needs to know the key so she can play the DCP in her
2216 cinema. A simple approach might be for us to send Alice the key.
2217 However, if Mallory can intercept the DCP, he might also be able to
2218 intercept our communication of the key to Alice. Furthermore, if Alice
2219 happened to know Mallory, she could just send him a copy of the key.
2223 The clever bit in the process requires the use of public-key
2224 encryption. With this technique we can encrypt a block of data using
2225 some ‘public’ key. That data can then only be decrypted
2226 using a corresponding private key which is
2227 <emphasis>different</emphasis> to the public key. The private and
2228 public keys form a pair which are related mathematically, but it is
2229 extremely hard (or rather, virtually impossible) to derive the private
2230 key from the public key.
2234 Public-key encryption allows us to distribute the DCP's key to Alice
2235 securely. The manufacturer of Alice's projector generates a public
2236 and private key. They hide the private key inside the projector where
2237 no-one can read it. They then make the public key available to anyone
2242 DCP-o-matic has a similar arrangement except that it stores its
2243 private keys in the user's configuration file. See <xref
2244 linkend="sec-decrypting"/> for details of how to share DCP-o-matic's
2245 certificate so that others can make encrypted DCPs for DCP-o-matic.
2249 We take our DCP's symmetric key and encrypt it using the public key of
2250 Alice's projector. We send the result to Alice over email (using a
2251 format called a Key Delivery Message, or KDM). Her projector then
2252 decrypts our message using its private key, giving the
2253 symmetric key which can decrypt the DCP.
2257 If is fine if Mallory intercepts our email to Alice, since the only
2258 key which can decrypt the message is the private key buried inside
2259 Alice's projector. The projector manufacturer is very careful that
2260 no-one ever finds out what this key is. Our DCP is secure: only Alice
2261 can play it back, since only her projector knows the key (even Alice
2269 <!-- ============================================================== -->
2271 <title>Encryption using DCP-o-matic</title>
2274 There are two steps to distributing an encrypted DCP. First, the
2275 DCP's data must be encrypted, and secondly KDMs must be generated for
2276 those cinemas that are allowed to play the DCP.
2280 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
2281 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
2282 encrypt the DCP that it makes using a random key that DCP-o-matic
2283 generates. The key will be written to the film's metadata file, which
2284 should be kept secure.
2288 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
2289 ticked will not play on any projector as-is (it will be marked as
2290 ‘locked’, or whatever the projector manufacturer's term
2295 The second part of distributions is to generate KDMs for the cinemas
2296 that you wish to allow to play your DCP. There are two approaches to
2297 this within DCP-o-matic: using the project, or using a DKDM. These
2298 approaches are now described in turn.
2302 <title>Creating KDMs from a DCP-o-matic project</title>
2305 You can create KDMs from inside a DCP-o-matic project using the
2306 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
2307 menu. This will open the KDM dialogue box, as shown in <xref
2308 linkend="fig-kdm"/>.
2311 <figure id="fig-kdm">
2312 <title>KDM dialog</title>
2315 <imagedata scale="35" fileref="screenshots/kdm&scs;"/>
2321 In order to generate KDMs for a particular projector, you need to know
2322 its <emphasis>certificate</emphasis>. These are usually made
2323 available by the projector manufacturers as text files with a
2324 <code>.pem</code> extension.
2328 DCP-o-matic can store these certificates along with details of their
2329 cinemas and screens within those cinemas. Each screen has a
2330 certificate for its projector (and optionally certificates for other
2331 trusted devices, such as the sound processor). DCP-o-matic can
2332 generate KDMs for any screens that it knows about.
2336 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
2337 a dialogue box into which you can enter the cinema's name, and
2338 optionally an email address. This email address can be used to
2339 get DCP-o-matic to deliver KDMs via email.
2343 Once you have added a cinema, select it by clicking on its name, then
2344 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2345 allows you to enter a name for the screen and load in its certificate
2346 from a file. The certificate should be in SHA256 PEM format.
2350 Alternatively, certificates for projection systems made by some
2351 manufacturers can be downloaded from databases provided by the
2352 manufacturer. Currently this is supported for Doremi, Dolby, Barco,
2353 Christie and GDC equipment (through downloading Barco, Christie or GDC
2354 certificates requires you to have an appropriate account set up in
2355 DCP-o-matic's preferences). If you are targeting a screen with
2356 equipment by one of these manufacturers you can click
2357 <guilabel>Download</guilabel> then enter the serial number of the
2358 server in the screen and click <guilabel>Download</guilabel> again
2359 and, all being well, the certificate will be fetched. Most cinema
2360 projection or technical departments will know these serial numbers.
2364 Note that the reliability of the manufacturers' certificate databases
2365 cannot be guaranteed. It is vital that KDMs are tested by the
2366 destination cinema will in advance of show time to identify any
2371 Once you have set up all the screens that you need KDMs for, select
2372 the CPL that you want to create the KDM for. You can use the
2373 drop-down list to select the CPLs in the current film project, or load
2374 a CPL from somewhere else. Select the cinemas and/or screens that you
2375 want KDMs for and fill in the start and end dates and times.
2379 You must also select the type of KDM that you want to generate. If in
2380 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2384 The differences between the three KDM types are fairly subtle.
2385 <guilabel>DCI Specific</guilabel> and <guilabel>DCI Any</guilabel> add
2386 a <code><ContentAuthenticator></code> tag to the KDM which
2387 allows the exhibitor to check that the DCP and KDM have come from a
2388 bona-fide source. In addition, <guilabel>DCI Specific</guilabel> adds
2389 information on trusted devices to the KDM. This allows the KDM
2390 creator to specify devices (such as sound processors) that are allowed
2391 to use keys delivered by the KDM. At present it is not clear how
2392 widely the <guilabel>DCI Specific</guilabel> and <guilabel>DCI
2393 Any</guilabel> features are supported (or even tolerated) by servers
2394 so you are advised to use <guilabel>Modified Transitional
2399 Finally, choose what you want to do with the KDMs. They can be
2400 written to disk, to a location that you can specify by clicking
2401 <guilabel>Browse</guilabel>. Alternatively, if you choose
2402 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2403 emailed to the appropriate cinema email addresses. Click
2404 <guilabel>Make KDMs</guilabel> to generate the KDMs.
2410 <title>Creating KDMs using a DKDM</title>
2414 It can be inconvenient to need a whole DCP-o-matic project just to
2415 create KDMs for its film. Perhaps you want to archive the project to
2416 save space, or create KDMs on a different machine. In such situations
2417 it is easier to use a DKDM. This is a normal KDM, but instead of
2418 being targeted at a projection system (to allow it to decrypt the
2419 content) it is targeted at a particular user's certificate. This
2420 means that the certificate owner can create new KDMs for other users.
2421 The DKDM holds everything that is required to create further KDMs.
2425 Sometimes it is useful to create DKDMs that can be used by
2426 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2427 any point in the future, use DCP-o-matic's standalone KDM creator to
2428 make KDMs for the DKDM's film for any cinema.
2432 In other cases a DKDM is sent to a 3rd party so that they can create
2433 KDMs for your films. This can be useful if, for example, you have a
2434 distributor who provides 24-hour KDM support to cinemas and can create
2435 KDMs for anybody that requires them at short notice.
2439 To create a DKDM for DCP-o-matic, open your encrypted project and
2440 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2441 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2442 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2443 be available in the KDM creator. This is a separate program which you
2444 can start from the same place that you start the ‘normal’
2445 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2448 <figure id="fig-kdm-creator">
2449 <title>The KDM creator</title>
2452 <imagedata scale="30" fileref="screenshots/kdm-creator&scs;"/>
2458 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2459 to be created for, the date range, the DCP that the KDMs are for and
2460 the destination for the KDMs and click <guilabel>Create
2465 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2466 which you have clicked <guilabel>Make DKDM for
2467 DCP-o-matic</guilabel> in the main DCP-o-matic program. If you have
2468 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2469 specifying the file containing the DKDM.
2473 If another organisation wants to send you a DKDM they will ask you for
2474 a target certificate. You can get DCP-o-matic's target certificate by
2475 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2476 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2484 <title>Encryption keys</title>
2487 You must be careful when using encryption not to lose important keys.
2491 If you are making KDMs from a DCP-o-matic film you
2492 <emphasis>must</emphasis> ensure that you have a backup of the
2493 <code>metadata.xml</code> file from the project, as well as the DCP
2498 If you are using a DKDM you <emphasis>must</emphasis> ensure that you
2499 have a backup of DCP-o-matic's <code>config.xml</code> file, since it
2500 contains the only key which can decrypt the DKDM. The
2501 <code>config.xml</code> file location depends on your operating
2502 system; possible locations are listed in <xref linkend="ch-config"/>.
2508 <title>Should I encrypt?</title>
2511 The question of whether encryption is appropriate for a given
2512 project is a tricky one.
2516 On the one hand, if you distribute an unencrypted DCP it is easy for
2517 anybody to take it and do whatever they want with its contents.
2518 They could use DCP-o-matic to convert it to a MP4, show it in
2519 their cinema, or even edit and redistribute it in ways that you
2524 Encryption prevents this, but brings its own problems. It will be
2525 impossible for a cinema to screen your DCP unless they have the
2526 correct KDM. This is easy enough if things work as they should,
2527 but problems can occur. For example, cinemas may substitute
2528 broken playout servers with new ones without telling you: then the
2529 KDM that you sent them will be invalid, and a new one required.
2530 If the cinema can't get in touch with you, or somebody else who
2531 can create a new KDM, they can't screen your DCP. Often these
2532 problems are only discovered very close to showtime, with little
2537 If you are distributing encrypted DCPs widely it is worth thinking
2538 about who will make the KDMs, and who will provide quick-response
2539 technical support. It may be a good idea to engage a company who can
2540 provide such services.
2547 <title>Encryption overview</title>
2549 <figure id="fig-encryption-overview">
2550 <title>Overview of encryption</title>
2553 <imagedata fileref="diagrams/crypt&dia;"/>
2563 <!-- ============================================================== -->
2564 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2565 <title>Preferences</title>
2568 DCP-o-matic provides preferences which can be used to modify its
2569 behaviour. They are described in this chapter.
2573 Preferences can be edited by choosing
2574 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2575 menu. This opens a dialogue which is split into eleven tabs.
2578 <!-- ============================================================== -->
2580 <title>General</title>
2583 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2586 <figure id="fig-prefs-general">
2587 <title>General preferences</title>
2590 <imagedata fileref="screenshots/prefs-general&scs;"/>
2596 <!-- ============================================================== -->
2598 <title>Language</title>
2601 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2602 a language from the list, that language will be used for DCP-o-matic.
2603 You will need to restart DCP-o-matic to see the new language.
2607 The translations for DCP-o-matic have been contributed by helpful
2608 users. If your language is not on the last, head to <ulink
2609 url="https://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2610 find out how to contribute a translation.
2615 <!-- ============================================================== -->
2617 <title>Interface complexity</title>
2620 Choose <guilabel>Simple</guilabel> to see a cut-down, simplified
2621 interface or <guilabel>Full</guilabel> to see DCP-o-matic's full
2627 <!-- ============================================================== -->
2629 <title>Number of threads DCP-o-matic should use</title>
2632 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2633 to speed things up. Set this value to the number of threads
2634 DCP-o-matic should use. This should normally be the number of
2635 processors (or processor cores) in your machine. DCP-o-matic will try
2636 to set this up correctly when you run it for the first time.
2642 <!-- ============================================================== -->
2644 <title>Number of threads DCP-o-matic encode server should use</title>
2647 This is the number of threads that the encode server should use when
2648 it is running and helping another copy of DCP-o-matic to speed up its
2655 <!-- ============================================================== -->
2657 <title>Configuration file</title>
2660 This is the location of DCP-o-matic's configuration file on disk. You
2661 can use this to share configuration between several copies of
2662 DCP-o-matic, across a network share, for instance.
2666 <!-- ============================================================== -->
2668 <title>Cinema and screen database file</title>
2671 This option allows you to change the file that DCP-o-matic uses to
2672 store details of the cinemas and screens used to make KDMs.
2677 <!-- ============================================================== -->
2679 <title>Play sound via</title>
2682 The checkbox to the left of <guilabel>Play sound</guilabel> enables or
2683 disables DCP-o-matic use of sound. On some machines there will be
2684 multiple options in the drop-down menu to decide how the sound should
2689 <!-- ============================================================== -->
2691 <title>Integrated loudness</title>
2694 If <guilabel>Find integrated loudness, true peak and loudness range
2695 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2696 work when analysing audio. Leave this ticked if the extra parameters
2697 are useful to you. If not, untick it and audio analysis will be
2703 <!-- ============================================================== -->
2705 <title>Automatically analyse content audio</title>
2708 If this checkbox is ticked an audio analysis will be run whenever content is added that contains sound.
2712 <!-- ============================================================== -->
2714 <title>Updates</title>
2717 The <guilabel>Check for updates on startup</guilabel> option, if
2718 enabled, will tell DCP-o-matic to check on <ulink
2719 url="https://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2720 newer versions of DCP-o-matic then the one you are running. If so, a
2721 dialogue box will open with a link to download the new version.
2725 The <guilabel>Check for testing updates as well as stable
2726 ones</guilabel> option will also check for test updates as well as
2727 those that are formally ‘released’. This is useful if you
2728 like to live on the bleeding edge!
2732 <!-- ============================================================== -->
2734 <title>Issuer and creator</title>
2737 With these controls you can set the issuer and creator strings that
2738 will be put into the DCPs which you create. The issuer is typically your name
2739 (or your organisation's name) and the creator is typically the name of the tool
2740 used to make the DCP (e.g. DCP-o-matic).
2746 <!-- ============================================================== -->
2748 <title>Defaults</title>
2751 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2754 <figure id="fig-prefs-defaults">
2755 <title>Defaults preferences</title>
2758 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2764 The options in this tab simply allow you to set up default values for
2765 various properties of new films.
2770 <!-- ============================================================== -->
2772 <title>Servers</title>
2775 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2778 <figure id="fig-prefs-servers">
2779 <title>Servers preferences</title>
2782 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2788 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2789 locate encoding servers automatically (see <xref
2790 linkend="ch-servers"/>).
2794 Instead of this (or in addition) servers can be specified explicitly.
2795 To add a server, click <guilabel>Add...</guilabel> and enter the host
2796 name or IP address of the server to use.
2802 <!-- ============================================================== -->
2803 <section xml:id="sec-prefs-keys">
2807 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) has controls
2808 related to the keys and certificates used in some parts of DCP
2812 <figure id="fig-prefs-keys">
2813 <title>Keys preferences</title>
2816 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2822 <guilabel>Export KDM decryption certificate...</guilabel> allows you
2823 to save the certificate that DCP-o-matic uses when decrypting KDMs
2824 that you give it. Use this option if somebody wants to make a KDM for
2825 you and asks for your certificate.
2829 <guilabel>Export all KDM decryption settings...</guilabel> exports a
2830 file which contains all the DCP-o-matic settings related to the use of
2831 KDMs supplied by other people. Use this button and <guilabel>Import
2832 all KDM decryption settings...</guilabel> to transfer settings between
2833 different copies of DCP-o-matic so that they can both use the same
2838 The two <guilabel>Advanced...</guilabel> buttons open advanced
2839 dialogue boxes for detailed manipulation of DCP-o-matic's certificate
2846 <title>Advanced keys settings</title>
2849 At the top of the <guilabel>Advanced</guilabel> dialogue for signing
2850 DCPs and KDMs is the chain of certificates that will be used to sign
2851 DCPs and KDMs. DCP-o-matic creates a random chain when you first run
2852 it and if you are happy to use this chain you can ignore the
2853 preferences. Otherwise, you can add or remove certificates from the
2854 chain using the <guilabel>Add...</guilabel> and
2855 <guilabel>Remove</guilabel> buttons.
2859 If you want DCP-o-matic to re-create the certificate chain (using new,
2860 random certificates) click <guilabel>Re-make
2861 certificates and key...</guilabel> and specify your organisation and common
2862 names in the dialogue box that opens.
2866 Underneath the certificate chain is the private key that corresponds
2867 to the leaf certificate in the chain. You can specify your own
2868 private key by clicking <guilabel>Import...</guilabel>. You must do
2869 this if you change the leaf certificate, so that the leaf private key
2870 corresponds to the public key held in the leaf certificate.
2874 At the top of the <guilabel>Advanced</guilabel> dialogue for decrypting DCPs is the chain and key which is used by
2875 DCP-o-matic when you import an encrypted DCP as a piece of content.
2876 The leaf certificate of this chain contains the public key that should
2877 be used when targeting a KDM at DCP-o-matic.
2881 Clicking <guilabel>Export chain...</guilabel> will
2882 export the whole certificate chain.
2887 <!-- ============================================================== -->
2888 <section xml:id="sec-prefs-tms">
2890 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2893 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2894 options for specifying details about your theatre management system
2895 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2896 you can upload DCPs directly from DCP-o-matic to the TMS using the
2897 <guilabel>Send DCP to TMS</guilabel> option in the
2898 <guilabel>Jobs</guilabel> menu.
2901 <figure id="fig-prefs-tms">
2902 <title>TMS preferences</title>
2905 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2911 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2912 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2913 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2914 FTP. Do let us know if you use any other type of TMS with the
2915 <guilabel>Send DCP to TMS</guilabel> feature.
2919 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2920 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2921 should be uploaded to (which will be relative to the home directory of
2922 the SSH or FTP user). Finally, the user name and password are the
2923 credentials required to log into the TMS via SSH or FTP.
2927 Note that for this to work on Doremi servers you will need to set the
2928 <code>PasswordAuthentication</code> option in your server's
2929 <code>sshd_config</code> to <code>yes</code>.
2935 <!-- ============================================================== -->
2937 <title>Email</title>
2940 The Email tab is shown in <xref linkend="fig-prefs-email"/>.
2943 <figure id="fig-prefs-email">
2944 <title>Email preferences</title>
2947 <imagedata fileref="screenshots/prefs-email&scs;"/>
2953 These settings are used when DCP-o-matic sends emails.
2957 <guilabel>Outgoing mail server</guilabel> should be the host name of a mail (SMTP) server that DCP-o-matic can use. You can also specify the port that DCP-o-matic should use. <guilabel>User name</guilabel> and <guilabel>Password</guilabel> are the credentials that are required to send email through the server you have specified.
2962 <!-- ============================================================== -->
2964 <title>KDM email</title>
2967 The KDM email tab is shown in <xref linkend="fig-prefs-kdm-email"/>.
2970 <figure id="fig-prefs-kdm-email">
2971 <title>KDM email preferences</title>
2974 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2980 This is a template for the email that is used to send KDMs out to
2981 cinemas. You can change it to say whatever you like. A few
2982 ‘magic’ strings will be replaced by information from the
2983 KDM that is being sent; these strings are shown in <xref linkend="tab-kdm-magic"/>.
2986 <table id="tab-kdm-magic">
2987 <title>‘Magic’ KDM strings</title>
2988 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2991 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2994 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2997 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
3000 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
3003 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
3010 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
3015 <!-- ============================================================== -->
3017 <title>Notifications</title>
3020 The Notifications tab is shown in <xref linkend="fig-prefs-notifications"/>.
3023 <figure id="fig-prefs-notifications">
3024 <title>Notifications preferences</title>
3027 <imagedata fileref="screenshots/prefs-notifications&scs;"/>
3033 DCP-o-matic can notify the user when jobs have completed. These
3034 notifications can be either or both of a message box on-screen (if
3035 <guilabel>Message box</guilabel> is ticked) and email (if
3036 <guilabel>Email</guilabel> is ticked). If you enable email
3037 notifications you can fill in the details of the emails you want to
3042 The bottom box in the tab is the contents of the email that should
3043 be sent. DCP-o-matic will replace the ‘magic’ strings
3044 <code>$JOB_NAME</code> and <code>$JOB_STATUS</code> in the with the
3045 details of the job that has completed.
3051 <!-- ============================================================== -->
3053 <title>Cover sheet</title>
3056 The DCP cover sheet configuration is shown in <xref linkend="fig-prefs-cover-sheet"/>.
3059 <figure id="fig-prefs-cover-sheet">
3060 <title>DCP cover sheet preferences</title>
3063 <imagedata fileref="screenshots/prefs-cover-sheet&scs;"/>
3069 This is a template for the cover sheet that is written next to every DCP that DCP-o-matic creates. You can change it to say whatever you like. A few
3070 ‘magic’ strings will be replaced by information from the
3071 DCP that has been made:
3075 <title>‘Magic’ cover sheet strings</title>
3076 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
3079 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
3082 <entry><code>$TYPE</code></entry><entry>DCP content type (e.g. feature, trailer...)</entry>
3085 <entry><code>$CONTAINER</code></entry><entry>The container ratio (e.g. flat, scope...)</entry>
3088 <entry><code>$AUDIO</code></entry><entry>Details of the audio channels</entry>
3091 <entry><code>$AUDIO_LANGUAGE</code></entry><entry>Audio language</entry>
3094 <entry><code>$SUBTITLE_LANGUAGE</code></entry><entry>Subtitle language</entry>
3097 <entry><code>$LENGTH</code></entry><entry>DCP length in hours, minutes and seconds</entry>
3100 <entry><code>$SIZE</code></entry><entry>DCP size in gigabytes</entry>
3107 The <guilabel>Reset to default text</guilabel> will replace the current cover sheet with DCP-o-matic's default.
3113 <!-- ============================================================== -->
3114 <section xml:id="sec-prefs-advanced">
3115 <title>Advanced</title>
3116 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
3119 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
3122 <figure id="fig-prefs-advanced">
3123 <title>Advanced preferences</title>
3126 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
3132 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
3133 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
3134 are advised to leave this at 250Mbit/s in normal use for maximum DCP
3139 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
3140 the DCP video frame rates that DCP-o-matic will create. This may be
3141 useful for experimentation. Again, you are strongly advised to leave
3142 this unticked for normal use.
3146 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
3147 JPEG2000 data only on encoding servers and not on the host. We
3148 suggest you leave this unticked unless you have a good reason to do otherwise.
3152 With the filename format fields you can adjust the filenames that are
3153 used for metadata (CPL and PKL files) and assets (MXF and subtitle
3154 files). Below each field there is a list of the ‘magic’
3155 values that you can use in the format and an example of a filename
3156 that you might see with your current settings.
3160 The four checkboxes labelled <guilabel>Log</guilabel> control what
3161 sort of messages DCP-o-matic writes to its log file when creating a
3162 DCP. It is useful to leave <guilabel>General</guilabel>,
3163 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
3164 as this makes the log files useful for tracking down bugs.
3168 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
3169 to allow developers to investigate and optimise the speed of
3170 DCP-o-matic. It will significantly increase the size of the log files
3171 that are generated, so in normal use it is best to leave this
3178 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
3179 <title>Frame rates</title>
3182 In an ideal world, a DCP would be created using content at the same
3183 video frame and audio sampling rates as the DCP. This is not,
3184 however, always possible.
3188 <!-- ============================================================== -->
3190 <title>DCP frame rate limitations</title>
3193 There are some limitations to video and audio frame rates in DCPs. This is
3194 complicated by the fact that not all projectors will play DCPs at the
3195 same frame rates. It is possible to create a DCP which one projector will
3196 play fine, but another (of a different type) will refuse to play.
3200 <!-- ============================================================== -->
3202 <title>Guaranteed rates</title>
3205 The only rates that are guaranteed to work on all DCI projectors are
3206 24 frames per second (fps) for video and 48kHz for audio. If you are
3207 sending DCPs to unknown places it is wise to consider using these
3208 rates if at all possible.
3214 <!-- ============================================================== -->
3216 <title>Other often-supported rates</title>
3218 Many projectors now in the wild support additional video frame rates:
3219 25, 30, 48, 50 and 60 fps.
3224 <!-- ============================================================== -->
3226 <title>Adapting content to fit the DCP rate</title>
3229 DCP-o-matic has a few tricks to allow you to use content that is not
3230 in one of the ‘approved’ rates.
3234 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
3235 with minimal loss in quality.
3239 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
3240 with a non-supported content rate is to run it at the wrong speed, and
3241 to adjust the audio to keep it in sync.
3244 <para>Let us consider the example of a 25fps source for which you want
3245 to create a 24fps DCP. DCP-o-matic will put the frames from the
3246 source directly into the DCP without modification, but will tell the
3247 projector to play them back at 24fps. This means that the DCP's video
3248 will run slightly slower than the original.
3252 If DCP-o-matic did nothing else, the result of this would be that the
3253 audio would be running at the original speed with the video running
3254 slowly. Hence the audio would drift slowly out of sync. To avoid
3255 this, DCP-o-matic also resamples the audio such that the projector
3256 will play it too slow by the same amount. Hence it will sound
3257 slightly different but will remain in sync with the video.
3261 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
3268 <!-- ============================================================== -->
3270 <title>Setting up</title>
3273 The <guilabel>Frame Rate</guilabel> control in the
3274 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
3275 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
3276 what DCP-o-matic thinks is the best for your content. With this
3277 button, DCP-o-matic assumes that the most commonly-working frame rates (24,
3278 25 and 30fps) are allowed.
3282 After this, the <guilabel>Video</guilabel> tab for each piece of
3283 content will give a summary of what DCP-o-matic is doing with that
3288 If you want to experiment with other non-standard frame rates, you can
3289 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
3290 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
3291 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
3292 use this only on your own equipment, and only for experimentation
3301 <!-- ============================================================== -->
3302 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
3303 <title>Encoding servers</title>
3306 One way to increase the speed of DCP encoding is to use more
3307 than one machine at the same time. An instance of DCP-o-matic can
3308 offload some of the time-consuming JPEG2000 encoding to any number of
3309 other machines on a network. To do this, one ‘master’
3310 machine runs DCP-o-matic, and the ‘server’ machines run
3311 a small program called <code>dcpomatic_server</code>.
3315 The master and server machines do not need to be the same type, so you
3316 can mix Windows PCs, Macs and Linux machines as you wish.
3320 <!-- ============================================================== -->
3322 <title>Running the servers</title>
3325 There are two options for the encoding server;
3326 <code>dcpomatic_server_cli</code>, which runs on the command line, and
3327 <code>dcpomatic_server</code>, which has a simple GUI. The command line
3328 version is well-suited to headless servers, especially on Linux, and
3329 the GUI version works best on Windows where it will put an icon in the
3334 To run the command line version, simply enter:
3338 dcpomatic2_server_cli
3342 at a command prompt. If you are running the program on a machine with
3343 a multi-core processor, you can run multiple parallel encoding threads
3344 by doing something like:
3348 dcpomatic2_server_cli -t 4
3352 to run 4 threads in parallel.
3356 To run the GUI version on windows, run the ‘DCP-o-matic encode
3357 server’ from the start menu. An icon will appear in the system
3358 tray; right-click it to open a menu from whence you can quit the
3359 server or open a window to show its status.
3362 <para>If you would rather not bother installing DCP-o-matic on your
3363 server computers, the other option is to use the live-CD
3364 image that you can download from the <ulink
3365 url="https://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
3367 <para>Either burn the image to CD, or write it to a USB stick (using
3368 something like <ulink
3369 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
3370 PC from the CD or USB stick and it becomes a DCP-o-matic server
3371 without touching your standard operating system install.
3376 <!-- ============================================================== -->
3378 <title>Setting up DCP-o-matic</title>
3381 DCP-o-matic periodically looks on the local network for servers. Any
3382 that it finds are given work to do during encodes. Selecting
3383 <guilabel>Encoding Servers</guilabel> from the
3384 <guilabel>Tools</guilabel> menu brings up a window which shows that
3385 servers that DCP-o-matic has found.
3390 <!-- ============================================================== -->
3392 <title>Some notes about encode servers</title>
3395 DCP-o-matic does not mind if servers come and go; if a server
3396 disappears, DCP-o-matic will stop sending work to it, and will check
3397 it every minute or so in case it has come back online.
3401 You will probably find that using a 1Gb/s or faster network will
3402 provide a significant speed-up compared to a 100Mb/s network.
3409 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3410 <title>Generated files</title>
3413 DCP-o-matic generates a number of files as it makes a DCP. <xref
3414 linkend="fig-file-structure"/> shows the files that might be generated
3415 after you have created a DCP for a film called ‘DCP Test’.
3418 <figure id="fig-file-structure">
3419 <title>Creating a new film</title>
3422 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
3428 The <code>DCP Test</code> folder is the one that you specify when you
3429 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
3430 menu. Everything is stored inside this folder.
3434 DCP-o-matic generates some working files as it goes along. These are as follows:
3437 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
3438 along. This can be useful for debugging purposes if something goes
3441 <listitem><code>metadata</code> stores the settings that you have made
3442 for this film: things like cropping, output format and so on.</listitem>
3444 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
3445 video data as it encodes it.</listitem>
3447 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
3449 <listitem><code>info</code> contains details of each video frame that
3450 DCP-o-matic has written so far. This is used when an encoding
3451 operation is interrupted and DCP-o-matic must resume it.</listitem>
3456 Following this is the DCP itself:
3457 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
3458 contains some small XML files, which describe the DCP, and two large
3459 MXF files, which contain the DCP's audio and video data. It may also
3460 contain subtitles in either XML or MXF format. This folder
3461 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
3462 to the cinema which is showing your DCP.
3469 <title>Command-line tools</title>
3472 DCP-o-matic includes some tools which allow DCP creation from the
3473 command line or from scripting languages. This chapter covers the
3478 There are three command-line tools in DCP-o-matic.
3479 <code>dcpomatic2_create</code> creates film directories, with the
3480 associated metadata, from a list of content files. Then
3481 <code>dcpomatic2_cli</code> runs the transcode process on these
3482 film directories. Finally, <code>dcpomatic2_kdm_cli</code> can be
3483 used to create KDMs.
3487 Some applications will benefit from setting up the films using the
3488 main DCP-o-matic GUI and then using <code>dcpomatic2_cli</code> to
3489 do the encode. This allows, for example, setup on a relatively
3490 low-powered machine before running the encode on a higher-powered
3495 <title><code>dcpomatic2_create</code></title>
3498 The syntax for <code>dcpomatic2_create</code> is:
3502 <code>dcpomatic2_create [OPTION] <CONTENT> [[OPTION] <CONTENT> ...]</code>
3506 <code>[CONTENT]</code> are the files or folders that you want to use in the
3509 <listitem>‘Movie’ files in almost any common format (e.g. MP4, MOV, MKV, etc.)</listitem>
3510 <listitem>A folder containing and image sequence in almost any common format (e.g. TIFF, DPX etc.)</listitem>
3511 <listitem>Sound files (e.g. WAV, MP3, AIFF)</listitem>
3512 <listitem>Subtitles files (e.g. <code>.srt</code>, DCP XML, <code>.ssa</code> etc.)</listitem>
3520 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_create.xml"/>
3523 For example, to setup a film using a MP4 file you might do:
3527 <code>dcpomatic2_create -o my_film --container-ratio 185 --content-ratio 185 -c FTR -n "My Film" Stuff.mp4</code>
3531 This will create a folder called <code>my_film</code> which is ready for a DCP to be made by <code>dcpomatic2_cli</code>.
3535 <code>dcpomatic2_create</code> will use any default settings that you have configured in the main DCP-o-matic preferences.
3540 <title><code>dcpomatic2_cli</code></title>
3543 The syntax for <code>dcpomatic2_cli</code> is:
3547 <code>dcpomatic2_cli [OPTION] [FILM]</code>
3550 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_cli.xml"/>
3553 For example, to encode a film called <code>my_film</code> you might do:
3557 <code>dcpomatic2_cli my_film</code>
3562 <title><code>dcpomatic2_kdm_cli</code></title>
3565 The syntax for <code>dcpomatic2_kdm_cli</code> is:
3569 <code>dcpomatic2_kdm_cli [OPTION] <FILM|CPL-ID></code>
3572 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_kdm_cli.xml"/>
3579 <!-- ============================================================== -->
3581 <title>Loose ends</title>
3584 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
3588 <!-- ============================================================== -->
3590 <title>Resuming encodes</title>
3593 If you cancel a DCP encoding run half-way through, or your computer
3594 crashes... fear not. DCP-o-matic takes care to ensure that, in most
3595 cases, it can resume encoding from where it left off. When you
3596 re-start a DCP creation, using the same settings are a previous run,
3597 DCP-o-matic will first check that the existing picture frames are
3598 correct, and then resume from where it left off. The checking of
3599 existing frames does take some time, but it is much faster than
3600 running a full re-encode.
3604 This resumption is achieved by writing a digest (hash) to disk for
3605 every image frame that is written. On resumption, the existing MXF
3606 file for image data is read and its contents checked against the
3614 <!-- ============================================================== -->
3615 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3616 <title>Common tasks</title>
3619 This chapter describes how to carry out some commonly-required tasks
3620 with DCP-o-matic. The full details are elsewhere in the manual: here
3621 we just discuss different approaches to these tasks and how to carry
3626 <title>Adding subtitles to an existing DCP</title>
3629 You have three options:
3633 <listitem>Make a “Version File” (VF) DCP.</listitem>
3634 <listitem>Make a complete DCP with projector-added subtitles.</listitem>
3635 <listitem>Make a complete DCP with burnt-in subtitles.</listitem>
3639 Making a VF DCP is usually the best option. This will be a very small
3640 DCP which contains only the subtitles: it refers to your existing DCP
3641 for the picture and sound. The projectionist will ingest both the
3642 existing and VF DCPs and play back the VF. The advantages of this
3643 approach are that the VF is very quick to generate, and small in size,
3644 making it easy to distribute. This is especially useful if you have
3645 to make VF DCPs in many different languages.
3649 Making a complete DCP with projector-added subtitles gives you a new,
3650 single DCP which the projectionist can ingest and play. It will be
3651 the same size as your existing DCP, and fairly quick to create. This
3652 approach relies on the projector (or server) to create the subtitles
3653 and overlay them on the image, which mostly works well but is not
3654 100% reliable.
3658 Making a complete DCP with burnt-in subtitles gives you a new, single DCP
3659 but with the subtitles rendered by DCP-o-matic and copied into your
3660 image. This is slower to create than a DCP with projector-added
3661 subtitles as every video frame with a subtitle must be re-encoded.
3662 The advantage of this approach is that it is less likely to go wrong,
3663 especially if you are using unusual subtitle positioning or character
3668 <title>Making a VF DCP</title>
3671 <listitem>Start a new DCP-o-matic film.</listitem>
3672 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3673 <listitem>Go to the <guilabel>DCP</guilabel> tab and choose <guilabel>Split by video content</guilabel> for <guilabel>Reel type</guilabel>.</listitem>
3674 <listitem>Go to the <guilabel>Video</guilabel> and
3675 <guilabel>Audio</guilabel> tabs in turn and tick the <guilabel>Use this DCP's audio as OV and make VF</guilabel> checkboxes.</listitem>
3676 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3677 <listitem>Check the subtitle appearance in the preview; it will be
3678 slow to respond as it is having to decompress images from the existing
3680 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3686 <title>Making a complete DCP with projector-added subtitles</title>
3689 <listitem>Start a new DCP-o-matic film.</listitem>
3690 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3691 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3692 <listitem>Check the subtitle appearance in the preview; it will be
3693 slow to respond as it is having to decompress images from the existing
3694 DCP. Adjust the appearance using controls in the
3695 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3696 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3702 <title>Making a complete DCP with burnt-in subtitles</title>
3705 <listitem>Start a new DCP-o-matic film.</listitem>
3706 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3707 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3708 <listitem>Go to the <guilabel>Subtitle</guilabel> tab and tick the <guilabel>Burn subtitles into image</guilabel> checkbox.</listitem>
3709 <listitem>Check the subtitle appearance in the preview; it will be
3710 slow to respond as it is having to decompress images from the existing
3711 DCP. Adjust the appearance using controls in the
3712 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3713 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3720 <title>Adding soundtracks or subtitles in different languages</title>
3723 If you have a film that is to be dubbed or subtitled in several
3724 languages, the best approach with DCP-o-matic is as follows:
3728 <listitem>Make a DCP with the common elements (perhaps just the video, or maybe the video and sound); this is known as the Original Version (OV).</listitem>
3729 <listitem>For each language, make a new Version File (VF) DCP which refers to the OV.</listitem>
3733 Once you have done this, you send the OV DCP to every cinema and then
3734 the appropriate VF to each cinema depending on what language they want
3735 to play the film in. The projectionist ingests both DCPs and then plays the VF.
3739 The advantage of this approach is that the VF DCPs are much smaller
3740 than the OV since they only have the language-specific parts. If you
3741 are just changing the subtitles you can often ship the OV by normal
3742 transport means (e.g. a hard drive or high-speed download) and send
3747 The full details of OV and VF files are discussed in <xref linkend="sec-overlay"/>. The steps can be summarised as follows:
3751 <listitem>Create a new DCP-o-matic project for the OV, as normal, adding video and perhaps sound. Make the DCP.</listitem>
3752 <listitem>Create a new DCP-o-matic project for the VF.</listitem>
3753 <listitem>Use <guilabel>Add folder...</guilabel> to add your OV DCP to the project.</listitem>
3754 <listitem>Select the video tab and tick <guilabel>Use this DCP's video as OV and make VF</guilabel> (you may need to select <guilabel>By video content</guilabel> for <guilabel>Reel type</guilabel> in the <guilabel>DCP</guilabel> tab).</listitem>
3755 <listitem>Do the same in the <guilabel>Audio</guilabel> tab if your OV has audio.</listitem>
3756 <listitem>Add your language-specific audio and/or subtitles and Make DCP.</listitem>
3763 <chapter xml:id="ch-player" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3764 <title>Playing DCPs</title>
3766 <para>DCP-o-matic includes a DCP player, and although it requires a
3767 very high-speed CPU to play DCPs in full resolution, it can also
3768 play DCPs at reduced resolutions with slower CPUs.</para>
3770 <para>To use the player, start <guilabel>DCP-o-matic
3771 Player</guilabel>, and load a DCP using the
3772 <guilabel>Open</guilabel> option on the <guilabel>File</guilabel>
3775 <para>If you load a VF and/or encrypted DCP you can add your OV
3776 and/or KDM using the appropriate options on the
3777 <guilabel>File</guilabel> menu.</para>
3779 <para>During playback the <guilabel>Performance</guilabel> area at
3780 the bottom right of the window will give details of how many frames
3781 are being dropped; these are frames that were not decoded from the
3782 DCP quickly enough. If this number is high you can increase
3783 performance at the cost of rendering quality by choosing an option
3784 from the <guilabel>View</guilabel> menu. If you set the player to
3785 decode at less than full resolution the DCP's data will be decoded
3786 at this lower resolution, which is quicker than decoding at full
3793 <chapter xml:id="ch-verifier" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3794 <title>Verifying DCPs</title>
3797 The player also offers a DCP verifier. To check a DCP,
3798 open it and then select <guilabel>Verify DCP</guilabel> from the
3799 <guilabel>Tools</guilabel> menu.
3803 The verifier will report three kinds of problems:
3807 <listitem><emphasis>Errors</emphasis> — serious problems with the DCP that are likely to cause problems on playback.</listitem>
3808 <listitem><emphasis>Bv2.1 errors</emphasis> — errors described by the <ulink url="https://ieeexplore.ieee.org/stamp/stamp.jsp?arnumber=9161348">SMPTE Bv2.1 standard</ulink>.</listitem>
3809 <listitem><emphasis>Warnings</emphasis> — small problems that may not matter.</listitem>
3813 The following sections list what the verifier checks for in each category.
3817 <title>Errors</title>
3818 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="verify_errors.xml"/>
3822 <title>Bv2.1 errors</title>
3823 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="verify_bv21_errors.xml"/>
3827 <title>Warnings</title>
3828 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="verify_warnings.xml"/>
3834 <!-- ============================================================== -->
3836 <title>Keyboard shortcuts</title>
3837 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="shortcuts.xml"/>
3841 <!-- ============================================================== -->
3842 <chapter xml:id="ch-config" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3843 <title>Configuration files</title>
3845 <para>Most of DCP-o-matic's configuration is stored in an XML file called <code>config.xml</code>. This is stored in different places depending on your operating system:</para>
3848 <listitem>Windows: <code>c:\Users\your_user_name\AppData\Local\dcpomatic</code></listitem>
3849 <listitem>OS X: <code>/Users/your_user_Name/Library/Preferences/com.dcpomatic/2</code></listitem>
3850 <listitem>Linux: <code>~/.config/dcpomatic2</code></listitem>
3853 <para>Possible XML tags are as follows:</para>
3855 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="config.xml"/>
3861 <!-- LocalWords: dbcent DCP matic Hetherington DCPs KDMs GPL XP sid
3863 <!-- LocalWords: matic's jessie Tahr Xenial Xerus Centos Mageia GTK
3865 <!-- LocalWords: Karner FFmpeg libsndfile libsamplerate OpenSSL waf
3867 <!-- LocalWords: libopenjpeg libssh wxWidgets libxml xmlsec libzip
3869 <!-- LocalWords: asdcplib libdcp libsub libcxml sstream sudo Sintel
3871 <!-- LocalWords: dcpomatic TMS SCP timecode DCP's unencrypted OV Gb
3873 <!-- LocalWords: Decrypting KDM decrypt decrypted MOV VOB WAV AIFF
3875 <!-- LocalWords: PNG srt ssa xml wav Lfe XYZ colourspace sRGB RGB
3877 <!-- LocalWords: colourspaces pdf fader CP Doremi CaptiView SubRip
3879 <!-- LocalWords: SubStation BluRay
projects / dcpomatic.git / blob