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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>
30 DCP-o-matic is a program to generate <ulink
31 url="http://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
32 Cinema Packages</ulink> (DCPs) from almost any video, audio and/or
33 subtitle source files. The resulting DCPs will play on modern digital
40 <!-- ============================================================== -->
42 <title>Licence</title>
45 DCP-o-matic is free and open-source and is licensed under the <ulink
46 url="http://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
53 <!-- ============================================================== -->
55 <title>Acknowledgements</title>
58 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
65 <!-- ============================================================== -->
66 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
67 <title>Installation</title>
70 <!-- ============================================================== -->
72 <title>Windows</title>
75 To install DCP-o-matic on Windows, download the installer from
76 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
77 and double-click it. Click through the installer wizard, and
78 DCP-o-matic will be installed onto your machine.
82 If you are using a 32-bit version of Windows, you will need the 32-bit
83 installer. For 64-bit Windows, either installer will work, but I
84 suggest you used the 64-bit version as it will allow DCP-o-matic to
85 use more memory. You may find that DCP-o-matic crashes if you run
86 many parallel encoding threads (more than 4) on the 32-bit
93 <!-- ============================================================== -->
95 <title>Mac OS X</title>
98 DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
99 higher. To install it, download the <code>.dmg</code> from <ulink
100 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink> and double
101 click to open it. Then drag the DCP-o-matics icon to your
102 <guilabel>Applications</guilabel> folder or wherever else you would
107 You do not have to install all the applications, but you must always
108 install <code>DCP-o-matic 2.app</code> as the other applications
114 <!-- ============================================================== -->
116 <title>Debian or Ubuntu Linux</title>
119 You can install DCP-o-matic on:
123 <listitem>Debian 7 (‘wheezy’)</listitem>
124 <listitem>Debian 8 (‘jessie’)</listitem>
125 <listitem>Debian unstable (‘sid’)</listitem>
126 <listitem>Ubuntu 12.04 (‘Precise Pangolin’)</listitem>
127 <listitem>Ubuntu 14.04 (‘Trusty Tahr’)</listitem>
128 <listitem>Ubuntu 15.10 (‘Wily Werewolf’)</listitem>
132 using <code>.deb</code> packages: download the appropriate package
133 from <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
134 and double-click it. Debian or Ubuntu will install the necessary bits and
135 pieces and set DCP-o-matic up for you.
138 <!-- ============================================================== -->
141 <!-- ============================================================== -->
143 <title>Fedora Linux</title>
145 <para>There are <code>.rpm</code> packages for Fedora 22 and 23 on
146 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
149 <!-- ============================================================== -->
152 <!-- ============================================================== -->
154 <title>Centos Linux</title>
155 <para>There are <code>.rpm</code> packages for Centos 6.5 and 7 on
156 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
159 <!-- ============================================================== -->
162 <!-- ============================================================== -->
164 <title>Arch Linux</title>
166 Packages for Arch Linux are available from <ulink
167 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
168 thanks to Stefan Karner.
173 <!-- ============================================================== -->
175 <title>Other Linux distributions</title>
178 Installation on other Linux systems (for which no packages are
179 available) is quite hard as it must be compiled from source. If you
180 can't download packages for your distribution, do let me know by
181 <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I will look
182 into providing packages on the website.
186 The following dependencies are required:
188 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
189 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
190 <listitem><ulink url="http://www.mega-nerd.com/SRC/">libsamplerate</ulink></listitem>
191 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
192 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
193 <listitem><ulink url="http://www.imagemagick.org/script/index.php">ImageMagick</ulink></listitem>
194 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
195 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
196 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
197 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
198 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
199 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
200 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
201 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
202 <listitem><ulink url="http://carlh.net/libdcp/">libdcp</ulink></listitem>
203 <listitem><ulink url="http://carlh.net/libsub/">libsub</ulink></listitem>
204 <listitem><ulink url="http://carlh.net/libcxml/">libcxml</ulink></listitem>
205 <listitem><ulink url="http://site.icu-project.org">libicu</ulink></listitem>
210 Once you have installed the development packages for the dependencies,
211 download the source code from <ulink
212 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>,
213 unpack it and run the following commands from inside the source
224 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
239 <!-- ============================================================== -->
240 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
241 <title>Creating a DCP from a video</title>
244 In this chapter we will see how to create a DCP from a video file using
245 DCP-o-matic. We will gloss over the details and look at the basics.
249 <title>Creating a new film</title>
252 Let's make a very simple DCP to see how DCP-o-matic works. First, we
253 need some content. Download the low-resolution trailer for the open
254 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
255 url="http://ftp.nluug.nl/ftp/graphics/blender/apricot/trailer/Sintel_Trailer1.480p.DivX_Plus_HD.mkv">their
256 website</ulink>. Generally one would want to use the
257 highest-resolution material available, but for this test we will use
258 the low-resolution version to save everyone's bandwidth bills.
262 Now, start DCP-o-matic and its window will open. First, we will
263 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
264 some pieces of content, along with some settings, which we will make into
265 a DCP. DCP-o-matic stores its data in a folder on your disk while it
266 creates the DCP. You can create a new film by selecting
267 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
268 shown in <xref linkend="fig-file-new"/>.
271 <figure id="fig-file-new">
272 <title>Creating a new film</title>
275 <imagedata fileref="screenshots/file-new&scs;"/>
281 This will open a dialogue box for the new film, as shown in <xref
282 linkend="fig-video-new-film"/>.
285 <figure id="fig-video-new-film">
286 <title>Dialogue box for creating a new film</title>
289 <imagedata fileref="screenshots/video-new-film&scs;"/>
295 In this dialogue box you can choose a name for the film. This will be
296 used to name the folder to store its data in, and also as the initial
297 name for the DCP itself. You can also choose whereabouts you want to create
298 the film. In the example from the figure, DCP-o-matic will create a
299 folder called ‘DCP Test’ inside my home folder (carl) into which it
300 will write its working files.
306 <!-- ============================================================== -->
308 <title>Adding content</title>
311 The next step is to add the content that you want to use. DCP-o-matic
312 can make DCPs from multiple pieces of content, but in this simple
313 example we will just use a single piece. Click the <guilabel>Add
314 file(s)...</guilabel> button, as shown in <xref
315 linkend="fig-add-file"/>, and a file chooser will open for you to
316 select the content file to use, as shown in <xref
317 linkend="fig-video-select-content-file"/>.
320 <figure id="fig-add-file">
321 <title>Adding content files</title>
324 <imagedata fileref="screenshots/add-file&scs;"/>
329 <figure id="fig-video-select-content-file">
330 <title>Selecting a video content file</title>
333 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
339 Select your content file and click <guilabel>Open</guilabel>. In this
340 case we are using the Sintel trailer that we downloaded earlier.
344 When you do this, DCP-o-matic will take a look at your file. After a
345 short while (when the progress bar at the bottom right of the window
346 has finished), you can look through your content using the slider to
347 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
350 <figure id="fig-examine-content">
351 <title>Examining the content</title>
354 <imagedata fileref="screenshots/examine-content&scs;"/>
360 Dragging the slider will move through your video. You can also click
361 the <guilabel>Play</guilabel> button to play the content back. <emphasis>Note
362 that there will be no sound</emphasis>, and playback might not be entirely
363 accurate (it may be slightly slower or faster than it should be, for
364 example). This player is really only intended for brief inspection of
365 content; if you need to check it more thoroughly, use another player
367 url="http://projects.gnome.org/totem/index.html">Totem</ulink>, <ulink
368 url="http://www.mplayerhq.hu/design7/news.html">mplayer</ulink> or
369 <ulink url="http://www.videolan.org/vlc/index.html">VLC</ulink>.
377 <!-- ============================================================== -->
379 <title>Making the DCP</title>
381 <para>In most cases, some adjustments would be made to DCP-o-matic's
382 settings once the content has been added. For our simple test,
383 however, the default values will suffice, so we can go straight onto
384 making the DCP.</para>
387 Choose <guilabel>Make DCP</guilabel> from the
388 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
389 This may take some time (many hours in some cases). While the job is
390 in progress, DCP-o-matic will update you on how it is getting on with
391 the progress bar in the bottom of its window, as shown in <xref
392 linkend="fig-making-dcp"/>.
395 <figure id="fig-making-dcp">
396 <title>Making the DCP</title>
399 <imagedata scale="50" fileref="screenshots/making-dcp&scs;"/>
405 When it has finished, the DCP will end up on your disk inside the
406 film's folder. You can then copy this to a projector via a USB
407 stick, hard-drive or network connection. See <xref
408 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
412 Alternatively, if you have a projector or Theatre Management System
413 (TMS) that is accessible via SCP or FTP across your network, you can upload
414 the content directly from DCP-o-matic. See the <xref
415 linkend="sec-prefs-tms" endterm="sec-prefs-tms-short"/> in <xref linkend="sec-prefs-tms"/>.
422 <!-- ============================================================== -->
423 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
424 <title>Creating a DCP from a still image</title>
427 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
428 for an advertisement or an on-screen announcement. This chapter shows you
433 As with DCPs made from video files, the first step is to create a new
434 ‘Film’; select <guilabel>New</guilabel> from the
435 <guilabel>File</guilabel> menu and the new film dialogue will open as
436 shown in <xref linkend="fig-still-new-film"/>.
439 <figure id="fig-still-new-film">
440 <title>Dialogue box for creating a new film</title>
443 <imagedata fileref="screenshots/still-new-film&scs;"/>
449 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
450 the content. As before, click <guilabel>Add file(s)...</guilabel>.
451 For our example, we will add a single image file, as shown in <xref
452 linkend="fig-still-select-content-file"/>.
455 <figure id="fig-still-select-content-file">
456 <title>Selecting a still content file</title>
459 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
465 Most of the default settings will be fine for a simple test. The one
466 thing that you might wish to change is the length of the still.
467 Select the <guilabel>Timing</guilabel> tab and you will see a
468 <guilabel>Play length</guilabel> setting, as shown in <xref
469 linkend="fig-timing-tab"/>.
472 <figure id="fig-timing-tab">
473 <title>The timing tab</title>
476 <imagedata fileref="screenshots/timing-tab&scs;"/>
482 This length is a ‘timecode’: it consists of four numbers.
483 The first is hours, the second minutes, the third seconds, and the
484 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
488 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
489 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
490 be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
491 to encode a single frame which it can then repeat.
497 <!-- ============================================================== -->
498 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
499 <title>Manipulating existing DCPs</title>
502 Frequently DCP-o-matic is used to take content in formats such as MP4
503 and convert it to JPEG2000 for a DCP. It can also be used
504 to take existing DCPs and modify them in various ways.
508 <title>Importing a DCP into DCP-o-matic</title>
511 If you want to do something to an existing DCP the first step is to
512 import it. Click <guilabel>Add folder...</guilabel> and select your
513 DCP's folder. It will be added to the DCP-o-matic project. If the
514 DCP is unencrypted you can preview it in the normal way, though
515 playback will be very slow as decoding of DCPs is almost as
516 computationally intensive as encoding them.
523 <title>Decrypting encrypted DCPs</title>
526 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
527 details). If you import an encrypted DCP you will need a key, in the
528 form of a Key Delivery Message (KDM), to decrypt it.
532 KDMs must be prepared by the organisation which created the DCP. They
533 contain the keys to decrypt the DCP wrapped up in such a way that only
534 the intended recipient can read them. You will need to provide the
535 organisation with a certificate which identifies your copy of
536 DCP-o-matic and allows them to create a KDM for you.
540 To get DCP-o-matic's decryption certificate, open the Preferences
541 dialogue (see <xref linkend="ch-preferences"/>) and go to the
542 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
543 decryption certificate...</guilabel> button at the bottom of this tab
544 and save the certificate. Send this certificate to the DCP creators
545 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
549 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
550 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and (all
551 being well) the DCP will be decrypted and become available for preview.
558 <title>Making a DCP from a DCP</title>
561 In many ways, using DCPs as <emphasis>content</emphasis> in
562 DCP-o-matic is the same as using any other content. There are a few
563 things to note, though.
568 <title>Re-use of existing data</title>
571 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
572 data from DCP content without modification. This has the advantage
573 that creation of the new DCP will be quick, as the time-consuming
574 JPEG2000 encoding is not necessary.
578 DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
579 the following content settings:
583 <listitem>Crop</listitem>
584 <listitem>Scaling</listitem>
585 <listitem>Subtitle burn-in</listitem>
586 <listitem>Fades</listitem>
587 <listitem>Colour conversion</listitem>
591 If you do change any of these settings on a piece of DCP content
592 DCP-o-matic will decode and then re-encode the JPEG2000 data.
599 <title>Making overlay files</title>
602 With its default settings, DCP-o-matic will take any data from DCP
603 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
606 <figure id="fig-dcp-copy">
607 <title>Creating a new DCP by copying an existing one</title>
608 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
612 This can be inefficient in some cases. Consider, for example, a film
613 which has ten different translations for which the subtitles are
614 different but video and audio are the same. If the video and audio
615 content takes up, say, 100Gb this means that the set of DCPs for every
616 translation would be about 1Tb with a lot of duplicated data.
620 The DCP format has a solution to this problem. One DCP can refer to
621 the ‘assets’ (picture, sound or subtitle) of another DCP.
622 For our translation example this means that we could have a
623 ‘base’ DCP (often called the OV or Original Version)
624 containing video, audio and one set of subtitles and then any number
625 of overlay DCPs (often called VF or Version Files) which refer to the
626 base version and replace the original subtitles with their own. <xref
627 linkend="fig-dcp-refer"/> shows this principle for one of our
628 translations. The DCP that we make refers to the original content
629 DCP's video and audio rather than containing a copy.
632 <figure id="fig-dcp-refer">
633 <title>Creating a new DCP by referring to an existing one</title>
634 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
638 To play back the subtitled DCP the projectionist ingests both the base
639 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
643 To make a DCP like this:
647 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
648 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
649 <listitem>Select the DCP in the content list</listitem>
650 <listitem>Tick the <guilabel>Refer to existing DCP</guilabel> checkbox
651 in the tabs for the parts of the DCP that you want to refer to in your
652 new DCP. For example, to refer to the Content DCP's video and audio you would select the <guilabel>Video</guilabel> tab, click <guilabel>Refer to existing DCP</guilabel> then select the <guilabel>Audio</guilabel> tab and do the same.</listitem>
653 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
663 <!-- ============================================================== -->
666 <!-- ============================================================== -->
667 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
668 <title>Content settings</title>
671 The previous chapters showed DCP generation using the default
672 settings. DCP-o-matic offers a range of features to adjust the
673 content that goes into your DCP, and this chapter describes those
678 <title>Adding and removing content</title>
681 At the top of the <guilabel>Content</guilabel> tab is a list of the
682 content that will go into our DCP. There can be as many pieces of
683 content as you like, and they can be of the following types:
687 <listitem>Movie — a file containing some video, probably some
688 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
691 <listitem>Sound — a file containing one or more channels of
692 audio; for example, a WAV or AIFF file.
695 <listitem>Still image — a file containing a single still image; for
696 example, a JPEG, PNG or TIFF file.
699 <listitem>Moving image — a directory containing many still
700 images which should be treated as the frames of a video.
703 <listitem>Subtitle — a file containing subtitle which will be
704 superimposed on the image of the DCP. These can be
705 <guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel> or <guilabel>.xml</guilabel>
708 <listitem>DCP — an existing DCP.</listitem>
712 To add one or more movie, sound, still-image or subtitle files, select
713 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
717 To add a directory (folder) of images or a DCP, choose <guilabel>Add
718 folder...</guilabel> and choose the directory from the selector. If
719 you select a folder of images DCP-o-matic will open a small dialogue
720 box where you can enter the frame rate that the image sequence should
725 You can remove a piece of content by clicking on its name and then
726 clicking the <guilabel>Remove</guilabel> button.
731 <!-- ============================================================== -->
733 <title>Adding existing DCPs</title>
735 <para>Adding existing DCPs to a DCP-o-matic film is a little different
736 to adding other types of content. Most content has to be converted to
737 JPEG2000, the compression scheme used by DCPs, which is a very
738 time-consuming process. Existing DCPs are already in JPEG2000 format
739 so do not require conversion. This means that, provided no settings
740 such as crop are used on the DCP content, picture and sound data will
741 be passed from existing to new DCP unaltered.
744 <para>Encrypted DCPs that are added as content will require a KDM
745 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
746 should ask the creator of the imported DCP to provide a KDM for
747 DCP-o-matic's decryption certificate, which can be obtained by
748 clicking <guilabel>Export DCP decryption certificate...</guilabel>
749 from the <guilabel>Keys</guilabel> tab of the
750 <guilabel>Preferences</guilabel> dialog (see <xref
751 linkend="sec-prefs-keys"/>).
756 <!-- ============================================================== -->
758 <title>Content Properties</title>
761 Below the content list are the controls to set content properties. To
762 adjust the properties for a piece of content, click its name in the
763 content list. The content property controls will then become active
764 for that piece of content.
768 If you want to change the properties for multiple pieces of content at
769 the same time, select the content in the list by clicking the first
770 piece then clicking the other pieces with <keycap>shift</keycap> key
771 held down. Note that not all settings can be changed in this way.
775 The content properties are split up into four sections:
776 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
777 <guilabel>Subtitles</guilabel> and <guilabel>Timing</guilabel>. Not
778 all of these sections will be active for all content types. The controls
779 in each section are described below.
785 <!-- ============================================================== -->
790 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
793 <figure id="fig-video-tab">
794 <title>Video settings tab</title>
797 <imagedata fileref="screenshots/video-tab&scs;"/>
803 <!-- ============================================================== -->
805 <title>Image type</title>
808 The first option on this tab is the ‘type’ of the video.
809 This specifies how DCP-o-matic should interpret the video's image.
810 <guilabel>2D</guilabel> is the default; this just takes the video
811 image as a standard 2D frame. The <guilabel>3D
812 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
813 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
816 <figure id="fig-3d-left-right">
817 <title>3D left/right image type</title>
820 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
826 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
827 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
828 linkend="fig-3d-top-bottom"/>.
831 <figure id="fig-3d-top-bottom">
832 <title>3D top/bottom image type</title>
835 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
841 Another option is <guilabel>3D alternate</guilabel> which takes the
842 first frame of the content as for the left eye, the second for the
843 right eye, the third for the left, and so on. Finally, you can
844 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
845 only</guilabel> if this content contains only the the left or right
846 eye images. This is useful when you have the left and right eye image
847 sets in different files; you can specify one content as <guilabel>3D
848 left only</guilabel> and another as <guilabel>3D right only</guilabel>
849 and DCP-o-matic will pick up the appropriate frames from each.
855 <!-- ============================================================== -->
857 <title>Filtering</title>
860 The ‘filters’ settings allow you to apply various video
861 filters to the image. These may be useful to try to improve
862 poor-quality sources like DVDs. You can set up the filters by clicking the
863 <guilabel>Edit</guilabel> button next to the filters entry in the
864 setup area of the DCP-o-matic window; this opens the filters selector
865 as shown in <xref linkend="fig-filters"/>.
868 <figure id="fig-filters">
869 <title>Filters selector</title>
872 <imagedata fileref="screenshots/filters&scs;"/>
878 After changing the filters setup, you will need to regenerate the DCP
879 to see the effect on the cinema screen. The preview in DCP-o-matic
880 will update itself whenever filters are changed, though of course this
881 image is much smaller and of lower resolution than a projected image!
887 <!-- ============================================================== -->
889 <title>Colour conversion</title>
892 The <guilabel>Colour conversion</guilabel> setting specifies what
893 colour transforms and gamma correction DCP-o-matic will use when
894 converting the selected content into the XYZ colourspace for the DCP.
898 The easiest way to select the required conversion is to choose one of
899 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
900 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
901 know which preset you should use, refer to the suggestions in <xref
902 linkend="tab-colour-conversion"/>.
905 <table id="tab-colour-conversion">
906 <title>Suggested colour conversion settings</title>
907 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
908 <colspec colwidth='1*'/>
909 <colspec colwidth='5*'/>
912 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs</entry>.
915 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
918 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
921 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
928 For other required colour conversions, and if you know what you are
929 doing, you can choose <guilabel>Custom</guilabel> which will open the full
930 colour conversion editing dialogue box:
933 <figure id="fig-colour-conversion">
934 <title>Dialogue box for custom colour conversion</title>
937 <imagedata fileref="screenshots/colour-conversion&scs;"/>
943 Alternatively, choose <guilabel>None</guilabel> if your source files
944 are already in the XYZ colour space and require no conversion.
948 DCP-o-matic's colour conversion processes are discussed in much more
949 detail in a separate document <ulink
950 url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
955 <!-- ============================================================== -->
957 <title>Other settings</title>
960 The <guilabel>crop</guilabel> settings can be used to crop your content,
961 which can be used to remove black borders from round the edges of DVD
962 images, for example. The specified number of pixels will be trimmed
963 from each edge, and the content image in the right of the window will
964 be updated to show the effect of the crop.
968 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
969 settings can be used to apply linear fades into and out of a piece of
970 content. Specify the time for each, clicking <guilabel>Set</guilabel>
971 after making any changes.
975 The <guilabel>Scale to</guilabel> option governs the shape that
976 DCP-o-matic will scale the content's image into. Select the aspect
977 ratio that your content should be presented in.
982 <!-- ============================================================== -->
984 <title>Video description</title>
987 At the bottom of the video tab is a short description of what will
988 happen to your video with the current settings. In the example of
989 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
990 video file is 1920x1080 pixels and it has square pixels (a pixel
991 aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since
992 the controls specify ‘16.9’ for the ratio, DCP-o-matic
993 does not scale the image but pads it to the DCP's container ratio of
994 1.85:1. For a 2K DCP this is 1998x1080 pixels.
998 This description also gives the frame rate of the content and what
999 will happen to it when it is played at the DCP's frame rate. See
1000 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
1001 frame-rate conversion.
1009 <!-- ============================================================== -->
1011 <title>Audio</title>
1014 The <guilabel>Audio</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-audio-tab"/>.
1017 <figure id="fig-audio-tab">
1018 <title>Audio settings tab</title>
1021 <imagedata fileref="screenshots/audio-tab&scs;"/>
1027 <!-- ============================================================== -->
1029 <title>The audio map</title>
1032 The section at the bottom of the audio tab is the ‘audio
1033 map’. This governs how sound from the content will be arranged
1038 Down the left-hand side of the map is the list of audio channels in
1039 the currently-selected piece of content. These are labelled with two
1040 numbers; the first is the stream index within the content and the
1041 second is the channel number within that stream. Some content will
1042 have different streams for different languages or audio mixes. Along
1043 the top is each channel in the DCP. A green box means that the
1044 corresponding content channel will be copied into the corresponding
1049 When content channels are copied into DCP channels they can be done
1050 with variable gain. If, for example, you want to copy a channel
1051 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1052 two channels into one, you may want to use a gain of -6dB on each one
1053 to prevent clipping when the two channels are added.
1057 The green boxes of the audio mapping view tell you (very roughly) how
1058 much gain is applied to each channel. A full-height box means 0dB
1059 (i.e. unity) gain. Any less height indicates lower gain.
1063 To map one channel to another with 0dB gain, click in the empty box
1064 and it will turn green to reflect the mapping. A second click will
1065 turn the mapping back off. To set some other gain, right-click on the
1066 box to open the gain menu. This allows you to set
1067 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1068 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1069 <guilabel>Edit</guilabel> which allows you to set the required gain
1074 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1077 <figure id="fig-audio-map-eg1">
1078 <title>Audio map example 1</title>
1081 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1087 Here, we have two channels in the source which are mapped to left and
1088 right, respectively, in the DCP. The full green boxes show that the
1089 mapping is at unity gain (0dB) in each case. Imagine that we modify
1090 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1093 <figure id="fig-audio-map-eg2">
1094 <title>Audio map example 2</title>
1097 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1103 We now have the content's streams mapped to left and right and also
1104 mixed together and placed in the DCP's centre channel. The smaller
1105 green boxes on the centre mappings show that those channels are added
1106 with some non-unity gain; you can see by hovering the mouse pointer
1107 over those boxes that the gain for content channels 1 and 2 is -6dB
1108 when being sent to the centre channel and 0dB when being sent to left
1112 <figure id="fig-audio-map-eg3">
1113 <title>Audio map example 3</title>
1116 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1122 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1123 shows the mapping of a 5.1 source into a 5.1 DCP.
1129 <!-- ============================================================== -->
1131 <title>Other controls</title>
1134 ‘Audio Gain’ is used to alter the volume of the
1135 soundtrack. The specified gain (in dB) will be applied to each sound
1136 channel of your content before it is written to the DCP.
1140 If you use a sound processor that DCP-o-matic knows about, it can help
1141 you calculate changes in gain that you should apply. Say, for
1142 example, that you make a test DCP and find that you have to run it at
1143 volume 5 instead of volume 7 to get a good sound level in the screen.
1144 If this is the case, click the <guilabel>Calculate...</guilabel>
1145 button next to the audio gain entry, and the dialogue box in <xref
1146 linkend="fig-calculate-audio-gain"/> will open.
1149 <figure id="fig-calculate-audio-gain">
1150 <title>Calculating audio gain</title>
1153 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1159 For our example, put 5 in the first box and 7 in the second and click
1160 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1161 that it should apply to make this happen. Then you can re-make the
1162 DCP (this will be reasonably fast, as the video data will already have
1163 been done) and it should play back at the correct volume with 7 on
1164 your sound-rack fader.
1168 Current versions of DCP-o-matic only know about the Dolby CP650 and
1169 CP750. If you use a different sound processor, and know the gain
1170 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1175 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1176 between audio and video. A positive delay will move the audio later
1177 with respect to the video, and a negative delay will move it earlier.
1184 <!-- ============================================================== -->
1186 <title>Subtitles</title>
1189 The subtitles tab contains settings related to subtitles in your
1190 content, as shown in <xref linkend="fig-subtitles-tab"/>.
1193 <figure id="fig-subtitles-tab">
1194 <title>Subtitle settings tab</title>
1197 <imagedata fileref="screenshots/subtitles-tab&scs;"/>
1203 DCP-o-matic can either:
1207 <listitem>Extract subtitles that are embedded in video files, or</listitem>
1208 <listitem>Use subtitles from SubRip (<code>.srt</code>), SubStation Alpha (<code>.ssa</code>) or DCP XML files.</listitem>
1212 Embedded subtitles are usually represented using a set of bitmaps,
1213 especially on files that have come from DVD or BluRay. Such subtitles
1214 can (currently) only be ‘burnt’ into the DCP (that is,
1215 they are included in the image and not overlaid by the projector).
1219 With SubRip, SubStation Alpha or DCP subtitles you have the choice to
1220 either burn-in or include the subtitles as separate subtitle
1221 ‘asset’ within your DCP (in which case the projector
1222 overlays them onto the image on playback). The difference between
1223 burn-in and overlay is illustrated by <xref linkend="fig-burn-in"/>
1224 and <xref linkend="fig-discrete"/>.
1227 <figure id="fig-burn-in">
1228 <title>Burnt-in subtitles</title>
1231 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1236 <figure id="fig-discrete">
1237 <title>Separate subtitles</title>
1240 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1246 The advantage of separate subtitles is that the same video content can
1247 be used for DCPs in many different languages. This means that only a
1248 small text file needs to be changed for each target language, rather
1249 than a large video file. It also means that the time-consuming video
1250 encoding need only be done once for the project rather than once for
1255 Select the <guilabel>Use Subtitles</guilabel> check-box to enable
1256 the subtitles in the selected content.
1260 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1261 burn these subtitles into the image; if this is not ticked the
1262 subtitles will be included separately in the DCP to be rendered by the
1263 projector. This check-box will always be ticked if you are using
1264 embedded ‘image’ subtitles.
1268 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1269 controls move the subtitles around within the image. The offsets are
1270 expressed as a percentage of the video frame size; 100% X offset is
1271 the entire width of the frame, and 100% Y offset is the entire height.
1272 Hence, to move the subtitles down by half the frame height you would
1273 use a Y offset of 50%.
1277 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1278 controls scale the subtitles. Scale values of 1 make the subtitles
1279 the same size (relative to the size of the image) as they are on the
1280 original. Values lower than 1 make them smaller, and values higher
1281 make them larger. You can stretch the subtitles in either direction
1282 by specifying different values for X and Y scale. Subtitles from DVD
1283 and Blu Ray sources are frequently larger (relative to the video
1284 frame) than those typically used for DCP, so it is often useful to
1285 scale such subtitles down using these controls.
1289 The <guilabel>Stream</guilabel> control changes the subtitle stream
1290 that is used when the content has more than one.
1294 If you are using non-embedded (text) subtitles you can see the
1295 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1296 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1300 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1301 change how the subtitles look.
1307 <!-- ============================================================== -->
1309 <title>Timing</title>
1312 The timing tab contains settings related to the timing of your
1313 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1316 <figure id="fig-timing-tab-detail">
1317 <title>Timing settings tab</title>
1320 <imagedata fileref="screenshots/timing-tab&scs;"/>
1326 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1327 These are expressed as four numbers, as shown in <xref
1328 linkend="fig-timecode"/>.
1331 <figure id="fig-timecode">
1332 <title>Timecode</title>
1335 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1341 <guilabel>Position</guilabel> is the time at which this piece of
1342 content should start within the DCP. In most cases, this will be
1343 <code>0:0:0:0</code> to make the content start at the beginning of the
1348 <guilabel>Full length</guilabel> is the length of the piece of
1349 content. This can only be set for still-image content: for video or
1350 sound content, it is fixed by the nature of the content file. If
1351 still-image content is being used you can set the length for which it
1352 should be displayed using this control.
1356 <guilabel>Trim from start</guilabel> specifies the amount that should be trimmed from the start of the content.
1360 <guilabel>Trim from end</guilabel> specifies the amount that should be trimmed from the end of the content.
1364 <guilabel>Play length</guilabel> indicates how long this piece of
1365 content will be once the trims have been applied. This will be equal
1366 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1370 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1371 still-image content. It can also be used to override the detected
1372 frame rate of other content if DCP-o-matic has got it wrong.
1376 Each timecode control has a <guilabel>Set</guilabel> which you should
1377 click when you have entered a new value for a timecode. The
1378 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1379 any changes to the corresponding timecode.
1385 <!-- ============================================================== -->
1387 <title>Video processing pipeline</title>
1390 This section gives a little more detail about how DCP-o-matic process
1391 video as it takes it from a source and puts it into a DCP.
1395 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1396 image which is letterboxed with 36 black pixels each at the top and
1397 bottom, and the video content within the letterbox should be presented
1398 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1399 happen with a trailer). The source image is shown in <xref
1400 linkend="fig-pipeline1"/>.
1403 <figure id="fig-pipeline1">
1404 <title>Example image to demonstrate video processing</title>
1407 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1413 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1417 <listitem>Crop</listitem>
1418 <listitem>Scale</listitem>
1419 <listitem>Place in container</listitem>
1423 First, some amount of the image can be cropped. This is almost always
1424 used to remove black borders (letterboxing and/or pillarboxing) around
1429 In our example image, we would use 36 pixels of crop from the top and
1430 bottom. This would give the new image shown in <xref
1431 linkend="fig-pipeline2"/>.
1434 <figure id="fig-pipeline2">
1435 <title>Example image after cropping</title>
1438 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1444 The next step is to scale the image. Since this content should be
1445 presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select
1446 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1447 option in the <guilabel>Video</guilabel> tab and
1448 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1449 option in the <guilabel>DCP</guilabel> tab.
1452 <para>The <guilabel>Scale to</guilabel> option should always be set to
1453 the aspect ratio at which the content should be seen. The
1454 <guilabel>Container</guilabel> option should be set to the preset that
1455 you want to use on the projector. Of course, these two settings will
1460 Given the scaling and container information, DCP-o-matic will look at
1461 the DCP's container size, and then scale the source image up until one
1462 or both of its dimensions (width, height or both) fits the size of the
1463 container, all the while preserving the desired aspect ratio.
1467 In our example here, the DCP's container is specified as 1.85:1 (so
1468 that the DCP will play back correctly using the projector's
1469 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1470 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1471 result in the image hitting the sides of the container first, at a
1472 size of 1998 x 836. This gives us a new version of the image as shown
1473 in <xref linkend="fig-pipeline3"/>.
1476 <figure id="fig-pipeline3">
1477 <title>Example image after cropping and scaling</title>
1480 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1486 The final step is to place the image into the DCP. In this case,
1487 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1488 we have set the <guilabel>container</guilabel> in the
1489 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1490 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1491 be some black bars at the top and bottom of the image. DCP-o-matic
1492 shares out this black equally, as shown in <xref
1493 linkend="fig-pipeline3"/>.
1496 <figure id="fig-pipeline4">
1497 <title>Example image in the DCP</title>
1500 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1509 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1510 <title>DCP settings</title>
1513 This chapter describes the settings that apply to the whole DCP. The
1514 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1515 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1518 <figure id="fig-dcp-tab">
1519 <title>DCP settings tab</title>
1522 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1528 The first thing here is the name. This is generally set to the title
1529 of the film that is being encoded. If <guilabel>Use ISDCF
1530 name</guilabel> is not ticked, the name that you specify will be used
1531 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1532 is ticked, the name that you enter will be used as part of a
1533 ISDCF-compliant name.
1537 Underneath the name field is a preview of the name that the DCP will
1538 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1539 name</guilabel> check-box. The ISDCF name will be composed using details
1540 of your content's soundtrack, the current date and other things that
1541 can be specified in the ISDCF name details dialogue box, which you can
1542 open by clicking on the <guilabel>Details</guilabel> button.
1546 If you want to take the ISDCF-compliant name that DCP-o-matic
1547 generates and modify it, click <guilabel>Copy as name</guilabel> and
1548 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1549 You can then edit it as you wish. The DCP name should not matter (in
1550 that it should not affect how the DCP ingests or plays) but
1551 projectionists will appreciate it if you use the standard naming
1552 scheme as it makes it easier to identify details of the content.
1556 The <guilabel>Content Type</guilabel> option can be
1557 ‘feature’, ‘trailer’ or whatever; select the
1558 required type from the drop-down list. On some projection systems
1559 this will affect where your content appears in the projector's server
1560 user interface, so take care to select an appropriate type.
1564 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1565 is signed. This is rarely important; if in doubt, tick it.
1569 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1570 should be encrypted or not. If this is ticked, the DCP will require a
1571 KDM to play back. Encryption is discussed in <xref
1572 linkend="ch-encryption"/>.
1576 If you use encryption DCP-o-matic will generate a random encryption
1577 key for you. To specify your own key, click the
1578 <guilabel>Edit..</guilabel> button next to the key.
1582 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1583 controls specify how the DCP will be split up into
1584 ‘reels’. See <xref linkend="sec-reels"/> below.
1588 The <guilabel>Standard</guilabel> option specifies which of the two
1589 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1590 more modern of the two).
1594 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1595 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1599 At the bottom of the DCP tab are a further two tabs, one each to
1600 contain the settings for the DCP's video and audio parts.
1604 The <guilabel>Container</guilabel> option sets the ratio of the image
1605 in the DCP. If this ratio is different to the ratio used for any
1606 content, DCP-o-matic will pad the content with black. In simple cases
1607 this should be set to the same ratio as that for the the primary piece
1608 of video content. Alternatively, you might want to pillarbox a small
1609 format into a Flat container: in this case, select the small format
1610 for the content's ratio and ‘Flat’ for the DCP.
1614 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1615 your DCP. This can be a little tricky to get right. Ideally, you
1616 want it to be the same as the video content that you are using. If it
1617 is not the same, DCP-o-matic must resort to some tricks to alter your
1618 content to fit the specified frame rate. Frame rates are discussed in
1619 more detail in <xref linkend="ch-frame-rates"/>.
1623 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1624 to what DCP-o-matic thinks is the best given the content that you have
1629 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1630 is checked. A 3D DCP will then be created, and any 2D content will be
1631 made 3D compatible by repeating the same frame for both left and right
1632 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1633 Real-D etc.) but not on a 2D system.
1637 The <guilabel>Resolution</guilabel> tab allows you to choose the
1638 resolution for your DCP. Use 2K unless you have content that is of
1639 high enough resolution to be worth presenting in 4K.
1643 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1644 the final image files used within the DCP will be. Larger numbers
1645 will give better quality, but correspondingly larger DCPs. The
1646 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1647 Most commercial DCPs use bit rates between 75 and 125 MBit/s.
1651 The <guilabel>Audio Channels</guilabel> control sets the number of
1652 audio channels that the DCP will have. If the DCP has any channels
1653 for which there is no content audio they will be replaced by silence.
1654 You can only set an even number of channels here, since that is
1655 required by the DCI standard. If you want an odd number of channels,
1656 set the DCP channel count to one greater than you need and the
1657 unused channel will be filled with silence.
1661 The <guilabel>Processor</guilabel> control allows you to select a
1662 process to apply to the audio before it goes into the DCP. Three processes are currently provided:
1666 <listitem>Mid-side decode — this will take a L/R
1667 stereo input and extract the common part (corresponding to the
1668 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1669 The remaining L/R parts will be kept in the L/R channels of the DCP.
1670 This may be useful to make near-field L/R mixes more compatible with
1671 cinema audio systems.</listitem>
1672 <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:
1674 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1675 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1676 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1677 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1678 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1679 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1682 This upmixing algorithm is due to Gérald Maruccia.
1685 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1687 <listitem>DCP L is input L.</listitem>
1688 <listitem>DCP R is input R.</listitem>
1689 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1690 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1691 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1696 <!-- ============================================================== -->
1697 <section xml:id="sec-reels">
1698 <title>Reels</title>
1701 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1702 way as a 35mm reel is a section of a film. A DCP can be split up into
1703 any number of reels and the joins (the equivalent to 35mm splices)
1704 between the reels are seamless.
1708 There is no reason why you can't just use a single reel for the whole
1709 of your DCP, as there is no limit on their length. Many people choose
1714 There are, however, some possible advantages of splitting things up
1720 The picture, sound and subtitle data of the DCP will be
1721 split up into more smaller files on disk, rather than fewer larger
1722 files. This can be useful if the DCP is to be transferred on storage
1723 that have file size limits. The FAT32 filesystem, for example, can
1724 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1725 not be transferred using a FAT32-formatted disk. If that DCP were
1726 split up into two 3Gb reels it could be transferred.
1729 It is easier to re-use DCP components if they are in reels. Consider,
1730 for example, a film company who wants to put a 5 second ident onto the
1731 beginning of DCPs that they distribute. If they receive a feature
1732 film DCP they can modify it to add their ident as a separate reel.
1733 This is easier than attaching the picture data in the DCP.
1738 DCP-o-matic offers three options for setting up the reels in your DCP:
1739 single reel, split by video content or custom.
1743 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1744 This is a perfectly good option if you have no particular reason to
1749 <guilabel>Split by video content</guilabel> puts each piece of source
1750 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1753 <figure id="fig-reels-by-video">
1754 <title>Making reels using split by video content</title>
1755 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1759 Here we have three video files (<code>ident.mp4</code>,
1760 <code>feature.ts</code> and <code>cred.mov</code>). With
1761 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1762 reel to hold each video file.
1766 <guilabel>Custom</guilabel> splits reels by the size of the files that
1767 will make up their video content. With <guilabel>Custom</guilabel>
1768 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1774 <!-- ============================================================== -->
1776 <title>Show audio</title>
1779 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1780 to examine the audio in your content and plot a graph of its level
1781 over time. This can be useful for getting a rough idea of how loud
1782 the sound will be in the cinema auditorium. A typical plot is shown
1783 in <xref linkend="fig-audio-plot"/>
1786 <figure id="fig-audio-plot">
1787 <title>Audio plot</title>
1790 <imagedata fileref="screenshots/audio-plot&scs;"/>
1796 The plot gives the audio level (vertical axis, in dB) with time
1797 (horizontal axis). 0dB represents full scale, so if there is anything
1798 near this you are in danger of clipping the projector's audio outputs.
1802 There are two plot types: the peak level and the RMS, which can be
1803 shown or hidden using the check-boxes on the right hand side of the
1808 The channel check-boxes will show or hide the plot(s) for
1809 the corresponding channels in the DCP.
1813 The smoothing slider applies a variable degree of temporal smoothing
1814 to the plots, which can make them easier to read in some cases.
1818 Obviously the audio plot is no substitute for listening in an
1819 auditorium, but it can be useful to get levels in the right rough area.
1826 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1827 <title>Encryption</title>
1830 It is not required that DCPs be encrypted, but they can be. This
1831 chapter discusses the basic principles of DCP encryption, and how
1832 DCP-o-matic can create encrypted DCPs and KDMs for them.
1836 <!-- ============================================================== -->
1838 <title>Basics</title>
1841 DCPs can be encrypted. This means that the picture and sound data are
1842 encoded in such a way that only cinemas ‘approved’ by the
1843 DCP's creators can read them. In particular, this means copies of the
1844 DCP can be distributed by insecure means: if an ne'er-do-well called
1845 Mallory obtains a hard drive containing an encrypted DCP, there is no
1846 way that he can play it. Only those cinemas who receive a correct key
1847 delivery message (KDM) can play the DCP.
1851 <!-- ============================================================== -->
1853 <title>How it works (in a nutshell)</title>
1856 This section attempts to summarise how DCP encryption works. You can
1857 skip it if you like. You may need some knowledge of encryption
1858 methods to understand it.
1862 We suppose that we are trying to send a DCP to
1863 Alice's cinema without a troublemaker called Mallory being able to
1868 There are two main families of encryption techniques. The first,
1869 symmetric-key encryption, allows us to encode some data using some
1870 numeric key. After encoding, no-one can decode the data unless they
1875 The first step in a DCP encryption is to encode its data with some key
1876 using symmetric-key encryption. The encrypted DCP can then be sent
1877 anywhere, safe in the knowledge that even if Mallory got hold of a
1878 copy, he could not decrypt it.
1882 Alice, however, needs to know the key so she can play the DCP in her
1883 cinema. A simple approach might be for us to send Alice the key.
1884 However, if Mallory can intercept the DCP, he might also be able to
1885 intercept our communication of the key to Alice. Furthermore, if Alice
1886 happened to know Mallory, she could just send him a copy of the key.
1890 The clever bit in the process requires the use of public-key
1891 encryption. With this technique we can encrypt a block of data using
1892 some ‘public’ key. That data can then only be decrypted
1893 using a corresponding private key which is
1894 <emphasis>different</emphasis> to the public key. The private and
1895 public keys form a pair which are related mathematically, but it is
1896 extremely hard (or rather, virtually impossible) to derive the private
1897 key from the public key.
1901 Public-key encryption allows us to distribute the DCP's key to Alice
1902 securely. The manufacturer of Alice's projector generates a public
1903 and private key. They hide the private key deep inside the bowels of
1904 the projector (inside an integrated circuit) where no-one can read it.
1905 They then make the public key available to anyone who is interested.
1909 We take our DCP's symmetric key and encrypt it using the public key of
1910 Alice's projector. We send the result to Alice over email (using a
1911 format called a Key Delivery Message, or KDM). Her projector then
1912 decrypts our message using its private key, yielding the magic
1913 symmetric key which can decrypt the DCP.
1917 If is fine if Mallory intercepts our email to Alice, since the only
1918 key which can decrypt the message is the private key buried inside
1919 Alice's projector. The projector manufacturer is very careful that
1920 no-one ever finds out what this key is. Our DCP is secure: only Alice
1921 can play it back, since only her projector knows the key (even Alice
1929 <!-- ============================================================== -->
1931 <title>Encryption using DCP-o-matic</title>
1934 There are two steps to distributing an encrypted DCP. First, the
1935 DCP's data must be encrypted, and secondly KDMs must be generated for
1936 those cinemas that are allowed to play the DCP.
1940 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
1941 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
1942 encrypt the DCP that it makes using a random key that DCP-o-matic
1943 generates. The key will be written to the film's metadata file, which
1944 should be kept secure.
1948 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
1949 ticked will not play on any projector as-is (it will be marked as
1950 ‘locked’, or whatever the projector manufacturer's term
1955 The second part of distributions is to generate KDMs for the cinemas
1956 that you wish to allow to play your DCP. There are two approaches to
1957 this within DCP-o-matic: using the project, or using a DKDM. These
1958 approaches are now described in turn.
1962 <title>Creating KDMs from a DCP-o-matic project</title>
1965 You can create KDMs from inside a DCP-o-matic project using the
1966 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
1967 menu. This will open the KDM dialogue box, as shown in <xref
1968 linkend="fig-kdm"/>.
1971 <figure id="fig-kdm">
1972 <title>KDM dialog</title>
1975 <imagedata fileref="screenshots/kdm&scs;"/>
1981 In order to generate KDMs for a particular projector, you need to know
1982 its <emphasis>certificate</emphasis>. These are usually made
1983 available by the projector manufacturers as text files with a
1984 <code>.pem</code> extension.
1988 DCP-o-matic can store these certificates along with details of their
1989 cinemas and screens within those cinemas. Each screen has a
1990 certificate for its projector (and optionally certificates for other
1991 trusted devices, such as the sound processor). DCP-o-matic can
1992 generate KDMs for any screens that it knows about.
1996 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
1997 a dialogue box into which you can enter the cinema's name, and
1998 optionally an email address. This email address can be used to
1999 get DCP-o-matic to deliver KDMs via email.
2003 Once you have added a cinema, select it by clicking on its name, then
2004 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2005 allows you to enter a name for the screen and load in its certificate
2006 from a file. The certificate should be in SHA256 PEM format.
2010 Alternatively, certificates for projection systems made by some
2011 manufacturers can be downloaded from databases provided by the
2012 manufacturer. Currently this is supported for Doremi and Dolby
2013 equipment. If you are targeting a screen with equipment by one of
2014 these manufacturers you can click <guilabel>Download</guilabel> then
2015 enter the serial number of the server in the screen and click
2016 <guilabel>Download</guilabel> again and, all being well, the certificate
2021 Using the download system you will need to know the serial number of
2022 the media server in use in the screen. Most cinema projection or
2023 technical departments will know these serial numbers.
2027 Note that the reliability of the manufacturers' certificate databases
2028 cannot be guaranteed. It is vital that KDMs are tested by the
2029 destination cinema will in advance of show time to identify any
2034 Once you have set up all the screens that you need KDMs for, select
2035 the CPL that you want to create the KDM for. You can use the
2036 drop-down list to select the CPLs in the current film project, or load
2037 a CPL from somewhere else. Select the cinemas and/or screens that you
2038 want KDMs for and fill in the start and end dates and times.
2042 You must also select the type of KDM that you want to generate. If in
2043 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2047 Finally, choose what you want to do with the KDMs. They can be
2048 written to disk, to a location that you can specify by clicking
2049 <guilabel>Browse</guilabel>. Alternatively, if you choose
2050 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2051 emailed to the appropriate cinema email addresses. Click OK to
2058 <title>Creating KDMs using a DKDM</title>
2062 It can be inconvenient to need a whole DCP-o-matic project just to
2063 create KDMs for its film. Perhaps you want to archive the project to
2064 save space, or create KDMs on a different machine. In such situations
2065 it is easier to use a DKDM. This is a normal KDM, but instead of
2066 being targeted at a projection system (to allow it to decrypt the
2067 content) it is targeted at a particular users's certificate. This
2068 means that the certificate owner can create new KDMs for other users.
2069 The DKDM holds everything that is required to create further KDMs.
2073 Sometimes it is useful to create DKDMs that can be used by
2074 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2075 any point in the future, use DCP-o-matic's standalone KDM creator to
2076 make KDMs for the DKDM's film for any cinema.
2080 In other cases a DKDM is sent to a 3rd party so that they can create
2081 KDMs for your films. This can be useful if, for example, you have a
2082 distributor who provides 24-hour KDM support to cinemas and can create
2083 KDMs for anybody that requires them at short notice.
2087 To create a DKDM for DCP-o-matic, open your encrypted project and
2088 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2089 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2090 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2091 be available in the KDM creator. This is a separate program which you
2092 can start from the same place that you start the ‘Normal’
2093 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2096 <figure id="fig-kdm-creator">
2097 <title>The KDM creator</title>
2100 <imagedata fileref="screenshots/kdm-creator&scs;"/>
2106 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2107 to be created for, the date range, the DCP that the KDMs are for and
2108 the destination for the KDMs and click <guilabel>Create
2113 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2114 which you have clicked <guilabel>Make DKDM for
2115 DCP-o-matic</guilabel>in the main DCP-o-matic program. If you have
2116 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2117 specifying the file containing the DKDM.
2121 If another organisation wants to send you a DKDM they will ask you for
2122 a target certificate. You can get DCP-o-matic's target certificate by
2123 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2124 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2132 <title>Encryption overview</title>
2134 <figure id="fig-encryption-overview">
2135 <title>Overview of encryption</title>
2138 <imagedata fileref="diagrams/crypt&dia;"/>
2148 <!-- ============================================================== -->
2149 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2150 <title>Preferences</title>
2153 DCP-o-matic provides a few preferences which can be used to modify its
2154 behaviour. This chapter explains those options.
2158 <!-- ============================================================== -->
2160 <title>The preferences dialogue</title>
2163 The preferences dialogue is opened by choosing
2164 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2165 menu. The dialogue is split into seven tabs.
2168 <!-- ============================================================== -->
2170 <title>General</title>
2173 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2176 <figure id="fig-prefs-general">
2177 <title>General preferences</title>
2180 <imagedata fileref="screenshots/prefs-general&scs;"/>
2186 <!-- ============================================================== -->
2188 <title>Language</title>
2191 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2192 a language from the list, that language will be used for DCP-o-matic.
2193 You will need to restart DCP-o-matic to see the new language.
2197 The translations for DCP-o-matic have been contributed by helpful
2198 users. If your language is not on the last, head to <ulink
2199 url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2200 read about how to contribute a translation.
2205 <!-- ============================================================== -->
2207 <title>Threads</title>
2210 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2211 to speed things up. Set this value to the number of threads
2212 DCP-o-matic should use. This should normally be the number of
2213 processors (or processor cores) in your machine. DCP-o-matic will try
2214 to set this up correctly when you run it for the first time.
2219 <!-- ============================================================== -->
2221 <title>Cinema and screen database file</title>
2224 This option allows you to change the file that DCP-o-matic uses to
2225 store details of the cinemas and screens used to make KDMs.
2231 <title>Integrated loudness</title>
2234 If <guilabel>Find integrated loudness, true peak and loudness range
2235 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2236 work when analysing audio. Leave this ticked if the extra parameters
2237 are useful to you. If not, untick it and audio analysis will be
2243 <!-- ============================================================== -->
2245 <title>Updates</title>
2248 The <guilabel>Check for updates on startup</guilabel> option, if
2249 enabled, will tell DCP-o-matic to check on <ulink
2250 url="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2251 newer versions of DCP-o-matic then the one you are running. If so, a
2252 dialogue box will open with a link to download the new version.
2257 The <guilabel>Check for testing updates as well as stable
2258 ones</guilabel> option will also check for test updates as well as
2259 those that are formally ‘released’. This is useful if you
2260 like to live on the bleeding edge!
2264 <!-- ============================================================== -->
2266 <title>Issuer and creator</title>
2269 With these controls you can set the issuer and creator strings that
2270 will be put into the DCPs which you create.
2276 <!-- ============================================================== -->
2278 <title>Defaults</title>
2281 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2284 <figure id="fig-prefs-defaults">
2285 <title>Defaults preferences</title>
2288 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2294 The options in this tab simply allow you to set up default values for
2295 various properties of new films.
2300 <!-- ============================================================== -->
2302 <title>Servers</title>
2305 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2308 <figure id="fig-prefs-servers">
2309 <title>Servers preferences</title>
2312 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2318 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2319 locate encoding servers automatically (see <xref
2320 linkend="ch-servers"/>).
2324 Instead of this (or in addition) servers can be specified explicitly.
2325 To add a server, click <guilabel>Add...</guilabel> and enter the host
2326 name or IP address of the server to use.
2332 <!-- ============================================================== -->
2333 <section xml:id="sec-prefs-keys">
2337 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) holds options
2338 related to the keys and certificates used in some parts of DCP
2342 <figure id="fig-prefs-keys">
2343 <title>Keys preferences</title>
2346 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2352 At the top of the tab is the chain of certificates that will be used
2353 to sign DCPs and KDMs. DCP-o-matic creates a random chain when you
2354 first run it and if you are happy to use this chain you can ignore the
2355 preferences. Otherwise, you can add or remove certificates from the
2356 chain using the <guilabel>Add...</guilabel> and
2357 <guilabel>Remove</guilabel> buttons.
2361 If you want DCP-o-matic to re-create the certificate chain (using new,
2362 random certificates) click <guilabel>Re-make
2363 certificates...</guilabel> and specify your organisation and common
2364 names in the dialogue box that opens.
2368 Underneath the certificate chain is the private key that corresponds
2369 to the leaf certificate in the chain. You can specify your own
2370 private key by clicking <guilabel>Load...</guilabel>. You must do
2371 this if you change the leaf certificate, so that the leaf private key
2372 corresponds to the public key held in the leaf certificate.
2376 Underneath the details of the certificate chain and private key for
2377 signing of DCPs and KDMs is a second chain and key which is used by
2378 DCP-o-matic when you import an encrypted DCP as a piece of content.
2379 The leaf certificate of this chain contains the public key that should
2380 be used when targeting a KDM at DCP-o-matic.
2384 If you want to import an encrypted DCP you will need to give the
2385 decryption certificate to the distributor of the DCP so that they can
2386 generate a DKDM for you. You can save this certificate to disk by
2387 clicking <guilabel>Export DCP decryption certificate...</guilabel>. As
2388 with the signing chain, DCP-o-matic will create a certificate chain
2389 and private key for you. You can also choose to load your own
2390 certificates and key or re-make the chain and key with new, random
2396 <!-- ============================================================== -->
2397 <section xml:id="sec-prefs-tms">
2399 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2402 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2403 options for specifying details about your theatre management system
2404 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2405 you can upload DCPs directly from DCP-o-matic to the TMS using the
2406 <guilabel>Send DCP to TMS</guilabel> option in the
2407 <guilabel>Jobs</guilabel> menu.
2410 <figure id="fig-prefs-tms">
2411 <title>TMS preferences</title>
2414 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2420 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2421 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2422 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2423 FTP. Do let us know if you use any other type of TMS with the
2424 <guilabel>Send DCP to TMS</guilabel> feature.
2428 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2429 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2430 should be uploaded to (which will be relative to the home directory of
2431 the SSH or FTP user). Finally, the user name and password are the
2432 credentials required to log into the TMS via SSH or FTP.
2436 Note that for this to work on Doremi servers you will need to set the
2437 <code>PasswordAuthentication</code> option in your server's
2438 <code>sshd_config</code> to <code>yes</code>.
2444 <!-- ============================================================== -->
2446 <title>KDM email</title>
2449 The KDM email is shown in <xref linkend="fig-prefs-kdm-email"/>.
2452 <figure id="fig-prefs-kdm-email">
2453 <title>KDM email preferences</title>
2456 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2462 This is a template for the email that is used to send KDMs out to
2463 cinemas. You can change it to say whatever you like. A few
2464 ‘magic’ strings will be replaced by information from the
2465 KDM that is being sent:
2469 <title>‘Magic’ KDM strings</title>
2470 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2473 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2476 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2479 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2482 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2485 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2492 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2498 <!-- ============================================================== -->
2499 <section xml:id="sec-prefs-advanced">
2500 <title>Advanced</title>
2501 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
2504 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
2507 <figure id="fig-prefs-advanced">
2508 <title>Advanced preferences</title>
2511 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
2517 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
2518 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
2519 are advised to leave this at 250Mbit/s in normal use for maximum DCP
2524 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
2525 the DCP video frame rates that DCP-o-matic will create. This may be
2526 useful for experimentation. Again, you are strongly advised to leave
2527 this unticked for normal use.
2531 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
2532 JPEG2000 data only on encoding servers and not on the host. We
2533 suggest you leave this un-ticked unless you have a good reason to do otherwise.
2537 The four checkboxes labelled <guilabel>Log</guilabel> control what
2538 sort of messages DCP-o-matic writes to its log file when creating a
2539 DCP. It is useful to leave <guilabel>General</guilabel>,
2540 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
2541 as this makes the log files useful for tracking down bugs.
2545 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
2546 to allow developers to investigate and optimize the speed of
2547 DCP-o-matic. It will significantly increase the size of the log files
2548 that are generated, so in normal use it is best to leave this
2556 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
2557 <title>Frame rates</title>
2560 In an ideal world, a DCP would be created using content at the same
2561 video frame and audio sampling rates as the DCP. This is not,
2562 however, always possible.
2566 <!-- ============================================================== -->
2568 <title>DCP frame rate limitations</title>
2571 There are some limitations to video and audio frame rates in DCPs. This is
2572 complicated by the fact that not all projectors will play DCPs at the
2573 same frame rates. It is possible to create a DCP which one projector will
2574 play fine, but another (of a different type) will refuse to play, or
2575 even refuse to ingest.
2579 <!-- ============================================================== -->
2581 <title>Guaranteed rates</title>
2584 The only rates that are (pretty much) guaranteed to work on all DCI
2585 projectors are 24 frames per second (fps) for video and 48kHz or 96kHz
2586 for audio. If you are sending your DCPs to unknown places it wise to
2587 consider using these rates if at all possible.
2593 <!-- ============================================================== -->
2595 <title>Other often-supported rates</title>
2597 Many projectors now in the wild support additional video frame rates:
2603 <!-- ============================================================== -->
2605 <title>Adapting content to fit the DCP rate</title>
2608 DCP-o-matic has a few tricks to allow you to use content that is not
2609 in one of the ‘approved’ rates.
2613 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
2614 with minimal loss in quality.
2618 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
2619 with a non-supported content rate is to run it at the wrong speed, and
2620 to adjust the audio to keep it in sync.
2623 <para>Let us consider the example of a 25fps source for which you want
2624 to create a 24fps DCP. DCP-o-matic will put the frames from the
2625 source directly into the DCP without modification, but will tell the
2626 projector to play them back at 24fps. This means that the DCP's video
2627 will run slightly slower than the original.
2631 If DCP-o-matic did nothing else, the result of this would be that the
2632 audio would be running at the original speed with the video running
2633 slowly. Hence the audio would drift slowly out of sync. To avoid
2634 this, DCP-o-matic also resamples the audio such that the projector
2635 will play it too slow by the same amount. Hence it will sound
2636 slightly different but will remain in sync with the video.
2640 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
2647 <!-- ============================================================== -->
2649 <title>Setting up</title>
2652 The <guilabel>Frame Rate</guilabel> control in the
2653 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
2654 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
2655 what DCP-o-matic thinks is the best for your content. With this
2656 button, DCP-o-matic assumes that the whole range of frame rates (24,
2657 25, 30 and 48fps) are allowable.
2661 After this, the <guilabel>Video</guilabel> tab for each piece of
2662 content will give a summary of what DCP-o-matic is doing with that
2667 If you want to experiment with other non-standard frame rates, you can
2668 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
2669 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
2670 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
2671 use this only on your own equipment, and only for experimentation
2680 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
2681 <title>Encoding servers</title>
2684 One way to increase the speed of DCP encoding is to use more
2685 than one machine at the same time. An instance of DCP-o-matic can
2686 offload some of the time-consuming JPEG2000 encoding to any number of
2687 other machines on a network. To do this, one ‘master’
2688 machine runs DCP-o-matic, and the ‘server’ machines run
2689 a small program called <code>dcpomatic_server</code>.
2693 The master and server machines do not need to be the same type, so you
2694 can mix Windows PCs, Macs and Linux machines as you wish.
2698 <!-- ============================================================== -->
2700 <title>Running the servers</title>
2703 There are two options for the encoding server;
2704 <code>dcpomatic_server_cli</code>, which runs on the command line, and
2705 <code>dcpomatic_server</code>, which has a simple GUI. The command line
2706 version is well-suited to headless servers, especially on Linux, and
2707 the GUI version works best on Windows where it will put an icon in the
2712 To run the command line version, simply enter:
2716 dcpomatic2_server_cli
2720 at a command prompt. If you are running the program on a machine with
2721 a multi-core processor, you can run multiple parallel encoding threads
2722 by doing something like:
2726 dcpomatic2_server_cli -t 4
2730 to run 4 threads in parallel.
2734 To run the GUI version on windows, run the ‘DCP-o-matic encode
2735 server’ from the start menu. An icon will appear in the system
2736 tray; right-click it to open a menu from whence you can quit the
2737 server or open a window to show its status.
2740 <para>If you would rather not bother installing DCP-o-matic on your
2741 server computers, the other option is to use the live-CD
2742 image that you can download from the <ulink
2743 url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
2745 <para>Either burn the image to CD, or write it to a USB stick (using
2746 something like <ulink
2747 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
2748 PC from the CD or USB stick and it becomes a DCP-o-matic server
2749 without touching your standard operating system install.
2754 <!-- ============================================================== -->
2756 <title>Setting up DCP-o-matic</title>
2759 DCP-o-matic periodically looks on the local network for servers. Any
2760 that it finds are given work to do during encodes. Selecting
2761 <guilabel>Encoding Servers</guilabel> from the
2762 <guilabel>Tools</guilabel> menu brings up a window which shows that
2763 servers that DCP-o-matic has found.
2768 <!-- ============================================================== -->
2770 <title>Some notes about encode servers</title>
2773 DCP-o-matic does not mind if servers come and go; if a server
2774 disappears, DCP-o-matic will stop sending work to it, and will check
2775 it every minute or so in case it has come back online.
2779 You will probably find that using a 1Gb/s or faster network will
2780 provide a significant speed-up compared to a 100Mb/s network.
2787 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2788 <title>Generated files</title>
2791 DCP-o-matic generates a number of files as it makes a DCP. <xref
2792 linkend="fig-file-structure"/> shows the files that might be generated
2793 after you have created a DCP for a film called ‘DCP Test’.
2796 <figure id="fig-file-structure">
2797 <title>Creating a new film</title>
2800 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
2806 The <code>DCP Test</code> folder is the one that you specify when you
2807 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
2808 menu. Everything is stored inside this folder.
2812 DCP-o-matic generates some working files as it goes along. These are as follows:
2815 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
2816 along. This can be useful for debugging purposes if something goes
2819 <listitem><code>metadata</code> stores the settings that you have made
2820 for this film: things like cropping, output format and so on.</listitem>
2822 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
2823 video data as it encodes it.</listitem>
2825 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
2827 <listitem><code>info</code> contains details of each video frame that
2828 DCP-o-matic has written so far. This is used when an encoding
2829 operation is interrupted and DCP-o-matic must resume it.</listitem>
2834 Following this is the DCP itself:
2835 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
2836 contains some small XML files, which describe the DCP, and two large
2837 MXF files, which contain the DCP's audio and video data. This folder
2838 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
2839 to the cinema which is showing your DCP.
2845 <title>Loose ends</title>
2848 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
2852 <!-- ============================================================== -->
2854 <title>Resuming encodes</title>
2857 If you cancel a DCP encoding run half-way through, or your computer
2858 crashes... fear not. DCP-o-matic takes care to ensure that, in most
2859 cases, it can resume encoding from where it left off. When you
2860 re-start a DCP creation, using the same settings are a previous run,
2861 DCP-o-matic will first check that the existing picture frames are
2862 correct, and then resume from where it left off. The checking of
2863 existing frames does take some time, but it is much faster than
2864 running a full re-encode.
2868 This resumption is achieved by writing a digest (hash) to disk for
2869 every image frame that is written. On resumption, the existing MXF
2870 file for image data is read and its contents checked against the
projects / dcpomatic.git / blob