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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 If you are using a 32-bit version of Windows, you will need the 32-bit
100 installer. For 64-bit Windows, either installer will work, but I
101 suggest you use the 64-bit version as it will allow DCP-o-matic to
102 use more memory. You may find that DCP-o-matic crashes if you run
103 many parallel encoding threads (more than 4) on the 32-bit
110 <!-- ============================================================== -->
115 DCP-o-matic will run on macOS version 10.6 (Snow Leopard) and
116 higher. DCP-o-matic is split into seven separate applications, each of
117 which can be installed by downloading the <code>.dmg</code>,
118 double-clicking to open and then dragging the icon to your
119 <guilabel>Applications</guilabel> folder.
123 Make sure you choose the correct download, depending on whether you are running macOS 10.9 (Mavericks) (or higher) or something older.
127 If you don't know which parts of DCP-o-matic to install, start
128 with the first (main) part.
133 <!-- ============================================================== -->
135 <title>Debian, Ubuntu or Mint Linux</title>
138 You can install DCP-o-matic on:
142 <listitem>Debian 9 (‘squeeze’), 10 (‘buster’) and unstable (‘sid’)</listitem>
143 <listitem>Ubuntu 16.04 (‘Xenial Xerus’), 18.04 (‘Bionic Beaver’), 19.10 (‘Eoan Ermine’) and 20.04 (‘Focal Fossa’)</listitem>
144 <listitem>Mint 18 and 19</listitem>
148 using <code>.deb</code> packages: download the appropriate package
149 from <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
150 and double-click it. Debian, Ubuntu or Mint will install the necessary bits and
151 pieces and set DCP-o-matic up for you.
154 <!-- ============================================================== -->
157 <!-- ============================================================== -->
159 <title>Fedora, Centos and Mageia Linux</title>
161 <para>There are <code>.rpm</code> packages for Fedora 30, 31 and 32, Centos 7 and 8 and Mageia 7 on
162 <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
165 <!-- ============================================================== -->
167 <!-- ============================================================== -->
169 <title>Arch Linux</title>
171 Packages for Arch Linux are available from <ulink
172 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
173 thanks to Stefan Karner.
178 <!-- ============================================================== -->
180 <title>Other Linux distributions</title>
183 Installation on other Linux systems (for which no packages are
184 available) is quite hard as it must be compiled from source. If you
185 can't download packages for your distribution, do let me know by
186 <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I will look
187 into providing packages on the website.
191 The following dependencies are required:
193 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
194 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
195 <listitem><ulink url="http://www.mega-nerd.com/SRC/">libsamplerate</ulink></listitem>
196 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
197 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
198 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
199 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
200 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
201 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
202 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
203 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
204 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
205 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
206 <listitem><ulink url="http://carlh.net/asdcplib">asdcplib with some patches</ulink></listitem>
207 <listitem><ulink url="http://carlh.net/libdcp">libdcp</ulink></listitem>
208 <listitem><ulink url="http://carlh.net/libsub">libsub</ulink></listitem>
209 <listitem><ulink url="http://carlh.net/libcxml">libcxml</ulink></listitem>
210 <listitem><ulink url="https://carlh.net/locked_sstream">locked_sstream</ulink></listitem>
211 <listitem><ulink url="https://www.music.mcgill.ca/~gary/rtaudio/">rtaudio</ulink></listitem>
212 <listitem><ulink url="http://site.icu-project.org">libicu</ulink></listitem>
217 Once you have installed the development packages for the dependencies,
218 download the source code from <ulink
219 url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>,
220 unpack it and run the following commands from inside the source
225 ./waf configure --disable-tests
231 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
248 <!-- ============================================================== -->
249 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
250 <title>Creating a DCP from a video</title>
253 In this chapter we will see how to create a DCP from a video file using
254 DCP-o-matic. We will gloss over the details and look at the basics.
258 <title>Creating a new film</title>
261 Let's make a very simple DCP to see how DCP-o-matic works. First, we
262 need some content. Download the low-resolution trailer for the open
263 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
264 url="https://download.blender.org/durian/trailer/Sintel_Trailer.480p.DivX_Plus_HD.mkv">their
265 website</ulink>. Generally one would want to use the
266 highest-resolution material available, but for this test we will use
267 the low-resolution version to save everyone's bandwidth bills.
271 Now, start DCP-o-matic and its window will open. First, we will
272 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
273 some pieces of content, along with some settings, which we will make into
274 a DCP. DCP-o-matic stores its data in a folder on your disk while it
275 creates the DCP. You can create a new film by selecting
276 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
277 shown in <xref linkend="fig-file-new"/>.
280 <figure id="fig-file-new">
281 <title>Creating a new film</title>
284 <imagedata fileref="screenshots/file-new&scs;"/>
290 This will open a dialogue box for the new film, as shown in <xref
291 linkend="fig-video-new-film"/>.
294 <figure id="fig-video-new-film">
295 <title>Dialogue box for creating a new film</title>
298 <imagedata fileref="screenshots/new-film&scs;"/>
304 In this dialogue box you can choose a name for the film. This will be
305 used to name the folder to store its data in, and also as the initial
306 name for the DCP itself. You can also choose whereabouts you want to create
307 the film. In the example from the figure, DCP-o-matic will create a
308 folder called ‘DCP Test’ inside my existing folder <code>DCP</code> into which it
309 will write its working files.
315 <!-- ============================================================== -->
317 <title>Adding content</title>
320 The next step is to add the content that you want to use. DCP-o-matic
321 can make DCPs from multiple pieces of content, but in this example we
322 will use a single piece. Click the <guilabel>Add
323 file(s)...</guilabel> button, as shown in <xref
324 linkend="fig-add-file"/>, and a file chooser will open for you to
325 select the content file to use, as shown in <xref
326 linkend="fig-video-select-content-file"/>.
329 <figure id="fig-add-file">
330 <title>Adding content files</title>
333 <imagedata fileref="screenshots/add-file&scs;"/>
338 <figure id="fig-video-select-content-file">
339 <title>Selecting a video content file</title>
342 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
348 Select your content file and click <guilabel>Open</guilabel>. In this
349 case we are using the Sintel trailer that we downloaded earlier.
353 When you do this, DCP-o-matic will take a look at your file. After a
354 short while (when the progress bar at the bottom right of the window
355 has finished), you can look through your content using the slider to
356 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
359 <figure id="fig-examine-content">
360 <title>Examining the content</title>
363 <imagedata fileref="screenshots/examine-content&scs;"/>
369 Dragging the slider will move through your video. You can also click
370 the <guilabel>Play</guilabel> button to play the content back.
378 <!-- ============================================================== -->
380 <title>Making the DCP</title>
382 <para>In most cases, some adjustments would be made to DCP-o-matic's
383 settings once the content has been added. For our simple test,
384 however, the default values will suffice, so we can go straight onto
385 making the DCP.</para>
388 Choose <guilabel>Make DCP</guilabel> from the
389 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
390 This may take some time (many hours in some cases). While the job is
391 in progress, DCP-o-matic will update you on how it is getting on with
392 the progress bar in the bottom of its window, as shown in <xref
393 linkend="fig-making-dcp"/>.
396 <figure id="fig-making-dcp">
397 <title>Making the DCP</title>
400 <imagedata fileref="screenshots/making-dcp&scs;"/>
406 When it has finished, the DCP will end up on your disk inside the
407 film's folder. You can then copy this to a projector via a USB
408 stick, hard-drive or network connection. See <xref
409 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
413 Alternatively, DCP-o-matic can upload your DCP directly to a projector
414 or Theatre Management System (TMS) that is accessible via SCP or FTP
415 across your network. See the <xref linkend="sec-prefs-tms"
416 endterm="sec-prefs-tms-short"/> in <xref linkend="sec-prefs-tms"/>.
423 <!-- ============================================================== -->
424 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
425 <title>Creating a DCP from a still image</title>
428 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
429 for an advertisement or an on-screen announcement. This chapter shows you
434 As with DCPs made from video files, the first step is to create a new
435 ‘Film’; select <guilabel>New</guilabel> from the
436 <guilabel>File</guilabel> menu and the new film dialogue will open as
437 shown in <xref linkend="fig-still-new-film"/>.
440 <figure id="fig-still-new-film">
441 <title>Dialogue box for creating a new film</title>
444 <imagedata fileref="screenshots/new-film&scs;"/>
450 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
451 the content. As before, click <guilabel>Add file(s)...</guilabel>.
452 For our example, we will add a single image file, as shown in <xref
453 linkend="fig-still-select-content-file"/>.
456 <figure id="fig-still-select-content-file">
457 <title>Selecting a still content file</title>
460 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
466 Most of the default settings will be fine for a simple test. The one
467 thing that you might wish to change is the length of the still.
468 Select the <guilabel>Timing</guilabel> tab and you will see a
469 <guilabel>Full length</guilabel> setting, as shown in <xref
470 linkend="fig-timing-tab"/>.
473 <figure id="fig-timing-tab">
474 <title>The timing tab</title>
477 <imagedata fileref="screenshots/timing-tab&scs;"/>
483 This length is a ‘timecode’: it consists of four numbers.
484 The first is hours, the second minutes, the third seconds, and the
485 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
489 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
490 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
491 be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
492 to encode a single frame which it can then repeat.
498 <!-- ============================================================== -->
499 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" id="ch-manipulating-existing-dcps">
500 <title>Manipulating existing DCPs</title>
503 DCP-o-matic is often used to take content in formats such as MP4 and
504 make it into a DCP. It can also be used to take existing DCPs and
505 modify them in various ways.
509 <title>Importing a DCP into DCP-o-matic</title>
512 The first step in manipulating an existing DCP is to import it. Click
513 <guilabel>Add DCP...</guilabel> and select your DCP's folder. It will
514 be added to the DCP-o-matic project. If the DCP is unencrypted you
515 can preview it in the normal way, though playback will be slow as
516 decoding of DCPs is almost as computationally intensive as encoding
521 If your DCP is a Version File (VF) (i.e. it refers to
522 another DCP's assets) you should import it as follows:
526 <listitem>Use <guilabel>Add DCP...</guilabel> to import the VF DCP.
527 The VF DCP will be added to the content list and marked “NEEDS
528 OV”.</listitem>
529 <listitem>Right-click on the VF DCP in the content list and choose <guilabel>Add OV...</guilabel> from the menu.</listitem>
530 <listitem>Choose the folder that contains the OV DCP. The VF will now be playable as normal.</listitem>
536 <section xml:id="sec-decrypting">
537 <title>Decrypting encrypted DCPs</title>
540 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
541 details). If you import an encrypted DCP you will need a key, in the
542 form of a Key Delivery Message (KDM), to decrypt it.
546 KDMs must be prepared by the organisation which created the DCP. They
547 contain the keys to decrypt the DCP wrapped up in such a way that only
548 the intended recipient can read them. You will need to provide the
549 organisation with a certificate which identifies your copy of
550 DCP-o-matic and allows them to create a KDM for you.
554 To get DCP-o-matic's decryption certificate, open the Preferences
555 dialogue (see <xref linkend="ch-preferences"/>) and go to the
556 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
557 decryption certificate...</guilabel> button at the bottom of this tab
558 and save the certificate. Send this certificate to the DCP creators
559 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
563 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
564 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and the DCP
565 will be decrypted and become available for preview.
572 <title>Making a DCP from a DCP</title>
575 In many ways, using DCPs as <emphasis>content</emphasis> in
576 DCP-o-matic is the same as using any other content. There are a few
577 things to note, though.
582 <title>Re-use of existing data</title>
585 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
586 data from DCP content without modification. This has the advantage
587 that creation of the new DCP will be quick, as the time-consuming
588 JPEG2000 encoding is not necessary.
592 DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
593 the following content settings:
597 <listitem>Crop</listitem>
598 <listitem>Scaling</listitem>
599 <listitem>Subtitle burn-in</listitem>
600 <listitem>Fades</listitem>
601 <listitem>Colour conversion</listitem>
605 DCP-o-matic will be forced to decode and re-encode your JPEG2000 data
606 if you change any of these settings on a piece of DCP content.
612 <section xml:id="sec-overlay">
613 <title>Making overlay files</title>
616 With its default settings, DCP-o-matic will take any data from DCP
617 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
620 <figure id="fig-dcp-copy">
621 <title>Creating a new DCP by copying an existing one</title>
622 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
626 This can be inefficient in some cases. Consider, for example, a film
627 which has ten different translations for which the subtitles are
628 different but video and audio are the same. If the video and audio
629 content takes up, say, 100Gb this means that the set of DCPs for every
630 translation would be about 1Tb with a lot of duplicated data.
634 The DCP format has a solution to this problem. One DCP can refer to
635 the ‘assets’ (picture, sound or subtitle) of another DCP.
636 For our translation example this means that we could have a
637 ‘base’ DCP (often called the OV or Original Version)
638 containing video, audio and one set of subtitles and then any number
639 of overlay DCPs (often called VF or Version Files) which refer to the
640 base version and replace the original subtitles with their own. <xref
641 linkend="fig-dcp-refer"/> shows this principle for one of our
642 translations. The DCP that we make refers to the original content
643 DCP's video and audio rather than containing a copy.
646 <figure id="fig-dcp-refer">
647 <title>Creating a new DCP by referring to an existing one</title>
648 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
652 To play back the subtitled DCP the projectionist ingests both the base
653 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
657 To make a DCP like this:
661 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
662 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
663 <listitem>Select the DCP in the content list</listitem>
664 <listitem>Tick the <guilabel>Use's this DCP's ... as OV and make VF</guilabel> checkbox
665 in the tabs for the parts of the DCP that you want to refer to in your
666 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>
667 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
677 <!-- ============================================================== -->
680 <!-- ============================================================== -->
681 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
682 <title>Content settings</title>
685 The previous chapters showed DCP generation using the default
686 settings. DCP-o-matic offers a range of features to adjust the
687 content that goes into your DCP, and this chapter describes those
692 <title>Adding and removing content</title>
695 At the top of the <guilabel>Content</guilabel> tab is a list of the
696 content that will go into our DCP. There can be as many pieces of
697 content as you like, and they can be of the following types:
701 <listitem>Movie — a file containing some video, probably some
702 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
705 <listitem>Sound — a file containing one or more channels of
706 audio; for example, a WAV or AIFF file.
709 <listitem>Still image — a file containing a single still image; for
710 example, a JPEG, PNG or TIFF file.
713 <listitem>Moving image — a directory containing many still
714 images which should be treated as the frames of a video.
717 <listitem>Subtitle — a file containing subtitle which will be
718 superimposed on the image of the DCP. These can be
719 <guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel>, <guilabel>.ass</guilabel> or <guilabel>.xml</guilabel>
722 <listitem>DCP — an existing DCP.</listitem>
726 To add one or more movie, sound, still-image or subtitle files, select
727 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
731 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"/>.
734 <table id="tab-audio-file-naming">
735 <title>Audio file naming</title>
736 <tgroup cols='3' align='left' colsep='1' rowsep='1'>
740 <entry>Examples</entry>
741 <entry>Channel</entry>
746 <entry><code>L</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
747 <entry>film-L.wav my_movie_L_final.wav</entry>
751 <entry><code>R</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
752 <entry>film-R.wav my_movie_R_final.wav</entry>
756 <entry><code>C</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
757 <entry>film-C.wav my_movie_C_final.wav</entry>
758 <entry>Centre</entry>
761 <entry><code>Lfe</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
762 <entry>film-Lfe.wav my_movie_Lfe_final.wav</entry>
763 <entry>LFE (sub)</entry>
766 <entry><code>Ls</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
767 <entry>film-Ls.wav my_movie_Ls_final.wav</entry>
768 <entry>Left surround</entry>
771 <entry><code>Rs</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
772 <entry>film-Rs.wav my_movie_Rs_final.wav</entry>
773 <entry>Right surround</entry>
780 To add a directory (folder) of images, choose <guilabel>Add
781 folder...</guilabel> and choose the directory from the selector.
782 DCP-o-matic will open a small dialogue box where you can enter the
783 frame rate that the image sequence should be run at.
787 To add a DCP, choose <guilabel>Add DCP...</guilabel> and choose the
788 DCP's directory from the selector.
792 You can remove a piece of content by clicking on its name and then
793 clicking the <guilabel>Remove</guilabel> button.
798 <!-- ============================================================== -->
800 <title>Adding existing DCPs</title>
802 <para>Adding existing DCPs to a DCP-o-matic film is a little different
803 to adding other types of content. Most content has to be converted to
804 JPEG2000, the compression scheme used by DCPs, which is a very
805 time-consuming process. Existing DCPs are already in JPEG2000 format
806 so do not require conversion. This means that, provided no settings
807 such as crop are used on the DCP content, picture and sound data will
808 be passed from existing to new DCP unaltered.
811 <para>Encrypted DCPs that are added as content will require a KDM
812 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
813 should ask the creator of the imported DCP to provide a KDM for
814 DCP-o-matic's decryption certificate, which can be obtained by
815 clicking <guilabel>Export DCP decryption certificate...</guilabel>
816 from the <guilabel>Keys</guilabel> tab of the
817 <guilabel>Preferences</guilabel> dialog (see <xref
818 linkend="sec-prefs-keys"/>).
823 <!-- ============================================================== -->
825 <title>Content Properties</title>
828 Below the content list are the controls to set content properties. To
829 adjust the properties for a piece of content, click its name in the
830 content list. The content property controls will then become active
831 for that piece of content.
835 If you want to change the properties for multiple pieces of content at
836 the same time, select the content in the list by clicking the first
837 piece then clicking the other pieces with <keycap>shift</keycap> key
838 held down. Note that not all settings can be changed in this way.
842 The content properties are split up into four sections:
843 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
844 <guilabel>Timed text</guilabel> and <guilabel>Timing</guilabel>. Not
845 all of these sections will be active for all content types. The controls
846 in each section are described below.
852 <!-- ============================================================== -->
857 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
860 <figure id="fig-video-tab">
861 <title>Video settings tab</title>
864 <imagedata fileref="screenshots/video-tab&scs;"/>
870 <!-- ============================================================== -->
872 <title>Use this DCP's video as OV and make VF</title>
875 This option is only applicable if the selected content is an existing
876 DCP. It allows you make a VF DCP, using the video content from the
877 existing DCP by referencing it (rather than copying). See <xref
878 linkend="sec-overlay"/>.
883 <!-- ============================================================== -->
885 <title>Image type</title>
888 The next option on this tab is the ‘type’ of the video.
889 This specifies how DCP-o-matic should interpret the video's image.
890 <guilabel>2D</guilabel> is the default; this just takes the video
891 image as a standard 2D frame. The <guilabel>3D
892 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
893 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
896 <figure id="fig-3d-left-right">
897 <title>3D left/right image type</title>
900 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
906 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
907 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
908 linkend="fig-3d-top-bottom"/>.
911 <figure id="fig-3d-top-bottom">
912 <title>3D top/bottom image type</title>
915 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
921 Another option is <guilabel>3D alternate</guilabel> which takes the
922 first frame of the content as for the left eye, the second for the
923 right eye, the third for the left, and so on. Finally, you can
924 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
925 only</guilabel> if this content contains only the the left or right
926 eye images. This is useful when you have the left and right eye image
927 sets in different files; you can specify one content as <guilabel>3D
928 left only</guilabel> and another as <guilabel>3D right only</guilabel>
929 and DCP-o-matic will pick up the appropriate frames from each.
935 <!-- ============================================================== -->
937 <title>Filtering</title>
940 The ‘filters’ settings allow you to apply various video
941 filters to the image. These may be useful to try to improve
942 poor-quality sources like DVDs. You can set up the filters by clicking the
943 <guilabel>Edit</guilabel> button next to the filters entry in the
944 setup area of the DCP-o-matic window; this opens the filters selector
945 as shown in <xref linkend="fig-filters"/>.
948 <figure id="fig-filters">
949 <title>Filters selector</title>
952 <imagedata fileref="screenshots/filters&scs;"/>
958 After changing the filters setup, you will need to regenerate the DCP
959 to see the effect on the cinema screen. The preview in DCP-o-matic
960 will update itself whenever filters are changed, though of course this
961 image may be smaller and of lower resolution than a projected image!
967 <!-- ============================================================== -->
969 <title>Colour conversion</title>
972 The <guilabel>Colour conversion</guilabel> setting specifies what
973 colour transforms and gamma correction DCP-o-matic will use when
974 converting the selected content into the XYZ colourspace for the DCP.
978 The easiest way to select the required conversion is to choose one of
979 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
980 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
981 know which preset you should use, refer to the suggestions in <xref
982 linkend="tab-colour-conversion"/>.
985 <table id="tab-colour-conversion">
986 <title>Suggested colour conversion settings</title>
987 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
988 <colspec colwidth='1*'/>
989 <colspec colwidth='5*'/>
992 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs.</entry>
995 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
998 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
1001 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
1008 For other required colour conversions, and if you know what you are
1009 doing, you can choose <guilabel>Custom</guilabel> which will open the full
1010 colour conversion editing dialogue box:
1013 <figure id="fig-colour-conversion">
1014 <title>Dialogue box for custom colour conversion</title>
1017 <imagedata fileref="screenshots/colour-conversion&scs;"/>
1023 Alternatively, choose <guilabel>None</guilabel> if your source files
1024 are already in the XYZ colour space and require no conversion.
1028 DCP-o-matic's colour conversion processes are discussed in much more
1029 detail in a separate document <ulink
1030 url="https://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
1035 <!-- ============================================================== -->
1037 <title>Other settings</title>
1040 The <guilabel>crop</guilabel> settings can be used to crop your
1041 content, which is often used to remove black borders from the edges of
1042 the image. The specified number of pixels will be trimmed from each
1043 edge, and the content image in the right of the window will be updated
1044 to show the effect of the crop.
1048 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
1049 settings can be used to apply linear fades into and out of a piece of
1050 content. Specify the time for each, clicking <guilabel>Set</guilabel>
1051 after making any changes.
1055 The <guilabel>Scale to</guilabel> option governs the shape that
1056 DCP-o-matic will scale the content's image into. Select the aspect
1057 ratio that your content should be presented in.
1062 <!-- ============================================================== -->
1064 <title>Video description</title>
1067 At the bottom of the video tab is a short description of what will
1068 happen to your video with the current settings. In the example of
1069 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
1070 video file is 2048x872 pixels and it has square pixels (a pixel
1071 aspect ratio of 1.00) hence its display aspect ratio is 2.35:1. Since
1072 the controls specify ‘2.35’ for the ratio, DCP-o-matic
1073 does not scale the image but pads it to the DCP's container ratio of
1074 1.85:1. For a 2K DCP this is 1998x1080 pixels.
1078 This description also gives the frame rate of the content and what
1079 will happen to it when it is played at the DCP's frame rate. See
1080 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
1081 frame-rate conversion.
1089 <!-- ============================================================== -->
1091 <title>Audio</title>
1094 The <guilabel>Audio</guilabel> tab controls properties of the sound, as shown in <xref linkend="fig-audio-tab"/>.
1097 <figure id="fig-audio-tab">
1098 <title>Audio settings tab</title>
1101 <imagedata fileref="screenshots/audio-tab&scs;"/>
1106 <!-- ============================================================== -->
1108 <title>The audio map</title>
1111 The section at the bottom of the audio tab is the ‘audio
1112 map’. This governs how sound from the content will be arranged
1117 Down the left-hand side of the map is the list of audio channels in
1118 the currently-selected piece of content. These are labelled with two
1119 numbers; the first is the stream index within the content and the
1120 second is the channel number within that stream. Some content will
1121 have different streams for different languages or audio mixes. Along
1122 the top is each channel in the DCP. A green box means that the
1123 corresponding content channel will be copied into the corresponding
1128 When content channels are copied into DCP channels they can be done
1129 with variable gain. If, for example, you want to copy a channel
1130 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1131 two channels into one, you may want to use a gain of -6dB on each one
1132 to prevent clipping when the two channels are added.
1136 The green boxes of the audio mapping view tell you (very roughly) how
1137 much gain is applied to each channel. A full-height box means 0dB
1138 (i.e. unity) gain. Any less height indicates lower gain.
1142 To map one channel to another with 0dB gain, click in the empty box
1143 and it will turn green to reflect the mapping. A second click will
1144 turn the mapping back off. To set some other gain, right-click on the
1145 box to open the gain menu. This allows you to set
1146 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1147 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1148 <guilabel>Edit</guilabel> which allows you to set the required gain
1153 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1156 <figure id="fig-audio-map-eg1">
1157 <title>Audio map example 1</title>
1160 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1166 Here, we have two channels in the source which are mapped to left and
1167 right, respectively, in the DCP. The full green boxes show that the
1168 mapping is at unity gain (0dB) in each case. Imagine that we modify
1169 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1172 <figure id="fig-audio-map-eg2">
1173 <title>Audio map example 2</title>
1176 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1182 We now have the content's streams mapped to left and right and also
1183 mixed together and placed in the DCP's centre channel. The smaller
1184 green boxes on the centre mappings show that those channels are added
1185 with some non-unity gain; you can see by hovering the mouse pointer
1186 over those boxes that the gain for content channels 1 and 2 is -6dB
1187 when being sent to the centre channel and 0dB when being sent to left
1191 <figure id="fig-audio-map-eg3">
1192 <title>Audio map example 3</title>
1195 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1201 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1202 shows the mapping of a 5.1 source into a 5.1 DCP.
1208 <!-- ============================================================== -->
1210 <title>Other controls</title>
1213 The <guilabel>Use this DCP's audio as OV and make VF</guilabel>
1214 checkbox is only applicable if the selected content is an existing
1215 DCP. It allows you to make a VF DCP, using the audio content from the
1216 existing DCP by referencing it (rather than copying). See <xref
1217 linkend="sec-overlay"/>.
1221 <guilabel>Show graphs of audio levels</guilabel> will analyse the
1222 audio of the selected content and plot it on a graph. See <xref
1223 linkend="sec-show-audio"/> for more details.
1227 ‘Audio Gain’ is used to alter the volume of the
1228 soundtrack. The specified gain (in dB) will be applied to each sound
1229 channel of your content before it is written to the DCP.
1233 If you use a sound processor that DCP-o-matic knows about, it can help
1234 you calculate changes in gain that you should apply. Say, for
1235 example, that you make a test DCP and find that you have to run it at
1236 volume 5 instead of volume 7 to get a good sound level in the screen.
1237 If this is the case, click the <guilabel>Calculate...</guilabel>
1238 button next to the audio gain entry, and the dialogue box in <xref
1239 linkend="fig-calculate-audio-gain"/> will open.
1242 <figure id="fig-calculate-audio-gain">
1243 <title>Calculating audio gain</title>
1246 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1252 For our example, put 5 in the first box and 7 in the second and click
1253 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1254 that it should apply to make this happen. Then you can re-make the
1255 DCP (this will be reasonably fast, as the video data will already have
1256 been done) and it should play back at the correct volume with 7 on
1257 your sound-rack fader.
1261 Current versions of DCP-o-matic only know about the Dolby CP650 and
1262 CP750. If you use a different sound processor, and know the gain
1263 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1268 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1269 between audio and video. A positive delay will move the audio later
1270 with respect to the video, and a negative delay will move it earlier.
1277 <!-- ============================================================== -->
1279 <title>Timed text (subtitles and closed captions)</title>
1282 The timed text tab contains settings related to subtitles and closed captions in your
1283 content, as shown in <xref linkend="fig-timed-text-tab"/>.
1286 <figure id="fig-timed-text-tab">
1287 <title>Timed text settings tab</title>
1290 <imagedata fileref="screenshots/timed-text-tab&scs;"/>
1296 Depending on where timed text comes from it can sometimes be used as
1297 either an open subtitle (to be overlaid onto the cinema screen and
1298 seen by everybody) or as a closed caption (to be displayed to
1299 individual viewers using a special system such as the Doremi
1304 DCP-o-matic can either:
1308 <listitem>Extract timed text that is embedded in video files, or</listitem>
1309 <listitem>Use timed text from SubRip (<code>.srt</code>), SubStation
1310 Alpha (<code>.ssa</code> or <code>.ass</code>) or DCP XML files. You may find the great
1312 url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
1313 for creating such files.</listitem>
1317 Embedded timed text is usually represented using a set of bitmaps,
1318 especially on files that have come from DVD or BluRay. Such text can
1319 be used as a subtitle, but not a closed caption (since the closed
1320 captioning system requires the text to be delivered as
1321 character codes rather than an image).
1324 <para>In contrast, SubRip, SubStation Alpha or DCP text can be used as either a subtitle or a closed caption.</para>
1327 With subtitles you have the further choice of whether to burn the
1328 subtitles into the image or include them as a separate subtitle
1329 ‘asset’ within your DCP (in which case the projector
1330 overlays them onto the image on playback). The difference between
1331 burn-in and overlay is illustrated by <xref linkend="fig-burn-in"/>
1332 and <xref linkend="fig-discrete"/>.
1335 <figure id="fig-burn-in">
1336 <title>Burnt-in subtitles</title>
1339 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1344 <figure id="fig-discrete">
1345 <title>Separate subtitles</title>
1348 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1354 The advantage of separate subtitles is that the same video content can
1355 be used for DCPs in many different languages. This means that only a
1356 small text file needs to be changed for each target language, rather
1357 than a large video file. It also means that the time-consuming video
1358 encoding need only be done once for the project rather than once for
1363 Select the <guilabel>Use as</guilabel> check-box to enable the timed
1364 text in the selected content, then choose what you want to use the
1365 text for: open subtitles or closed captions.
1369 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1370 burn subtitles into the image; if this is not ticked the
1371 subtitles will be included separately in the DCP to be rendered by the
1376 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1377 controls move subtitles around within the image. These controls have
1378 no effect for closed captions. The offsets are expressed as a
1379 percentage of the video frame size; 100% X offset is the entire width
1380 of the frame, and 100% Y offset is the entire height. Hence, to move
1381 the subtitles down by half the frame height you would use a Y offset
1386 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1387 controls scale subtitles. These controls have no effect for closed
1388 captions. Scale values of 1 make the subtitles the same size
1389 (relative to the size of the image) as they are on the original.
1390 Values lower than 1 make them smaller, and values higher make them
1391 larger. You can stretch the subtitles in either direction by
1392 specifying different values for X and Y scale. Subtitles from DVD and
1393 Blu Ray sources are frequently larger (relative to the video frame)
1394 than those typically used for DCP, so it is often useful to scale such
1395 subtitles down using these controls.
1399 The <guilabel>Line spacing</guilabel> control adjusts the line spacing
1400 of the subtitles. This only works for subtitles that did not come from bitmaps.
1404 The <guilabel>Stream</guilabel> control changes the subtitle stream
1405 that is used when the content has more than one.
1409 If you are using non-image (text) subtitles or closed captions you can see the
1410 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1411 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1415 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1416 change how the subtitles look. Some of the controls in the
1417 <guilabel>Appearance</guilabel> only apply to burnt-in subtitles, as
1418 only limited control is available for subtitles rendered by the
1425 <!-- ============================================================== -->
1427 <title>Timing</title>
1430 The timing tab contains settings related to the timing of your
1431 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1434 <figure id="fig-timing-tab-detail">
1435 <title>Timing settings tab</title>
1438 <imagedata fileref="screenshots/timing-tab&scs;"/>
1444 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1445 These are expressed as four numbers, as shown in <xref
1446 linkend="fig-timecode"/>.
1449 <figure id="fig-timecode">
1450 <title>Timecode</title>
1453 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1459 <guilabel>Position</guilabel> is the time at which this piece of
1460 content should start within the DCP. In most cases, this will be
1461 <code>0:0:0:0</code> to make the content start at the beginning of the
1466 <guilabel>Full length</guilabel> is the length of the piece of
1467 content. This can only be set for still-image content: for video or
1468 sound content, it is fixed by the nature of the content file. If
1469 still-image content is being used you can set the length for which it
1470 should be displayed using this control.
1474 <guilabel>Trim from start</guilabel> specifies the amount that should
1475 be trimmed from the start of the content. You can set this amount to
1476 trim up to the current preview position by clicking <guilabel>Trim up
1477 to current position</guilabel>.
1481 <guilabel>Trim from end</guilabel> specifies the amount that should be
1482 trimmed from the end of the content. You can set this amount to trim
1483 after the current preview position by clicking <guilabel>Trim after to
1484 current position</guilabel>.
1488 <guilabel>Play length</guilabel> indicates how long this piece of
1489 content will be once the trims have been applied. This will be equal
1490 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1494 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1495 still-image content. It can also be used to override the detected
1496 frame rate of other content if DCP-o-matic has got it wrong.
1500 Each timecode control has a <guilabel>Set</guilabel> which you should
1501 click when you have entered a new value for a timecode. The
1502 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1503 any changes to the corresponding timecode.
1509 <!-- ============================================================== -->
1511 <title>Timeline</title>
1514 The timeline window gives an overview of all the pieces of content
1515 in your film, and how they are arranged. You can open the
1516 timeline by clicking the <guilabel>Timeline...</guilabel> button
1517 next to the content list. This will open a window like the one in <xref linkend="fig-timeline1"/>.
1520 <figure id="fig-timeline1">
1521 <title>Timeline</title>
1524 <imagedata fileref="screenshots/timeline1&scs;"/>
1530 The horizontal axis represents time, and you can see the time codes (in
1531 hours:minutes:seconds) along the bottom of the window. Pieces of
1532 content are represented with rectangles in the main part of the
1533 window. Content containing different types of data (e.g. a MP4
1534 file with video, audio and subtitles) have a rectangle for each
1539 Within the timeline you can select content by clicking, and drag
1540 it to change its position. Right-clicking a piece of content will
1541 open the content menu.
1545 The toolbar at the top of the window offers the following tools:
1549 <listitem>Select — to select and move content.</listitem>
1550 <listitem>Zoom in — to drag out an area that you want to see more closely.</listitem>
1551 <listitem>Zoom out — to zoom out so that the window shows the whole film.</listitem>
1552 <listitem>Snap — when enabled, content will snap to other content when you drag it close.</listitem>
1553 <listitem>Sequence — when enabled, content will be kept in sequence, without gaps, even if some content is removed.</listitem>
1557 <!-- ============================================================== -->
1559 <title>Video processing pipeline</title>
1562 This section gives a little more detail about how DCP-o-matic process
1563 video as it takes it from a source and puts it into a DCP.
1567 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1568 image which is letterboxed with 36 black pixels each at the top and
1569 bottom, and the video content within the letterbox should be presented
1570 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1571 happen with a trailer). The source image is shown in <xref
1572 linkend="fig-pipeline1"/>.
1575 <figure id="fig-pipeline1">
1576 <title>Example image to demonstrate video processing</title>
1579 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1585 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1589 <listitem>Crop</listitem>
1590 <listitem>Scale</listitem>
1591 <listitem>Place in container</listitem>
1595 First, some amount of the image can be cropped. This is almost always
1596 used to remove black borders (letterboxing and/or pillarboxing) around
1601 In our example image, we would use 36 pixels of crop from the top and
1602 bottom. This would give the new image shown in <xref
1603 linkend="fig-pipeline2"/>.
1606 <figure id="fig-pipeline2">
1607 <title>Example image after cropping</title>
1610 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1616 The next step is to scale the image. Since this content should be
1617 presented in a 2.39:1 (scope) aspect ratio inside a 1.85:1 (flat) DCP we would select
1618 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1619 option in the <guilabel>Video</guilabel> tab and
1620 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1621 option in the <guilabel>DCP</guilabel> tab.
1624 <para>The <guilabel>Scale to</guilabel> option should always be set to
1625 the aspect ratio at which the content should be seen. The
1626 <guilabel>Container</guilabel> option should be set to the preset that
1627 you want to use on the projector. Of course, these two settings will
1632 Given the scaling and container information, DCP-o-matic will look at
1633 the DCP's container size, and then scale the source image up until one
1634 or both of its dimensions (width, height or both) fits the size of the
1635 container, all the while preserving the desired aspect ratio.
1639 In our example here, the DCP's container is specified as 1.85:1 (so
1640 that the DCP will play back correctly using the projector's
1641 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1642 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1643 result in the image hitting the sides of the container first, at a
1644 size of 1998 x 836. This gives us a new version of the image as shown
1645 in <xref linkend="fig-pipeline3"/>.
1648 <figure id="fig-pipeline3">
1649 <title>Example image after cropping and scaling</title>
1652 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1658 The final step is to place the image into the DCP. In this case,
1659 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1660 we have set the <guilabel>container</guilabel> in the
1661 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1662 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1663 be some black bars at the top and bottom of the image. DCP-o-matic
1664 shares out this black equally, as shown in <xref
1665 linkend="fig-pipeline3"/>.
1668 <figure id="fig-pipeline4">
1669 <title>Example image in the DCP</title>
1672 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1681 <title>Copy and paste settings</title>
1684 Once you have set up a piece of content it is possible to copy the
1685 settings you have applied to another piece of content. To do this,
1686 select the content to copy from and choose <guilabel>Copy</guilabel>
1687 from the <guilabel>Edit</guilabel> menu. Then select the content to
1688 copy to and choose <guilabel>Paste</guilabel>. A dialogue box will
1689 open to allow you to choose which settings you want to copy. Clicking
1690 <guilabel>OK</guilabel> will apply the copied settings.
1699 <!-- ============================================================== -->
1700 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1701 <title>DCP settings</title>
1704 This chapter describes the settings that apply to the whole DCP. The
1705 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1706 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1709 <figure id="fig-dcp-tab">
1710 <title>DCP settings tab</title>
1713 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1719 The first thing here is the name. This is generally set to the title
1720 of the film that is being encoded. If <guilabel>Use ISDCF
1721 name</guilabel> is not ticked, the name that you specify will be used
1722 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1723 is ticked, the name that you enter will be used as part of a
1724 ISDCF-compliant name.
1728 Underneath the name field is a preview of the name that the DCP will
1729 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1730 name</guilabel> check-box. The ISDCF name will be composed using details
1731 of your content's soundtrack, the current date and other things that
1732 can be specified in the ISDCF name details dialogue box, which you can
1733 open by clicking on the <guilabel>Details</guilabel> button.
1737 If you want to take the ISDCF-compliant name that DCP-o-matic
1738 generates and modify it, click <guilabel>Copy as name</guilabel> and
1739 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1740 You can then edit it as you wish. The DCP name should not matter (in
1741 that it should not affect how the DCP ingests or plays) but
1742 projectionists will appreciate it if you use the standard naming
1743 scheme as it makes it easier to identify details of the content.
1747 The <guilabel>Content Type</guilabel> option can be
1748 ‘feature’, ‘trailer’ or whatever; select the
1749 required type from the drop-down list. On some projection systems
1750 this will affect where your content appears in the projector's server
1751 user interface, so take care to select an appropriate type.
1755 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1756 is signed. This is rarely important; if in doubt, tick it.
1760 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1761 should be encrypted or not. If this is ticked, the DCP will require a
1762 KDM to play back. Encryption is discussed in <xref
1763 linkend="ch-encryption"/>.
1767 If you use encryption DCP-o-matic will generate a random encryption
1768 key for you. To specify your own key, click the
1769 <guilabel>Edit..</guilabel> button next to the key.
1773 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1774 controls specify how the DCP will be split up into
1775 ‘reels’. See <xref linkend="sec-reels"/>.
1779 The <guilabel>Standard</guilabel> option specifies which of the two
1780 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1781 more modern of the two).
1785 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1786 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1790 At the bottom of the DCP tab are a further two tabs, one each to
1791 contain the settings for the DCP's video and audio parts.
1795 The <guilabel>Container</guilabel> option sets the ratio of the image
1796 in the DCP. If this ratio is different to the ratio used for any
1797 content, DCP-o-matic will pad the content with black. In simple cases
1798 this should be set to the same ratio as that for the the primary piece
1799 of video content. Alternatively, you might want to pillarbox a small
1800 format into a Flat container: in this case, select the small format
1801 for the content's ratio and ‘Flat’ for the DCP.
1805 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1806 your DCP. This can be a little tricky to get right. Ideally, you
1807 want it to be the same as the video content that you are using. If it
1808 is not the same, DCP-o-matic must resort to some tricks to alter your
1809 content to fit the specified frame rate. Frame rates are discussed in
1810 more detail in <xref linkend="ch-frame-rates"/>.
1814 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1815 to what DCP-o-matic thinks is the best given the content that you have
1820 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1821 is checked. A 3D DCP will then be created, and any 2D content will be
1822 made 3D compatible by repeating the same frame for both left and right
1823 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1824 Real-D etc.) but not on a 2D system.
1828 The <guilabel>Resolution</guilabel> tab allows you to choose the
1829 resolution for your DCP. Use 2K unless you have content that is of
1830 high enough resolution to be worth presenting in 4K.
1834 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1835 the final image files used within the DCP will be. Larger numbers
1836 will give better quality, but correspondingly larger DCPs. The
1837 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1838 Most commercial DCPs use bit rates between 75 and 125 Mbit/s.
1842 <guilabel>Re-encode JPEG2000 data from input</guilabel> governs
1843 whether or not JPEG2000-encoded data from a piece of content (usually
1844 a DCP) will be re-used in the output data as-is or whether it will be
1845 decoded and re-encoded by DCP-o-matic. If the option is enabled
1846 DCP-o-matic will decompress any JPEG2000 data it finds and re-encode
1847 it. This is useful if you want to reduce the bitrate of a DCP.
1848 Usually you will achieve better quality and quicker results by leaving
1849 this option switched off.
1853 The <guilabel>Audio Channels</guilabel> control sets the number of
1854 audio channels that the DCP will have. If the DCP has any channels
1855 for which there is no content audio they will be replaced by silence.
1856 You can only set an even number of channels here, since that is
1857 required by the DCI standard. If you want an odd number of channels,
1858 set the DCP channel count to one greater than you need and the
1859 unused channel will be filled with silence.
1863 The <guilabel>Processor</guilabel> control allows you to select a
1864 process to apply to the audio before it goes into the DCP. Three processes are currently provided:
1868 <listitem>Mid-side decode — this will take a L/R
1869 stereo input and extract the common part (corresponding to the
1870 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1871 The remaining L/R parts will be kept in the L/R channels of the DCP.
1872 This may be useful to make near-field L/R mixes more compatible with
1873 cinema audio systems.</listitem>
1874 <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:
1876 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1877 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1878 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1879 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1880 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1881 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1884 This upmixing algorithm is due to Gérald Maruccia.
1887 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1889 <listitem>DCP L is input L.</listitem>
1890 <listitem>DCP R is input R.</listitem>
1891 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1892 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1893 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1898 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.
1900 <!-- ============================================================== -->
1901 <section xml:id="sec-reels">
1902 <title>Reels</title>
1905 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1906 way as a 35mm reel is a section of a film. A DCP can be split up into
1907 any number of reels and the joins (the equivalent to 35mm splices or changeovers)
1908 between the reels are seamless.
1912 There is no reason why you can't just use a single reel for the whole
1913 of your DCP, as there is no limit to their length. Many people choose
1918 There are, however, some possible advantages of splitting things up
1924 The picture, sound and subtitle data of the DCP will be
1925 split up into more smaller files on disk, rather than fewer larger
1926 files. This can be useful if the DCP is to be transferred on storage
1927 that have file size limits. The FAT32 filesystem, for example, can
1928 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1929 not be transferred using a FAT32-formatted disk. If that DCP were
1930 split up into two 3Gb reels it could be transferred.
1933 It is easier to re-use DCP components if they are in reels. Consider,
1934 for example, a film company who wants to put a 5 second ident onto the
1935 beginning of DCPs that they distribute. If they receive a feature
1936 film DCP they can modify it to add their ident as a separate reel.
1937 This is easier than attaching the picture data to the feature's existing data.
1942 DCP-o-matic offers three options for setting up the reels in your DCP:
1943 <guilabel>single reel</guilabel>, <guilabel>split by video content</guilabel> or <guilabel>custom</guilabel>.
1947 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1948 This is a perfectly good option if you have no particular reason to
1953 <guilabel>Split by video content</guilabel> puts each piece of source
1954 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1957 <figure id="fig-reels-by-video">
1958 <title>Making reels using split by video content</title>
1959 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1963 Here we have three video files (<code>ident.mp4</code>,
1964 <code>feature.ts</code> and <code>cred.mov</code>). With
1965 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1966 reel to hold each video file.
1970 <guilabel>Custom</guilabel> splits reels by the size of the files that
1971 will make up their video content. With <guilabel>Custom</guilabel>
1972 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1978 <!-- ============================================================== -->
1979 <section xml:id="sec-show-audio">
1980 <title>Show audio</title>
1983 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1984 to examine the audio in your content and plot a graph of its level
1985 over time. This can be useful for getting a rough idea of how loud
1986 the sound will be in the cinema auditorium. A typical plot is shown
1987 in <xref linkend="fig-audio-plot"/>
1990 <figure id="fig-audio-plot">
1991 <title>Audio plot</title>
1994 <imagedata fileref="screenshots/audio-plot&scs;"/>
2000 The plot gives the audio level (vertical axis, in dB) with time
2001 (horizontal axis). 0dB represents full scale, so if there is anything
2002 near this you are in danger of clipping the projector's audio outputs.
2006 There are two plot types: the peak level and the RMS, which can be
2007 shown or hidden using the check-boxes on the right hand side of the
2012 The channel check-boxes will show or hide the plot(s) for
2013 the corresponding channels in the DCP.
2017 The smoothing slider applies a variable degree of temporal smoothing
2018 to the plots, which can make them easier to read in some cases.
2022 Obviously the audio plot is no substitute for listening in an
2023 auditorium, but it can be useful to get levels in the right rough area.
2031 <!-- ============================================================== -->
2032 <chapter xml:id="ch-templates" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2033 <title>Templates</title>
2036 If you frequently make DCPs with similar settings you may find it
2037 useful to use templates.
2041 Say, for example, you often make 4K feature DCPs from video files in
2042 ’scope at 25fps. You can speed up this process by following
2047 <listitem>Create a film with any content and set it up how you like;
2048 in our example, set the content to scale to DCP, the DCP resolution
2049 to 4K, and so on.</listitem>
2050 <listitem>Choose <guilabel>Save as template...</guilabel> from the <guilabel>File</guilabel> menu.</listitem>
2051 <listitem>Enter a name for your template.</listitem>
2055 Then in the future you can create a new film, tick the
2056 <guilabel>Template</guilabel> box and choose your previously-saved
2057 template. The basic film's settings will come from your template, and
2058 when you add some content it will take on the settings of the
2059 first similarly-typed piece of content in your template.
2063 For example, if the template has a piece of video content and some
2064 subtitles, any video that you add to the new film will take on the
2065 settings of the video in the template. Similarly, any subtitles that
2066 you add will take on the settings of the subtitles from the template.
2070 The following settings from the <guilabel>DCP</guilabel> tab are saved
2075 <listitem>“Use ISDCF name” checkbox</listitem>
2076 <listitem>Content type (FTR, TLR etc.)</listitem>
2077 <listitem>Container</listitem>
2078 <listitem>Resolution</listitem>
2079 <listitem>JPEG200 bandwidth</listitem>
2080 <listitem>Video frame rate</listitem>
2081 <listitem>Signed and encrypted checkboxes</listitem>
2082 <listitem>Audio channels</listitem>
2083 <listitem>Standard (Interop / SMPTE)</listitem>
2084 <listitem>Audio processor</listitem>
2085 <listitem>Reel type and length</listitem>
2086 <listitem>Upload after make DCP checkbox</listitem>
2090 In addition to this, the settings (but not the filenames) of any
2091 content in the template are stored, as discussed above. The status of
2092 the <guilabel>Keep video and subtitles in sequence</guilabel> checkbox
2093 from the timeline is also preserved.
2099 <!-- ============================================================== -->
2100 <chapter xml:id="ch-export" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2101 <title>Export</title>
2104 As well as creating DCPs from the content you specify, DCP-o-matic
2105 can also export projects to ProRes and MP4 files. This is most
2106 often useful to convert DCPs to a file that is smaller and easier to play back.
2110 To convert a DCP to ProRes or MP4, the first step is start a new
2111 project and import the DCP (see <xref
2112 linkend="ch-manipulating-existing-dcps"/>). Then, choose
2113 <guilabel>Export...</guilabel> from the <guilabel>Jobs</guilabel>
2114 menu to open the export dialogue, as shown in <xref linkend="fig-export"/>.
2117 <figure id="fig-export">
2118 <title>Export dialogue</title>
2121 <imagedata fileref="screenshots/export&scs;"/>
2127 From this dialogue you can select the required output format,
2128 output file and, in the case of MP4, the quality of the output
2129 file. Higher quality files will, of course, be larger.
2133 You can also choose whether to mix down multichannel sources to stereo and whether you want to write separate reels to separate files.
2137 <!-- ============================================================== -->
2138 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2139 <title>Encryption</title>
2142 DCP's do not have to be encrypted, but they can be. This
2143 chapter discusses the basic principles of DCP encryption, and how
2144 DCP-o-matic can create encrypted DCPs and KDMs for them.
2148 <!-- ============================================================== -->
2150 <title>Basics</title>
2153 DCPs can be encrypted. This means that the picture and sound data are
2154 encoded in such a way that only cinemas ‘approved’ by the
2155 DCP's creators can read them. In particular, this means copies of the
2156 DCP can be distributed by insecure means: if a bad person called
2157 Mallory obtains a hard drive containing an encrypted DCP, there is no
2158 way that he can play it. Only those cinemas who receive a correct key
2159 delivery message (KDM) can play the DCP.
2163 <!-- ============================================================== -->
2165 <title>How it works</title>
2168 This section attempts to summarise how DCP encryption works. You can
2169 skip it if you like. You may need some knowledge of encryption
2170 methods to understand it.
2174 We suppose that we are trying to send a DCP to
2175 Alice's cinema without a troublemaker called Mallory being able to
2180 There are two main families of encryption techniques. The first,
2181 symmetric-key encryption, allows us to encode some data using some
2182 numeric key. After encoding, no-one can decode the data unless they
2187 The first step in a DCP encryption is to encode its data with a random key
2188 using symmetric-key encryption. The encrypted DCP can then be sent
2189 anywhere, safe in the knowledge that even if Mallory got hold of a
2190 copy, he could not decrypt it.
2194 Alice, however, needs to know the key so she can play the DCP in her
2195 cinema. A simple approach might be for us to send Alice the key.
2196 However, if Mallory can intercept the DCP, he might also be able to
2197 intercept our communication of the key to Alice. Furthermore, if Alice
2198 happened to know Mallory, she could just send him a copy of the key.
2202 The clever bit in the process requires the use of public-key
2203 encryption. With this technique we can encrypt a block of data using
2204 some ‘public’ key. That data can then only be decrypted
2205 using a corresponding private key which is
2206 <emphasis>different</emphasis> to the public key. The private and
2207 public keys form a pair which are related mathematically, but it is
2208 extremely hard (or rather, virtually impossible) to derive the private
2209 key from the public key.
2213 Public-key encryption allows us to distribute the DCP's key to Alice
2214 securely. The manufacturer of Alice's projector generates a public
2215 and private key. They hide the private key inside the projector where
2216 no-one can read it. They then make the public key available to anyone
2221 DCP-o-matic has a similar arrangement except that it stores its
2222 private keys in the user's configuration file. See <xref
2223 linkend="sec-decrypting"/> for details of how to share DCP-o-matic's
2224 certificate so that others can make encrypted DCPs for DCP-o-matic.
2228 We take our DCP's symmetric key and encrypt it using the public key of
2229 Alice's projector. We send the result to Alice over email (using a
2230 format called a Key Delivery Message, or KDM). Her projector then
2231 decrypts our message using its private key, yielding the magic
2232 symmetric key which can decrypt the DCP.
2236 If is fine if Mallory intercepts our email to Alice, since the only
2237 key which can decrypt the message is the private key buried inside
2238 Alice's projector. The projector manufacturer is very careful that
2239 no-one ever finds out what this key is. Our DCP is secure: only Alice
2240 can play it back, since only her projector knows the key (even Alice
2248 <!-- ============================================================== -->
2250 <title>Encryption using DCP-o-matic</title>
2253 There are two steps to distributing an encrypted DCP. First, the
2254 DCP's data must be encrypted, and secondly KDMs must be generated for
2255 those cinemas that are allowed to play the DCP.
2259 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
2260 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
2261 encrypt the DCP that it makes using a random key that DCP-o-matic
2262 generates. The key will be written to the film's metadata file, which
2263 should be kept secure.
2267 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
2268 ticked will not play on any projector as-is (it will be marked as
2269 ‘locked’, or whatever the projector manufacturer's term
2274 The second part of distributions is to generate KDMs for the cinemas
2275 that you wish to allow to play your DCP. There are two approaches to
2276 this within DCP-o-matic: using the project, or using a DKDM. These
2277 approaches are now described in turn.
2281 <title>Creating KDMs from a DCP-o-matic project</title>
2284 You can create KDMs from inside a DCP-o-matic project using the
2285 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
2286 menu. This will open the KDM dialogue box, as shown in <xref
2287 linkend="fig-kdm"/>.
2290 <figure id="fig-kdm">
2291 <title>KDM dialog</title>
2294 <imagedata scale="35" fileref="screenshots/kdm&scs;"/>
2300 In order to generate KDMs for a particular projector, you need to know
2301 its <emphasis>certificate</emphasis>. These are usually made
2302 available by the projector manufacturers as text files with a
2303 <code>.pem</code> extension.
2307 DCP-o-matic can store these certificates along with details of their
2308 cinemas and screens within those cinemas. Each screen has a
2309 certificate for its projector (and optionally certificates for other
2310 trusted devices, such as the sound processor). DCP-o-matic can
2311 generate KDMs for any screens that it knows about.
2315 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
2316 a dialogue box into which you can enter the cinema's name, and
2317 optionally an email address. This email address can be used to
2318 get DCP-o-matic to deliver KDMs via email.
2322 Once you have added a cinema, select it by clicking on its name, then
2323 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2324 allows you to enter a name for the screen and load in its certificate
2325 from a file. The certificate should be in SHA256 PEM format.
2329 Alternatively, certificates for projection systems made by some
2330 manufacturers can be downloaded from databases provided by the
2331 manufacturer. Currently this is supported for Doremi, Dolby, Barco,
2332 Christie and GDC equipment (through downloading Barco, Christie or GDC
2333 certificates requires you to have an appropriate account set up in
2334 DCP-o-matic's preferences). If you are targeting a screen with
2335 equipment by one of these manufacturers you can click
2336 <guilabel>Download</guilabel> then enter the serial number of the
2337 server in the screen and click <guilabel>Download</guilabel> again
2338 and, all being well, the certificate will be fetched. Most cinema
2339 projection or technical departments will know these serial numbers.
2343 Note that the reliability of the manufacturers' certificate databases
2344 cannot be guaranteed. It is vital that KDMs are tested by the
2345 destination cinema will in advance of show time to identify any
2350 Once you have set up all the screens that you need KDMs for, select
2351 the CPL that you want to create the KDM for. You can use the
2352 drop-down list to select the CPLs in the current film project, or load
2353 a CPL from somewhere else. Select the cinemas and/or screens that you
2354 want KDMs for and fill in the start and end dates and times.
2358 You must also select the type of KDM that you want to generate. If in
2359 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2363 The differences between the three KDM types are fairly subtle.
2364 <guilabel>DCI Specific</guilabel> and <guilabel>DCI Any</guilabel> add
2365 a <code><ContentAuthenticator></code> tag to the KDM which
2366 allows the exhibitor to check that the DCP and KDM have come from a
2367 bona-fide source. In addition, <guilabel>DCI Specific</guilabel> adds
2368 information on trusted devices to the KDM. This allows the KDM
2369 creator to specify devices (such as sound processors) that are allowed
2370 to use keys delivered by the KDM. At present it is not clear how
2371 widely the <guilabel>DCI Specific</guilabel> and <guilabel>DCI
2372 Any</guilabel> features are supported (or even tolerated) by servers
2373 so you are advised to use <guilabel>Modified Transitional
2378 Finally, choose what you want to do with the KDMs. They can be
2379 written to disk, to a location that you can specify by clicking
2380 <guilabel>Browse</guilabel>. Alternatively, if you choose
2381 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2382 emailed to the appropriate cinema email addresses. Click
2383 <guilabel>Make KDMs</guilabel> to generate the KDMs.
2389 <title>Creating KDMs using a DKDM</title>
2393 It can be inconvenient to need a whole DCP-o-matic project just to
2394 create KDMs for its film. Perhaps you want to archive the project to
2395 save space, or create KDMs on a different machine. In such situations
2396 it is easier to use a DKDM. This is a normal KDM, but instead of
2397 being targeted at a projection system (to allow it to decrypt the
2398 content) it is targeted at a particular user's certificate. This
2399 means that the certificate owner can create new KDMs for other users.
2400 The DKDM holds everything that is required to create further KDMs.
2404 Sometimes it is useful to create DKDMs that can be used by
2405 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2406 any point in the future, use DCP-o-matic's standalone KDM creator to
2407 make KDMs for the DKDM's film for any cinema.
2411 In other cases a DKDM is sent to a 3rd party so that they can create
2412 KDMs for your films. This can be useful if, for example, you have a
2413 distributor who provides 24-hour KDM support to cinemas and can create
2414 KDMs for anybody that requires them at short notice.
2418 To create a DKDM for DCP-o-matic, open your encrypted project and
2419 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2420 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2421 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2422 be available in the KDM creator. This is a separate program which you
2423 can start from the same place that you start the ‘normal’
2424 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2427 <figure id="fig-kdm-creator">
2428 <title>The KDM creator</title>
2431 <imagedata scale="30" fileref="screenshots/kdm-creator&scs;"/>
2437 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2438 to be created for, the date range, the DCP that the KDMs are for and
2439 the destination for the KDMs and click <guilabel>Create
2444 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2445 which you have clicked <guilabel>Make DKDM for
2446 DCP-o-matic</guilabel> in the main DCP-o-matic program. If you have
2447 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2448 specifying the file containing the DKDM.
2452 If another organisation wants to send you a DKDM they will ask you for
2453 a target certificate. You can get DCP-o-matic's target certificate by
2454 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2455 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2463 <title>Encryption keys</title>
2466 You must be careful when using encryption not to lose important keys.
2470 If you are making KDMs from a DCP-o-matic film you
2471 <emphasis>must</emphasis> ensure that you have a backup of the
2472 <code>metadata.xml</code> file from the project, as well as the DCP
2477 If you are using a DKDM you <emphasis>must</emphasis> ensure that you
2478 have a backup of DCP-o-matic's <code>config.xml</code> file, since it
2479 contains the only key which can decrypt the DKDM. The
2480 <code>config.xml</code> file location depends on your operating
2481 system; possible locations are listed in <xref linkend="ch-config"/>.
2487 <title>Should I encrypt?</title>
2490 The question of whether encryption is appropriate for a given
2491 project is a tricky one.
2495 On the one hand, if you distribute an unencrypted DCP it is easy for
2496 anybody to take it and do whatever they want with its contents.
2497 They could use DCP-o-matic to convert it to a MP4, show it in
2498 their cinema, or even edit and redistribute it in ways that you
2503 Encryption prevents this, but brings its own problems. It will be
2504 impossible for a cinema to screen your DCP unless they have the
2505 correct KDM. This is easy enough if things work as they should,
2506 but problems can occur. For example, cinemas may substitute
2507 broken playout servers with new ones without telling you: then the
2508 KDM that you sent them will be invalid, and a new one required.
2509 If the cinema can't get in touch with you, or somebody else who
2510 can create a new KDM, they can't screen your DCP. Often these
2511 problems are only discovered very close to showtime, with little
2516 If you are distributing encrypted DCPs widely it is worth thinking
2517 about who will make the KDMs, and who will provide quick-response
2518 technical support. It may be a good idea to engage a company who can
2519 provide such services.
2526 <title>Encryption overview</title>
2528 <figure id="fig-encryption-overview">
2529 <title>Overview of encryption</title>
2532 <imagedata fileref="diagrams/crypt&dia;"/>
2542 <!-- ============================================================== -->
2543 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2544 <title>Preferences</title>
2547 DCP-o-matic provides preferences which can be used to modify its
2548 behaviour. They are described in this chapter.
2552 Preferences can be edited by choosing
2553 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2554 menu. This opens a dialogue which is split into eleven tabs.
2557 <!-- ============================================================== -->
2559 <title>General</title>
2562 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2565 <figure id="fig-prefs-general">
2566 <title>General preferences</title>
2569 <imagedata fileref="screenshots/prefs-general&scs;"/>
2575 <!-- ============================================================== -->
2577 <title>Language</title>
2580 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2581 a language from the list, that language will be used for DCP-o-matic.
2582 You will need to restart DCP-o-matic to see the new language.
2586 The translations for DCP-o-matic have been contributed by helpful
2587 users. If your language is not on the last, head to <ulink
2588 url="https://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2589 find out how to contribute a translation.
2594 <!-- ============================================================== -->
2596 <title>Interface complexity</title>
2599 Choose <guilabel>Simple</guilabel> to see a cut-down, simplified
2600 interface or <guilabel>Full</guilabel> to see DCP-o-matic's full
2606 <!-- ============================================================== -->
2608 <title>Number of threads DCP-o-matic should use</title>
2611 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2612 to speed things up. Set this value to the number of threads
2613 DCP-o-matic should use. This should normally be the number of
2614 processors (or processor cores) in your machine. DCP-o-matic will try
2615 to set this up correctly when you run it for the first time.
2621 <!-- ============================================================== -->
2623 <title>Number of threads DCP-o-matic encode server should use</title>
2626 This is the number of threads that the encode server should use when
2627 it is running and helping another copy of DCP-o-matic to speed up its
2634 <!-- ============================================================== -->
2636 <title>Configuration file</title>
2639 This is the location of DCP-o-matic's configuration file on disk. You
2640 can use this to share configuration between several copies of
2641 DCP-o-matic, across a network share, for instance.
2645 <!-- ============================================================== -->
2647 <title>Cinema and screen database file</title>
2650 This option allows you to change the file that DCP-o-matic uses to
2651 store details of the cinemas and screens used to make KDMs.
2656 <!-- ============================================================== -->
2658 <title>Play sound via</title>
2661 The checkbox to the left of <guilabel>Play sound</guilabel> enables or
2662 disables DCP-o-matic use of sound. On some machines there will be
2663 multiple options in the drop-down menu to decide how the sound should
2668 <!-- ============================================================== -->
2670 <title>Integrated loudness</title>
2673 If <guilabel>Find integrated loudness, true peak and loudness range
2674 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2675 work when analysing audio. Leave this ticked if the extra parameters
2676 are useful to you. If not, untick it and audio analysis will be
2682 <!-- ============================================================== -->
2684 <title>Automatically analyse content audio</title>
2687 If this checkbox is ticked an audio analysis will be run whenever content is added that contains sound.
2691 <!-- ============================================================== -->
2693 <title>Updates</title>
2696 The <guilabel>Check for updates on startup</guilabel> option, if
2697 enabled, will tell DCP-o-matic to check on <ulink
2698 url="https://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2699 newer versions of DCP-o-matic then the one you are running. If so, a
2700 dialogue box will open with a link to download the new version.
2704 The <guilabel>Check for testing updates as well as stable
2705 ones</guilabel> option will also check for test updates as well as
2706 those that are formally ‘released’. This is useful if you
2707 like to live on the bleeding edge!
2711 <!-- ============================================================== -->
2713 <title>Issuer and creator</title>
2716 With these controls you can set the issuer and creator strings that
2717 will be put into the DCPs which you create.
2723 <!-- ============================================================== -->
2725 <title>Defaults</title>
2728 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2731 <figure id="fig-prefs-defaults">
2732 <title>Defaults preferences</title>
2735 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2741 The options in this tab simply allow you to set up default values for
2742 various properties of new films.
2747 <!-- ============================================================== -->
2749 <title>Servers</title>
2752 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2755 <figure id="fig-prefs-servers">
2756 <title>Servers preferences</title>
2759 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2765 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2766 locate encoding servers automatically (see <xref
2767 linkend="ch-servers"/>).
2771 Instead of this (or in addition) servers can be specified explicitly.
2772 To add a server, click <guilabel>Add...</guilabel> and enter the host
2773 name or IP address of the server to use.
2779 <!-- ============================================================== -->
2780 <section xml:id="sec-prefs-keys">
2784 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) has controls
2785 related to the keys and certificates used in some parts of DCP
2789 <figure id="fig-prefs-keys">
2790 <title>Keys preferences</title>
2793 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2799 <guilabel>Export KDM decryption certificate...</guilabel> allows you
2800 to save the certificate that DCP-o-matic uses when decrypting KDMs
2801 that you give it. Use this option if somebody wants to make a KDM for
2802 you and asks for your certificate.
2806 <guilabel>Export all KDM decryption settings...</guilabel> exports a
2807 file which contains all the DCP-o-matic settings related to the use of
2808 KDMs supplied by other people. Use this button and <guilabel>Import
2809 all KDM decryption settings...</guilabel> to transfer settings between
2810 different copies of DCP-o-matic so that they can both use the same
2815 The two <guilabel>Advanced...</guilabel> buttons open advanced
2816 dialogue boxes for detailed manipulation of DCP-o-matic's certificate
2823 <title>Advanced keys settings</title>
2826 At the top of the <guilabel>Advanced</guilabel> dialogue for signing
2827 DCPs and KDMs is the chain of certificates that will be used to sign
2828 DCPs and KDMs. DCP-o-matic creates a random chain when you first run
2829 it and if you are happy to use this chain you can ignore the
2830 preferences. Otherwise, you can add or remove certificates from the
2831 chain using the <guilabel>Add...</guilabel> and
2832 <guilabel>Remove</guilabel> buttons.
2836 If you want DCP-o-matic to re-create the certificate chain (using new,
2837 random certificates) click <guilabel>Re-make
2838 certificates and key...</guilabel> and specify your organisation and common
2839 names in the dialogue box that opens.
2843 Underneath the certificate chain is the private key that corresponds
2844 to the leaf certificate in the chain. You can specify your own
2845 private key by clicking <guilabel>Import...</guilabel>. You must do
2846 this if you change the leaf certificate, so that the leaf private key
2847 corresponds to the public key held in the leaf certificate.
2851 At the top of the <guilabel>Advanced</guilabel> dialogue for decrypting DCPs is the chain and key which is used by
2852 DCP-o-matic when you import an encrypted DCP as a piece of content.
2853 The leaf certificate of this chain contains the public key that should
2854 be used when targeting a KDM at DCP-o-matic.
2858 Clicking <guilabel>Export chain...</guilabel> will
2859 export the whole certificate chain.
2864 <!-- ============================================================== -->
2865 <section xml:id="sec-prefs-tms">
2867 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2870 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2871 options for specifying details about your theatre management system
2872 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2873 you can upload DCPs directly from DCP-o-matic to the TMS using the
2874 <guilabel>Send DCP to TMS</guilabel> option in the
2875 <guilabel>Jobs</guilabel> menu.
2878 <figure id="fig-prefs-tms">
2879 <title>TMS preferences</title>
2882 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2888 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2889 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2890 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2891 FTP. Do let us know if you use any other type of TMS with the
2892 <guilabel>Send DCP to TMS</guilabel> feature.
2896 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2897 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2898 should be uploaded to (which will be relative to the home directory of
2899 the SSH or FTP user). Finally, the user name and password are the
2900 credentials required to log into the TMS via SSH or FTP.
2904 Note that for this to work on Doremi servers you will need to set the
2905 <code>PasswordAuthentication</code> option in your server's
2906 <code>sshd_config</code> to <code>yes</code>.
2912 <!-- ============================================================== -->
2914 <title>Email</title>
2917 The Email tab is shown in <xref linkend="fig-prefs-email"/>.
2920 <figure id="fig-prefs-email">
2921 <title>Email preferences</title>
2924 <imagedata fileref="screenshots/prefs-email&scs;"/>
2930 These settings are used when DCP-o-matic sends emails.
2934 <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.
2939 <!-- ============================================================== -->
2941 <title>KDM email</title>
2944 The KDM email tab is shown in <xref linkend="fig-prefs-kdm-email"/>.
2947 <figure id="fig-prefs-kdm-email">
2948 <title>KDM email preferences</title>
2951 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2957 This is a template for the email that is used to send KDMs out to
2958 cinemas. You can change it to say whatever you like. A few
2959 ‘magic’ strings will be replaced by information from the
2960 KDM that is being sent; these strings are shown in <xref linkend="tab-kdm-magic"/>.
2963 <table id="tab-kdm-magic">
2964 <title>‘Magic’ KDM strings</title>
2965 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2968 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2971 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2974 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2977 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2980 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2987 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2992 <!-- ============================================================== -->
2994 <title>Notifications</title>
2997 The Notifications tab is shown in <xref linkend="fig-prefs-notifications"/>.
3000 <figure id="fig-prefs-notifications">
3001 <title>Notifications preferences</title>
3004 <imagedata fileref="screenshots/prefs-notifications&scs;"/>
3010 DCP-o-matic can notify the user when jobs have completed. These
3011 notifications can be either or both of a message box on-screen (if
3012 <guilabel>Message box</guilabel> is ticked) and email (if
3013 <guilabel>Email</guilabel> is ticked). If you enable email
3014 notifications you can fill in the details of the emails you want to
3019 The bottom box in the tab is the contents of the email that should
3020 be sent. DCP-o-matic will replace the ‘magic’ strings
3021 <code>$JOB_NAME</code> and <code>$JOB_STATUS</code> in the with the
3022 details of the job that has completed.
3028 <!-- ============================================================== -->
3030 <title>Cover sheet</title>
3033 The DCP cover sheet configuration is shown in <xref linkend="fig-prefs-cover-sheet"/>.
3036 <figure id="fig-prefs-cover-sheet">
3037 <title>DCP cover sheet preferences</title>
3040 <imagedata fileref="screenshots/prefs-cover-sheet&scs;"/>
3046 This is a template for the cover sheet that is written next to every DCP that DCP-o-matic creates. You can change it to say whatever you like. A few
3047 ‘magic’ strings will be replaced by information from the
3048 DCP that has been made:
3052 <title>‘Magic’ cover sheet strings</title>
3053 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
3056 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
3059 <entry><code>$TYPE</code></entry><entry>DCP content type (e.g. feature, trailer...)</entry>
3062 <entry><code>$CONTAINER</code></entry><entry>The container ratio (e.g. flat, scope...)</entry>
3065 <entry><code>$AUDIO</code></entry><entry>Details of the audio channels</entry>
3068 <entry><code>$AUDIO_LANGUAGE</code></entry><entry>Audio language</entry>
3071 <entry><code>$SUBTITLE_LANGUAGE</code></entry><entry>Subtitle language</entry>
3074 <entry><code>$LENGTH</code></entry><entry>DCP length in hours, minutes and seconds</entry>
3077 <entry><code>$SIZE</code></entry><entry>DCP size in gigabytes</entry>
3084 The <guilabel>Reset to default text</guilabel> will replace the current cover sheet with DCP-o-matic's default.
3090 <!-- ============================================================== -->
3091 <section xml:id="sec-prefs-advanced">
3092 <title>Advanced</title>
3093 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
3096 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
3099 <figure id="fig-prefs-advanced">
3100 <title>Advanced preferences</title>
3103 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
3109 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
3110 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
3111 are advised to leave this at 250Mbit/s in normal use for maximum DCP
3116 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
3117 the DCP video frame rates that DCP-o-matic will create. This may be
3118 useful for experimentation. Again, you are strongly advised to leave
3119 this unticked for normal use.
3123 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
3124 JPEG2000 data only on encoding servers and not on the host. We
3125 suggest you leave this unticked unless you have a good reason to do otherwise.
3129 With the filename format fields you can adjust the filenames that are
3130 used for metadata (CPL and PKL files) and assets (MXF and subtitle
3131 files). Below each field there is a list of the ‘magic’
3132 values that you can use in the format and an example of a filename
3133 that you might see with your current settings.
3137 The four checkboxes labelled <guilabel>Log</guilabel> control what
3138 sort of messages DCP-o-matic writes to its log file when creating a
3139 DCP. It is useful to leave <guilabel>General</guilabel>,
3140 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
3141 as this makes the log files useful for tracking down bugs.
3145 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
3146 to allow developers to investigate and optimise the speed of
3147 DCP-o-matic. It will significantly increase the size of the log files
3148 that are generated, so in normal use it is best to leave this
3155 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
3156 <title>Frame rates</title>
3159 In an ideal world, a DCP would be created using content at the same
3160 video frame and audio sampling rates as the DCP. This is not,
3161 however, always possible.
3165 <!-- ============================================================== -->
3167 <title>DCP frame rate limitations</title>
3170 There are some limitations to video and audio frame rates in DCPs. This is
3171 complicated by the fact that not all projectors will play DCPs at the
3172 same frame rates. It is possible to create a DCP which one projector will
3173 play fine, but another (of a different type) will refuse to play.
3177 <!-- ============================================================== -->
3179 <title>Guaranteed rates</title>
3182 The only rates that are guaranteed to work on all DCI projectors are
3183 24 frames per second (fps) for video and 48kHz for audio. If you are
3184 sending DCPs to unknown places it is wise to consider using these
3185 rates if at all possible.
3191 <!-- ============================================================== -->
3193 <title>Other often-supported rates</title>
3195 Many projectors now in the wild support additional video frame rates:
3196 25, 30, 48, 50 and 60 fps.
3201 <!-- ============================================================== -->
3203 <title>Adapting content to fit the DCP rate</title>
3206 DCP-o-matic has a few tricks to allow you to use content that is not
3207 in one of the ‘approved’ rates.
3211 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
3212 with minimal loss in quality.
3216 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
3217 with a non-supported content rate is to run it at the wrong speed, and
3218 to adjust the audio to keep it in sync.
3221 <para>Let us consider the example of a 25fps source for which you want
3222 to create a 24fps DCP. DCP-o-matic will put the frames from the
3223 source directly into the DCP without modification, but will tell the
3224 projector to play them back at 24fps. This means that the DCP's video
3225 will run slightly slower than the original.
3229 If DCP-o-matic did nothing else, the result of this would be that the
3230 audio would be running at the original speed with the video running
3231 slowly. Hence the audio would drift slowly out of sync. To avoid
3232 this, DCP-o-matic also resamples the audio such that the projector
3233 will play it too slow by the same amount. Hence it will sound
3234 slightly different but will remain in sync with the video.
3238 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
3245 <!-- ============================================================== -->
3247 <title>Setting up</title>
3250 The <guilabel>Frame Rate</guilabel> control in the
3251 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
3252 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
3253 what DCP-o-matic thinks is the best for your content. With this
3254 button, DCP-o-matic assumes that the most commonly-working frame rates (24,
3255 25 and 30fps) are allowed.
3259 After this, the <guilabel>Video</guilabel> tab for each piece of
3260 content will give a summary of what DCP-o-matic is doing with that
3265 If you want to experiment with other non-standard frame rates, you can
3266 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
3267 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
3268 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
3269 use this only on your own equipment, and only for experimentation
3278 <!-- ============================================================== -->
3279 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
3280 <title>Encoding servers</title>
3283 One way to increase the speed of DCP encoding is to use more
3284 than one machine at the same time. An instance of DCP-o-matic can
3285 offload some of the time-consuming JPEG2000 encoding to any number of
3286 other machines on a network. To do this, one ‘master’
3287 machine runs DCP-o-matic, and the ‘server’ machines run
3288 a small program called <code>dcpomatic_server</code>.
3292 The master and server machines do not need to be the same type, so you
3293 can mix Windows PCs, Macs and Linux machines as you wish.
3297 <!-- ============================================================== -->
3299 <title>Running the servers</title>
3302 There are two options for the encoding server;
3303 <code>dcpomatic_server_cli</code>, which runs on the command line, and
3304 <code>dcpomatic_server</code>, which has a simple GUI. The command line
3305 version is well-suited to headless servers, especially on Linux, and
3306 the GUI version works best on Windows where it will put an icon in the
3311 To run the command line version, simply enter:
3315 dcpomatic2_server_cli
3319 at a command prompt. If you are running the program on a machine with
3320 a multi-core processor, you can run multiple parallel encoding threads
3321 by doing something like:
3325 dcpomatic2_server_cli -t 4
3329 to run 4 threads in parallel.
3333 To run the GUI version on windows, run the ‘DCP-o-matic encode
3334 server’ from the start menu. An icon will appear in the system
3335 tray; right-click it to open a menu from whence you can quit the
3336 server or open a window to show its status.
3339 <para>If you would rather not bother installing DCP-o-matic on your
3340 server computers, the other option is to use the live-CD
3341 image that you can download from the <ulink
3342 url="https://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
3344 <para>Either burn the image to CD, or write it to a USB stick (using
3345 something like <ulink
3346 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
3347 PC from the CD or USB stick and it becomes a DCP-o-matic server
3348 without touching your standard operating system install.
3353 <!-- ============================================================== -->
3355 <title>Setting up DCP-o-matic</title>
3358 DCP-o-matic periodically looks on the local network for servers. Any
3359 that it finds are given work to do during encodes. Selecting
3360 <guilabel>Encoding Servers</guilabel> from the
3361 <guilabel>Tools</guilabel> menu brings up a window which shows that
3362 servers that DCP-o-matic has found.
3367 <!-- ============================================================== -->
3369 <title>Some notes about encode servers</title>
3372 DCP-o-matic does not mind if servers come and go; if a server
3373 disappears, DCP-o-matic will stop sending work to it, and will check
3374 it every minute or so in case it has come back online.
3378 You will probably find that using a 1Gb/s or faster network will
3379 provide a significant speed-up compared to a 100Mb/s network.
3386 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3387 <title>Generated files</title>
3390 DCP-o-matic generates a number of files as it makes a DCP. <xref
3391 linkend="fig-file-structure"/> shows the files that might be generated
3392 after you have created a DCP for a film called ‘DCP Test’.
3395 <figure id="fig-file-structure">
3396 <title>Creating a new film</title>
3399 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
3405 The <code>DCP Test</code> folder is the one that you specify when you
3406 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
3407 menu. Everything is stored inside this folder.
3411 DCP-o-matic generates some working files as it goes along. These are as follows:
3414 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
3415 along. This can be useful for debugging purposes if something goes
3418 <listitem><code>metadata</code> stores the settings that you have made
3419 for this film: things like cropping, output format and so on.</listitem>
3421 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
3422 video data as it encodes it.</listitem>
3424 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
3426 <listitem><code>info</code> contains details of each video frame that
3427 DCP-o-matic has written so far. This is used when an encoding
3428 operation is interrupted and DCP-o-matic must resume it.</listitem>
3433 Following this is the DCP itself:
3434 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
3435 contains some small XML files, which describe the DCP, and two large
3436 MXF files, which contain the DCP's audio and video data. It may also
3437 contain subtitles in either XML or MXF format. This folder
3438 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
3439 to the cinema which is showing your DCP.
3446 <title>Command-line tools</title>
3449 DCP-o-matic includes some tools which allow DCP creation from the
3450 command line or from scripting languages. This chapter covers the
3455 There are three command-line tools in DCP-o-matic.
3456 <code>dcpomatic2_create</code> creates film directories, with the
3457 associated metadata, from a list of content files. Then
3458 <code>dcpomatic2_cli</code> runs the transcode process on these
3459 film directories. Finally, <code>dcpomatic2_kdm_cli</code> can be
3460 used to create KDMs.
3464 Some applications will benefit from setting up the films using the
3465 main DCP-o-matic GUI and then using <code>dcpomatic2_cli</code> to
3466 do the encode. This allows, for example, setup on a relatively
3467 low-powered machine before running the encode on a higher-powered
3472 <title><code>dcpomatic2_create</code></title>
3475 The syntax for <code>dcpomatic2_create</code> is:
3479 <code>dcpomatic2_create [OPTION] <CONTENT> [[OPTION] <CONTENT> ...]</code>
3483 <code>[CONTENT]</code> are the files or folders that you want to use in the
3486 <listitem>‘Movie’ files in almost any common format (e.g. MP4, MOV, MKV, etc.)</listitem>
3487 <listitem>A folder containing and image sequence in almost any common format (e.g. TIFF, DPX etc.)</listitem>
3488 <listitem>Sound files (e.g. WAV, MP3, AIFF)</listitem>
3489 <listitem>Subtitles files (e.g. <code>.srt</code>, DCP XML, <code>.ssa</code> etc.)</listitem>
3497 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_create.xml"/>
3500 For example, to setup a film using a MP4 file you might do:
3504 <code>dcpomatic2_create -o my_film --container-ratio 185 --content-ratio 185 -c FTR -n "My Film" Stuff.mp4</code>
3508 This will create a folder called <code>my_film</code> which is ready for a DCP to be made by <code>dcpomatic2_cli</code>.
3512 <code>dcpomatic2_create</code> will use any default settings that you have configured in the main DCP-o-matic preferences.
3517 <title><code>dcpomatic2_cli</code></title>
3520 The syntax for <code>dcpomatic2_cli</code> is:
3524 <code>dcpomatic2_cli [OPTION] [FILM]</code>
3527 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_cli.xml"/>
3530 For example, to encode a film called <code>my_film</code> you might do:
3534 <code>dcpomatic2_cli my_film</code>
3539 <title><code>dcpomatic2_kdm_cli</code></title>
3542 The syntax for <code>dcpomatic2_kdm_cli</code> is:
3546 <code>dcpomatic2_kdm_cli [OPTION] <FILM|CPL-ID></code>
3549 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_kdm_cli.xml"/>
3556 <!-- ============================================================== -->
3558 <title>Loose ends</title>
3561 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
3565 <!-- ============================================================== -->
3567 <title>Resuming encodes</title>
3570 If you cancel a DCP encoding run half-way through, or your computer
3571 crashes... fear not. DCP-o-matic takes care to ensure that, in most
3572 cases, it can resume encoding from where it left off. When you
3573 re-start a DCP creation, using the same settings are a previous run,
3574 DCP-o-matic will first check that the existing picture frames are
3575 correct, and then resume from where it left off. The checking of
3576 existing frames does take some time, but it is much faster than
3577 running a full re-encode.
3581 This resumption is achieved by writing a digest (hash) to disk for
3582 every image frame that is written. On resumption, the existing MXF
3583 file for image data is read and its contents checked against the
3591 <!-- ============================================================== -->
3592 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3593 <title>Common tasks</title>
3596 This chapter describes how to carry out some commonly-required tasks
3597 with DCP-o-matic. The full details are elsewhere in the manual: here
3598 we just discuss different approaches to these tasks and how to carry
3603 <title>Adding subtitles to an existing DCP</title>
3606 You have three options:
3610 <listitem>Make a “Version File” (VF) DCP.</listitem>
3611 <listitem>Make a complete DCP with projector-added subtitles.</listitem>
3612 <listitem>Make a complete DCP with burnt-in subtitles.</listitem>
3616 Making a VF DCP is usually the best option. This will be a very small
3617 DCP which contains only the subtitles: it refers to your existing DCP
3618 for the picture and sound. The projectionist will ingest both the
3619 existing and VF DCPs and play back the VF. The advantages of this
3620 approach are that the VF is very quick to generate, and small in size,
3621 making it easy to distribute. This is especially useful if you have
3622 to make VF DCPs in many different languages.
3626 Making a complete DCP with projector-added subtitles gives you a new,
3627 single DCP which the projectionist can ingest and play. It will be
3628 the same size as your existing DCP, and fairly quick to create. This
3629 approach relies on the projector (or server) to create the subtitles
3630 and overlay them on the image, which mostly works well but is not
3631 100% reliable.
3635 Making a complete DCP with burnt-in subtitles gives you a new, single DCP
3636 but with the subtitles rendered by DCP-o-matic and copied into your
3637 image. This is slower to create than a DCP with projector-added
3638 subtitles as every video frame with a subtitle must be re-encoded.
3639 The advantage of this approach is that it is less likely to go wrong,
3640 especially if you are using unusual subtitle positioning or character
3645 <title>Making a VF DCP</title>
3648 <listitem>Start a new DCP-o-matic film.</listitem>
3649 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3650 <listitem>Go to the <guilabel>DCP</guilabel> tab and choose <guilabel>Split by video content</guilabel> for <guilabel>Reel type</guilabel>.</listitem>
3651 <listitem>Go to the <guilabel>Video</guilabel> and
3652 <guilabel>Audio</guilabel> tabs in turn and tick the <guilabel>Use this DCP's audio as OV and make VF</guilabel> checkboxes.</listitem>
3653 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3654 <listitem>Check the subtitle appearance in the preview; it will be
3655 slow to respond as it is having to decompress images from the existing
3657 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3663 <title>Making a complete DCP with projector-added subtitles</title>
3666 <listitem>Start a new DCP-o-matic film.</listitem>
3667 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3668 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3669 <listitem>Check the subtitle appearance in the preview; it will be
3670 slow to respond as it is having to decompress images from the existing
3671 DCP. Adjust the appearance using controls in the
3672 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3673 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3679 <title>Making a complete DCP with burnt-in subtitles</title>
3682 <listitem>Start a new DCP-o-matic film.</listitem>
3683 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3684 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3685 <listitem>Go to the <guilabel>Subtitle</guilabel> tab and tick the <guilabel>Burn subtitles into image</guilabel> checkbox.</listitem>
3686 <listitem>Check the subtitle appearance in the preview; it will be
3687 slow to respond as it is having to decompress images from the existing
3688 DCP. Adjust the appearance using controls in the
3689 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3690 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3697 <title>Adding soundtracks or subtitles in different languages</title>
3700 If you have a film that is to be dubbed or subtitled in several
3701 languages, the best approach with DCP-o-matic is as follows:
3705 <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>
3706 <listitem>For each language, make a new Version File (VF) DCP which refers to the OV.</listitem>
3710 Once you have done this, you send the OV DCP to every cinema and then
3711 the appropriate VF to each cinema depending on what language they want
3712 to play the film in. The projectionist ingests both DCPs and then plays the VF.
3716 The advantage of this approach is that the VF DCPs are much smaller
3717 than the OV since they only have the language-specific parts. If you
3718 are just changing the subtitles you can often ship the OV by normal
3719 transport means (e.g. a hard drive or high-speed download) and send
3724 The full details of OV and VF files are discussed in <xref linkend="sec-overlay"/>. The steps can be summarised as follows:
3728 <listitem>Create a new DCP-o-matic project for the OV, as normal, adding video and perhaps sound. Make the DCP.</listitem>
3729 <listitem>Create a new DCP-o-matic project for the VF.</listitem>
3730 <listitem>Use <guilabel>Add folder...</guilabel> to add your OV DCP to the project.</listitem>
3731 <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>
3732 <listitem>Do the same in the <guilabel>Audio</guilabel> tab if your OV has audio.</listitem>
3733 <listitem>Add your language-specific audio and/or subtitles and Make DCP.</listitem>
3740 <chapter xml:id="ch-player" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3741 <title>Playing and verifying DCPs</title>
3743 <para>DCP-o-matic includes a DCP player, and although it requires a
3744 very high-speed CPU to play DCPs in full resolution, it can also
3745 play DCPs at reduced resolutions with slower CPUs.</para>
3747 <para>To use the player, start <guilabel>DCP-o-matic
3748 Player</guilabel>, and load a DCP using the
3749 <guilabel>Open</guilabel> option on the <guilabel>File</guilabel>
3752 <para>If you load a VF and/or encrypted DCP you can add your OV
3753 and/or KDM using the appropriate options on the
3754 <guilabel>File</guilabel> menu.</para>
3756 <para>During playback the <guilabel>Performance</guilabel> area at
3757 the bottom right of the window will give details of how many frames
3758 are being dropped; these are frames that were not decoded from the
3759 DCP quickly enough. If this number is high you can increase
3760 performance at the cost of rendering quality by choosing an option
3761 from the <guilabel>View</guilabel> menu. If you set the player to
3762 decode at less than full resolution the DCP's data will be decoded
3763 at this lower resolution, which is quicker than decoding at full
3768 The player also offers a simple DCP validator. To check a DCP,
3769 open it and then select <guilabel>Verify DCP</guilabel> from the
3770 <guilabel>Tools</guilabel> menu. This will run some basic checks to see if the DCP meets the required standards.
3775 <!-- ============================================================== -->
3776 <chapter xml:id="ch-config" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3777 <title>Configuration files</title>
3779 <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>
3782 <listitem>Windows: <code>c:\Users\your_user_name\AppData\Local\dcpomatic</code></listitem>
3783 <listitem>OS X: <code>/Users/your_user_Name/Library/Preferences/com.dcpomatic/2</code></listitem>
3784 <listitem>Linux: <code>~/.config/dcpomatic2</code></listitem>
3787 <para>Possible XML tags are as follows:</para>
3789 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="config.xml"/>
3795 <!-- LocalWords: dbcent DCP matic Hetherington DCPs KDMs GPL XP sid
3797 <!-- LocalWords: matic's jessie Tahr Xenial Xerus Centos Mageia GTK
3799 <!-- LocalWords: Karner FFmpeg libsndfile libsamplerate OpenSSL waf
3801 <!-- LocalWords: libopenjpeg libssh wxWidgets libxml xmlsec libzip
3803 <!-- LocalWords: asdcplib libdcp libsub libcxml sstream sudo Sintel
3805 <!-- LocalWords: dcpomatic TMS SCP timecode DCP's unencrypted OV Gb
3807 <!-- LocalWords: Decrypting KDM decrypt decrypted MOV VOB WAV AIFF
3809 <!-- LocalWords: PNG srt ssa xml wav Lfe XYZ colourspace sRGB RGB
3811 <!-- LocalWords: colourspaces pdf fader CP Doremi CaptiView SubRip
3813 <!-- LocalWords: SubStation BluRay
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