1 <?xml version="1.0" encoding="utf-8"?>
3 <!ENTITY % sgml.features "IGNORE">
4 <!ENTITY % xml.features "INCLUDE">
5 <!ENTITY % dbcent PUBLIC "-//OASIS//ENTITIES DocBook Character Entities V4.5//EN"
6 "/usr/share/xml/docbook/schema/dtd/4.5/dbcentx.mod">
8 <!ENTITY % extensions SYSTEM "extensions.ent">
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 perform the following tasks:</para>
32 <listitem>Creation of <ulink
33 url="http://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
34 Cinema Packages</ulink> (DCPs) from video, audio and/or
35 subtitle files.</listitem>
36 <listitem>Playback of DCPs on a PC.</listitem>
37 <listitem>Creation of KDMs for DCPs.</listitem>
43 <!-- ============================================================== -->
45 <title>Licence</title>
48 DCP-o-matic is free and open-source and is licensed under the <ulink
49 url="http://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 gory 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="http://dcpomatic.com/">http://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 used 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
108 If you are still using Windows XP, download the specific XP version as
109 it should be more stable on your machine than the ‘normal’
116 <!-- ============================================================== -->
118 <title>Mac OS X</title>
121 DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
122 higher. DCP-o-matic is split into four separate applications, each of
123 which can be installed by downloading the <code>.dmg</code>,
124 double-clicking to open and then dragging the icon to your
125 <guilabel>Applications</guilabel> folder.
129 If you are not sure which parts of DCP-o-matic to install, start
130 with the first (main) part.
135 <!-- ============================================================== -->
137 <title>Debian, Ubuntu or Mint Linux</title>
140 You can install DCP-o-matic on:
144 <listitem>Debian 7 (‘wheezy’)</listitem>
145 <listitem>Debian 8 (‘jessie’)</listitem>
146 <listitem>Debian unstable (‘sid’)</listitem>
147 <listitem>Ubuntu 14.04 (‘Trusty Tahr’)</listitem>
148 <listitem>Ubuntu 16.04 (‘Xenial Xerus’)</listitem>
149 <listitem>Ubuntu 17.10 (‘Artful Aardvark’)</listitem>
150 <listitem>Mint 17</listitem>
151 <listitem>Mint 18</listitem>
155 using <code>.deb</code> packages: download the appropriate package
156 from <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
157 and double-click it. Debian or Ubuntu will install the necessary bits and
158 pieces and set DCP-o-matic up for you.
161 <!-- ============================================================== -->
164 <!-- ============================================================== -->
166 <title>Fedora, Centos and Mageia Linux</title>
168 <para>There are <code>.rpm</code> packages for Fedora 25, 26 and 27, Centos 6 and 7 and Mageia 6 on
169 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
172 <!-- ============================================================== -->
174 <!-- ============================================================== -->
176 <title>Arch Linux</title>
178 Packages for Arch Linux are available from <ulink
179 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
180 thanks to Stefan Karner.
185 <!-- ============================================================== -->
187 <title>Other Linux distributions</title>
190 Installation on other Linux systems (for which no packages are
191 available) is quite hard as it must be compiled from source. If you
192 can't download packages for your distribution, do let me know by
193 <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I will look
194 into providing packages on the website.
198 The following dependencies are required:
200 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
201 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
202 <listitem><ulink url="http://www.mega-nerd.com/SRC/">libsamplerate</ulink></listitem>
203 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
204 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
205 <listitem><ulink url="http://www.imagemagick.org/script/index.php">ImageMagick</ulink></listitem>
206 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
207 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
208 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
209 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
210 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
211 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
212 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
213 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
214 <listitem><ulink url="http://carlh.net/libdcp/">libdcp</ulink></listitem>
215 <listitem><ulink url="http://carlh.net/libsub/">libsub</ulink></listitem>
216 <listitem><ulink url="http://carlh.net/libcxml/">libcxml</ulink></listitem>
217 <listitem><ulink url="http://site.icu-project.org">libicu</ulink></listitem>
222 Once you have installed the development packages for the dependencies,
223 download the source code from <ulink
224 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>,
225 unpack it and run the following commands from inside the source
236 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
251 <!-- ============================================================== -->
252 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
253 <title>Creating a DCP from a video</title>
256 In this chapter we will see how to create a DCP from a video file using
257 DCP-o-matic. We will gloss over the details and look at the basics.
261 <title>Creating a new film</title>
264 Let's make a very simple DCP to see how DCP-o-matic works. First, we
265 need some content. Download the low-resolution trailer for the open
266 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
267 url="https://download.blender.org/durian/trailer/Sintel_Trailer.480p.DivX_Plus_HD.mkv">their
268 website</ulink>. Generally one would want to use the
269 highest-resolution material available, but for this test we will use
270 the low-resolution version to save everyone's bandwidth bills.
274 Now, start DCP-o-matic and its window will open. First, we will
275 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
276 some pieces of content, along with some settings, which we will make into
277 a DCP. DCP-o-matic stores its data in a folder on your disk while it
278 creates the DCP. You can create a new film by selecting
279 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
280 shown in <xref linkend="fig-file-new"/>.
283 <figure id="fig-file-new">
284 <title>Creating a new film</title>
287 <imagedata fileref="screenshots/file-new&scs;"/>
293 This will open a dialogue box for the new film, as shown in <xref
294 linkend="fig-video-new-film"/>.
297 <figure id="fig-video-new-film">
298 <title>Dialogue box for creating a new film</title>
301 <imagedata fileref="screenshots/video-new-film&scs;"/>
307 In this dialogue box you can choose a name for the film. This will be
308 used to name the folder to store its data in, and also as the initial
309 name for the DCP itself. You can also choose whereabouts you want to create
310 the film. In the example from the figure, DCP-o-matic will create a
311 folder called ‘DCP Test’ inside my home folder (carl) into which it
312 will write its working files.
318 <!-- ============================================================== -->
320 <title>Adding content</title>
323 The next step is to add the content that you want to use. DCP-o-matic
324 can make DCPs from multiple pieces of content, but in this simple
325 example we will just use a single piece. Click the <guilabel>Add
326 file(s)...</guilabel> button, as shown in <xref
327 linkend="fig-add-file"/>, and a file chooser will open for you to
328 select the content file to use, as shown in <xref
329 linkend="fig-video-select-content-file"/>.
332 <figure id="fig-add-file">
333 <title>Adding content files</title>
336 <imagedata fileref="screenshots/add-file&scs;"/>
341 <figure id="fig-video-select-content-file">
342 <title>Selecting a video content file</title>
345 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
351 Select your content file and click <guilabel>Open</guilabel>. In this
352 case we are using the Sintel trailer that we downloaded earlier.
356 When you do this, DCP-o-matic will take a look at your file. After a
357 short while (when the progress bar at the bottom right of the window
358 has finished), you can look through your content using the slider to
359 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
362 <figure id="fig-examine-content">
363 <title>Examining the content</title>
366 <imagedata fileref="screenshots/examine-content&scs;"/>
372 Dragging the slider will move through your video. You can also click
373 the <guilabel>Play</guilabel> button to play the content back.
381 <!-- ============================================================== -->
383 <title>Making the DCP</title>
385 <para>In most cases, some adjustments would be made to DCP-o-matic's
386 settings once the content has been added. For our simple test,
387 however, the default values will suffice, so we can go straight onto
388 making the DCP.</para>
391 Choose <guilabel>Make DCP</guilabel> from the
392 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
393 This may take some time (many hours in some cases). While the job is
394 in progress, DCP-o-matic will update you on how it is getting on with
395 the progress bar in the bottom of its window, as shown in <xref
396 linkend="fig-making-dcp"/>.
399 <figure id="fig-making-dcp">
400 <title>Making the DCP</title>
403 <imagedata scale="50" fileref="screenshots/making-dcp&scs;"/>
409 When it has finished, the DCP will end up on your disk inside the
410 film's folder. You can then copy this to a projector via a USB
411 stick, hard-drive or network connection. See <xref
412 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
416 Alternatively, if you have a projector or Theatre Management System
417 (TMS) that is accessible via SCP or FTP across your network, you can upload
418 the content directly from DCP-o-matic. See the <xref
419 linkend="sec-prefs-tms" endterm="sec-prefs-tms-short"/> in <xref linkend="sec-prefs-tms"/>.
426 <!-- ============================================================== -->
427 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
428 <title>Creating a DCP from a still image</title>
431 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
432 for an advertisement or an on-screen announcement. This chapter shows you
437 As with DCPs made from video files, the first step is to create a new
438 ‘Film’; select <guilabel>New</guilabel> from the
439 <guilabel>File</guilabel> menu and the new film dialogue will open as
440 shown in <xref linkend="fig-still-new-film"/>.
443 <figure id="fig-still-new-film">
444 <title>Dialogue box for creating a new film</title>
447 <imagedata fileref="screenshots/still-new-film&scs;"/>
453 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
454 the content. As before, click <guilabel>Add file(s)...</guilabel>.
455 For our example, we will add a single image file, as shown in <xref
456 linkend="fig-still-select-content-file"/>.
459 <figure id="fig-still-select-content-file">
460 <title>Selecting a still content file</title>
463 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
469 Most of the default settings will be fine for a simple test. The one
470 thing that you might wish to change is the length of the still.
471 Select the <guilabel>Timing</guilabel> tab and you will see a
472 <guilabel>Play length</guilabel> setting, as shown in <xref
473 linkend="fig-timing-tab"/>.
476 <figure id="fig-timing-tab">
477 <title>The timing tab</title>
480 <imagedata fileref="screenshots/timing-tab&scs;"/>
486 This length is a ‘timecode’: it consists of four numbers.
487 The first is hours, the second minutes, the third seconds, and the
488 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
492 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
493 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
494 be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
495 to encode a single frame which it can then repeat.
501 <!-- ============================================================== -->
502 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
503 <title>Manipulating existing DCPs</title>
506 Frequently DCP-o-matic is used to take content in formats such as MP4
507 and convert it to JPEG2000 for a DCP. It can also be used
508 to take existing DCPs and modify them in various ways.
512 <title>Importing a DCP into DCP-o-matic</title>
515 If you want to do something to an existing DCP the first step is to
516 import it. Click <guilabel>Add DCP...</guilabel> and select your
517 DCP's folder. It will be added to the DCP-o-matic project. If the
518 DCP is unencrypted you can preview it in the normal way, though
519 playback will be very slow as decoding of DCPs is almost as
520 computationally intensive as encoding them.
524 If your DCP is a Version File (VF) (i.e. it refers to
525 another DCP's assets) you should import it as follows:
529 <listitem>Use <guilabel>Add DCP...</guilabel> to import the VF DCP.
530 The VF DCP will be added to the content list and marked “NEEDS
531 OV”.</listitem>
532 <listitem>Right-click on the VF DCP in the content list and choose <guilabel>Add OV...</guilabel> from the menu.</listitem>
533 <listitem>Choose the folder that contains the OV DCP. The VF will now be playable as normal.</listitem>
540 <title>Decrypting encrypted DCPs</title>
543 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
544 details). If you import an encrypted DCP you will need a key, in the
545 form of a Key Delivery Message (KDM), to decrypt it.
549 KDMs must be prepared by the organisation which created the DCP. They
550 contain the keys to decrypt the DCP wrapped up in such a way that only
551 the intended recipient can read them. You will need to provide the
552 organisation with a certificate which identifies your copy of
553 DCP-o-matic and allows them to create a KDM for you.
557 To get DCP-o-matic's decryption certificate, open the Preferences
558 dialogue (see <xref linkend="ch-preferences"/>) and go to the
559 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
560 decryption certificate...</guilabel> button at the bottom of this tab
561 and save the certificate. Send this certificate to the DCP creators
562 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
566 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
567 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and the DCP
568 will be decrypted and become available for preview.
575 <title>Making a DCP from a DCP</title>
578 In many ways, using DCPs as <emphasis>content</emphasis> in
579 DCP-o-matic is the same as using any other content. There are a few
580 things to note, though.
585 <title>Re-use of existing data</title>
588 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
589 data from DCP content without modification. This has the advantage
590 that creation of the new DCP will be quick, as the time-consuming
591 JPEG2000 encoding is not necessary.
595 DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
596 the following content settings:
600 <listitem>Crop</listitem>
601 <listitem>Scaling</listitem>
602 <listitem>Subtitle burn-in</listitem>
603 <listitem>Fades</listitem>
604 <listitem>Colour conversion</listitem>
608 If you do change any of these settings on a piece of DCP content
609 DCP-o-matic will decode and then re-encode the JPEG2000 data.
615 <section xml:id="sec-overlay">
616 <title>Making overlay files</title>
619 With its default settings, DCP-o-matic will take any data from DCP
620 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
623 <figure id="fig-dcp-copy">
624 <title>Creating a new DCP by copying an existing one</title>
625 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
629 This can be inefficient in some cases. Consider, for example, a film
630 which has ten different translations for which the subtitles are
631 different but video and audio are the same. If the video and audio
632 content takes up, say, 100Gb this means that the set of DCPs for every
633 translation would be about 1Tb with a lot of duplicated data.
637 The DCP format has a solution to this problem. One DCP can refer to
638 the ‘assets’ (picture, sound or subtitle) of another DCP.
639 For our translation example this means that we could have a
640 ‘base’ DCP (often called the OV or Original Version)
641 containing video, audio and one set of subtitles and then any number
642 of overlay DCPs (often called VF or Version Files) which refer to the
643 base version and replace the original subtitles with their own. <xref
644 linkend="fig-dcp-refer"/> shows this principle for one of our
645 translations. The DCP that we make refers to the original content
646 DCP's video and audio rather than containing a copy.
649 <figure id="fig-dcp-refer">
650 <title>Creating a new DCP by referring to an existing one</title>
651 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
655 To play back the subtitled DCP the projectionist ingests both the base
656 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
660 To make a DCP like this:
664 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
665 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
666 <listitem>Select the DCP in the content list</listitem>
667 <listitem>Tick the <guilabel>Use's this DCP's ... as OV and make VF</guilabel> checkbox
668 in the tabs for the parts of the DCP that you want to refer to in your
669 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>
670 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
680 <!-- ============================================================== -->
683 <!-- ============================================================== -->
684 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
685 <title>Content settings</title>
688 The previous chapters showed DCP generation using the default
689 settings. DCP-o-matic offers a range of features to adjust the
690 content that goes into your DCP, and this chapter describes those
695 <title>Adding and removing content</title>
698 At the top of the <guilabel>Content</guilabel> tab is a list of the
699 content that will go into our DCP. There can be as many pieces of
700 content as you like, and they can be of the following types:
704 <listitem>Movie — a file containing some video, probably some
705 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
708 <listitem>Sound — a file containing one or more channels of
709 audio; for example, a WAV or AIFF file.
712 <listitem>Still image — a file containing a single still image; for
713 example, a JPEG, PNG or TIFF file.
716 <listitem>Moving image — a directory containing many still
717 images which should be treated as the frames of a video.
720 <listitem>Subtitle — a file containing subtitle which will be
721 superimposed on the image of the DCP. These can be
722 <guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel>, <guilabel>.ass</guilabel> or <guilabel>.xml</guilabel>
725 <listitem>DCP — an existing DCP.</listitem>
729 To add one or more movie, sound, still-image or subtitle files, select
730 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
734 To add a directory (folder) of images, choose <guilabel>Add
735 folder...</guilabel> and choose the directory from the selector.
736 DCP-o-matic will open a small dialogue box where you can enter the
737 frame rate that the image sequence should be run at.
741 To add a DCP, choose <guilabel>Add DCP...</guilabel> and choose the
742 DCP's directory from the selector.
746 You can remove a piece of content by clicking on its name and then
747 clicking the <guilabel>Remove</guilabel> button.
752 <!-- ============================================================== -->
754 <title>Adding existing DCPs</title>
756 <para>Adding existing DCPs to a DCP-o-matic film is a little different
757 to adding other types of content. Most content has to be converted to
758 JPEG2000, the compression scheme used by DCPs, which is a very
759 time-consuming process. Existing DCPs are already in JPEG2000 format
760 so do not require conversion. This means that, provided no settings
761 such as crop are used on the DCP content, picture and sound data will
762 be passed from existing to new DCP unaltered.
765 <para>Encrypted DCPs that are added as content will require a KDM
766 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
767 should ask the creator of the imported DCP to provide a KDM for
768 DCP-o-matic's decryption certificate, which can be obtained by
769 clicking <guilabel>Export DCP decryption certificate...</guilabel>
770 from the <guilabel>Keys</guilabel> tab of the
771 <guilabel>Preferences</guilabel> dialog (see <xref
772 linkend="sec-prefs-keys"/>).
777 <!-- ============================================================== -->
779 <title>Content Properties</title>
782 Below the content list are the controls to set content properties. To
783 adjust the properties for a piece of content, click its name in the
784 content list. The content property controls will then become active
785 for that piece of content.
789 If you want to change the properties for multiple pieces of content at
790 the same time, select the content in the list by clicking the first
791 piece then clicking the other pieces with <keycap>shift</keycap> key
792 held down. Note that not all settings can be changed in this way.
796 The content properties are split up into four sections:
797 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
798 <guilabel>Subtitles</guilabel> and <guilabel>Timing</guilabel>. Not
799 all of these sections will be active for all content types. The controls
800 in each section are described below.
806 <!-- ============================================================== -->
811 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
814 <figure id="fig-video-tab">
815 <title>Video settings tab</title>
818 <imagedata fileref="screenshots/video-tab&scs;"/>
824 <!-- ============================================================== -->
826 <title>Use this DCP's video as OV and make VF</title>
829 This option is only applicable if the selected content is an existing
830 DCP. It allows you make a VF DCP, using the video content from the
831 existing DCP by referencing it (rather than copying). See <xref
832 linkend="sec-overlay"/>.
837 <!-- ============================================================== -->
839 <title>Image type</title>
842 The next option on this tab is the ‘type’ of the video.
843 This specifies how DCP-o-matic should interpret the video's image.
844 <guilabel>2D</guilabel> is the default; this just takes the video
845 image as a standard 2D frame. The <guilabel>3D
846 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
847 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
850 <figure id="fig-3d-left-right">
851 <title>3D left/right image type</title>
854 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
860 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
861 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
862 linkend="fig-3d-top-bottom"/>.
865 <figure id="fig-3d-top-bottom">
866 <title>3D top/bottom image type</title>
869 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
875 Another option is <guilabel>3D alternate</guilabel> which takes the
876 first frame of the content as for the left eye, the second for the
877 right eye, the third for the left, and so on. Finally, you can
878 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
879 only</guilabel> if this content contains only the the left or right
880 eye images. This is useful when you have the left and right eye image
881 sets in different files; you can specify one content as <guilabel>3D
882 left only</guilabel> and another as <guilabel>3D right only</guilabel>
883 and DCP-o-matic will pick up the appropriate frames from each.
889 <!-- ============================================================== -->
891 <title>Filtering</title>
894 The ‘filters’ settings allow you to apply various video
895 filters to the image. These may be useful to try to improve
896 poor-quality sources like DVDs. You can set up the filters by clicking the
897 <guilabel>Edit</guilabel> button next to the filters entry in the
898 setup area of the DCP-o-matic window; this opens the filters selector
899 as shown in <xref linkend="fig-filters"/>.
902 <figure id="fig-filters">
903 <title>Filters selector</title>
906 <imagedata fileref="screenshots/filters&scs;"/>
912 After changing the filters setup, you will need to regenerate the DCP
913 to see the effect on the cinema screen. The preview in DCP-o-matic
914 will update itself whenever filters are changed, though of course this
915 image is much smaller and of lower resolution than a projected image!
921 <!-- ============================================================== -->
923 <title>Colour conversion</title>
926 The <guilabel>Colour conversion</guilabel> setting specifies what
927 colour transforms and gamma correction DCP-o-matic will use when
928 converting the selected content into the XYZ colourspace for the DCP.
932 The easiest way to select the required conversion is to choose one of
933 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
934 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
935 know which preset you should use, refer to the suggestions in <xref
936 linkend="tab-colour-conversion"/>.
939 <table id="tab-colour-conversion">
940 <title>Suggested colour conversion settings</title>
941 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
942 <colspec colwidth='1*'/>
943 <colspec colwidth='5*'/>
946 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs</entry>.
949 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
952 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
955 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
962 For other required colour conversions, and if you know what you are
963 doing, you can choose <guilabel>Custom</guilabel> which will open the full
964 colour conversion editing dialogue box:
967 <figure id="fig-colour-conversion">
968 <title>Dialogue box for custom colour conversion</title>
971 <imagedata fileref="screenshots/colour-conversion&scs;"/>
977 Alternatively, choose <guilabel>None</guilabel> if your source files
978 are already in the XYZ colour space and require no conversion.
982 DCP-o-matic's colour conversion processes are discussed in much more
983 detail in a separate document <ulink
984 url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
989 <!-- ============================================================== -->
991 <title>Other settings</title>
994 The <guilabel>crop</guilabel> settings can be used to crop your content,
995 which can be used to remove black borders from round the edges of DVD
996 images, for example. The specified number of pixels will be trimmed
997 from each edge, and the content image in the right of the window will
998 be updated to show the effect of the crop.
1002 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
1003 settings can be used to apply linear fades into and out of a piece of
1004 content. Specify the time for each, clicking <guilabel>Set</guilabel>
1005 after making any changes.
1009 The <guilabel>Scale to</guilabel> option governs the shape that
1010 DCP-o-matic will scale the content's image into. Select the aspect
1011 ratio that your content should be presented in.
1016 <!-- ============================================================== -->
1018 <title>Video description</title>
1021 At the bottom of the video tab is a short description of what will
1022 happen to your video with the current settings. In the example of
1023 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
1024 video file is 1920x1080 pixels and it has square pixels (a pixel
1025 aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since
1026 the controls specify ‘16.9’ for the ratio, DCP-o-matic
1027 does not scale the image but pads it to the DCP's container ratio of
1028 1.85:1. For a 2K DCP this is 1998x1080 pixels.
1032 This description also gives the frame rate of the content and what
1033 will happen to it when it is played at the DCP's frame rate. See
1034 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
1035 frame-rate conversion.
1043 <!-- ============================================================== -->
1045 <title>Audio</title>
1048 The <guilabel>Audio</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-audio-tab"/>.
1051 <figure id="fig-audio-tab">
1052 <title>Audio settings tab</title>
1055 <imagedata fileref="screenshots/audio-tab&scs;"/>
1060 <!-- ============================================================== -->
1062 <title>The audio map</title>
1065 The section at the bottom of the audio tab is the ‘audio
1066 map’. This governs how sound from the content will be arranged
1071 Down the left-hand side of the map is the list of audio channels in
1072 the currently-selected piece of content. These are labelled with two
1073 numbers; the first is the stream index within the content and the
1074 second is the channel number within that stream. Some content will
1075 have different streams for different languages or audio mixes. Along
1076 the top is each channel in the DCP. A green box means that the
1077 corresponding content channel will be copied into the corresponding
1082 When content channels are copied into DCP channels they can be done
1083 with variable gain. If, for example, you want to copy a channel
1084 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1085 two channels into one, you may want to use a gain of -6dB on each one
1086 to prevent clipping when the two channels are added.
1090 The green boxes of the audio mapping view tell you (very roughly) how
1091 much gain is applied to each channel. A full-height box means 0dB
1092 (i.e. unity) gain. Any less height indicates lower gain.
1096 To map one channel to another with 0dB gain, click in the empty box
1097 and it will turn green to reflect the mapping. A second click will
1098 turn the mapping back off. To set some other gain, right-click on the
1099 box to open the gain menu. This allows you to set
1100 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1101 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1102 <guilabel>Edit</guilabel> which allows you to set the required gain
1107 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1110 <figure id="fig-audio-map-eg1">
1111 <title>Audio map example 1</title>
1114 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1120 Here, we have two channels in the source which are mapped to left and
1121 right, respectively, in the DCP. The full green boxes show that the
1122 mapping is at unity gain (0dB) in each case. Imagine that we modify
1123 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1126 <figure id="fig-audio-map-eg2">
1127 <title>Audio map example 2</title>
1130 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1136 We now have the content's streams mapped to left and right and also
1137 mixed together and placed in the DCP's centre channel. The smaller
1138 green boxes on the centre mappings show that those channels are added
1139 with some non-unity gain; you can see by hovering the mouse pointer
1140 over those boxes that the gain for content channels 1 and 2 is -6dB
1141 when being sent to the centre channel and 0dB when being sent to left
1145 <figure id="fig-audio-map-eg3">
1146 <title>Audio map example 3</title>
1149 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1155 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1156 shows the mapping of a 5.1 source into a 5.1 DCP.
1162 <!-- ============================================================== -->
1164 <title>Other controls</title>
1167 The <guilabel>Use this DCP's audio as OV and make VF</guilabel>
1168 checkbox is only applicable if the selected content is an existing
1169 DCP. It allows you to make a VF DCP, using the audio content from the
1170 existing DCP by referencing it (rather than copying). See <xref
1171 linkend="sec-overlay"/>.
1175 <guilabel>Show graphs of audio levels</guilabel> will analyse the
1176 audio of the selected content and plot it on a graph. See <xref
1177 linkend="sec-show-audio"/> for more details.
1181 ‘Audio Gain’ is used to alter the volume of the
1182 soundtrack. The specified gain (in dB) will be applied to each sound
1183 channel of your content before it is written to the DCP.
1187 If you use a sound processor that DCP-o-matic knows about, it can help
1188 you calculate changes in gain that you should apply. Say, for
1189 example, that you make a test DCP and find that you have to run it at
1190 volume 5 instead of volume 7 to get a good sound level in the screen.
1191 If this is the case, click the <guilabel>Calculate...</guilabel>
1192 button next to the audio gain entry, and the dialogue box in <xref
1193 linkend="fig-calculate-audio-gain"/> will open.
1196 <figure id="fig-calculate-audio-gain">
1197 <title>Calculating audio gain</title>
1200 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1206 For our example, put 5 in the first box and 7 in the second and click
1207 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1208 that it should apply to make this happen. Then you can re-make the
1209 DCP (this will be reasonably fast, as the video data will already have
1210 been done) and it should play back at the correct volume with 7 on
1211 your sound-rack fader.
1215 Current versions of DCP-o-matic only know about the Dolby CP650 and
1216 CP750. If you use a different sound processor, and know the gain
1217 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1222 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1223 between audio and video. A positive delay will move the audio later
1224 with respect to the video, and a negative delay will move it earlier.
1231 <!-- ============================================================== -->
1233 <title>Subtitles</title>
1236 The subtitles tab contains settings related to subtitles in your
1237 content, as shown in <xref linkend="fig-subtitles-tab"/>.
1240 <figure id="fig-subtitles-tab">
1241 <title>Subtitle settings tab</title>
1244 <imagedata fileref="screenshots/subtitles-tab&scs;"/>
1250 DCP-o-matic can either:
1254 <listitem>Extract subtitles that are embedded in video files, or</listitem>
1255 <listitem>Use subtitles from SubRip (<code>.srt</code>), SubStation
1256 Alpha (<code>.ssa</code> or <code>.ass</code>) or DCP XML files. You may find the great
1258 url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
1259 for creating such files.</listitem>
1263 Embedded subtitles are usually represented using a set of bitmaps,
1264 especially on files that have come from DVD or BluRay. Such subtitles
1265 can (currently) only be ‘burnt’ into the DCP (that is,
1266 they are included in the image and not overlaid by the projector).
1270 With SubRip, SubStation Alpha or DCP subtitles you have the choice to
1271 either burn-in or include the subtitles as separate subtitle
1272 ‘asset’ within your DCP (in which case the projector
1273 overlays them onto the image on playback). The difference between
1274 burn-in and overlay is illustrated by <xref linkend="fig-burn-in"/>
1275 and <xref linkend="fig-discrete"/>.
1278 <figure id="fig-burn-in">
1279 <title>Burnt-in subtitles</title>
1282 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1287 <figure id="fig-discrete">
1288 <title>Separate subtitles</title>
1291 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1297 The advantage of separate subtitles is that the same video content can
1298 be used for DCPs in many different languages. This means that only a
1299 small text file needs to be changed for each target language, rather
1300 than a large video file. It also means that the time-consuming video
1301 encoding need only be done once for the project rather than once for
1306 Select the <guilabel>Use Subtitles</guilabel> check-box to enable
1307 the subtitles in the selected content.
1311 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1312 burn these subtitles into the image; if this is not ticked the
1313 subtitles will be included separately in the DCP to be rendered by the
1314 projector. This check-box will always be ticked if you are using
1315 embedded ‘image’ subtitles.
1319 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1320 controls move the subtitles around within the image. The offsets are
1321 expressed as a percentage of the video frame size; 100% X offset is
1322 the entire width of the frame, and 100% Y offset is the entire height.
1323 Hence, to move the subtitles down by half the frame height you would
1324 use a Y offset of 50%.
1328 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1329 controls scale the subtitles. Scale values of 1 make the subtitles
1330 the same size (relative to the size of the image) as they are on the
1331 original. Values lower than 1 make them smaller, and values higher
1332 make them larger. You can stretch the subtitles in either direction
1333 by specifying different values for X and Y scale. Subtitles from DVD
1334 and Blu Ray sources are frequently larger (relative to the video
1335 frame) than those typically used for DCP, so it is often useful to
1336 scale such subtitles down using these controls.
1340 The <guilabel>Line spacing</guilabel> control adjusts the line spacing
1341 of the subtitles. This only works for non-embedded (text) subtitles.
1345 The <guilabel>Stream</guilabel> control changes the subtitle stream
1346 that is used when the content has more than one.
1350 If you are using non-embedded (text) subtitles you can see the
1351 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1352 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1356 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1357 change how the subtitles look.
1363 <!-- ============================================================== -->
1365 <title>Timing</title>
1368 The timing tab contains settings related to the timing of your
1369 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1372 <figure id="fig-timing-tab-detail">
1373 <title>Timing settings tab</title>
1376 <imagedata fileref="screenshots/timing-tab&scs;"/>
1382 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1383 These are expressed as four numbers, as shown in <xref
1384 linkend="fig-timecode"/>.
1387 <figure id="fig-timecode">
1388 <title>Timecode</title>
1391 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1397 <guilabel>Position</guilabel> is the time at which this piece of
1398 content should start within the DCP. In most cases, this will be
1399 <code>0:0:0:0</code> to make the content start at the beginning of the
1404 <guilabel>Full length</guilabel> is the length of the piece of
1405 content. This can only be set for still-image content: for video or
1406 sound content, it is fixed by the nature of the content file. If
1407 still-image content is being used you can set the length for which it
1408 should be displayed using this control.
1412 <guilabel>Trim from start</guilabel> specifies the amount that should
1413 be trimmed from the start of the content. You can set this amount to
1414 trim up to the current preview position by clicking <guilabel>Trim up
1415 to current position</guilabel>.
1419 <guilabel>Trim from end</guilabel> specifies the amount that should be
1420 trimmed from the end of the content. You can set this amount to trim
1421 after the current preview position by clicking <guilabel>Trim after to
1422 current position</guilabel>.
1426 <guilabel>Play length</guilabel> indicates how long this piece of
1427 content will be once the trims have been applied. This will be equal
1428 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1432 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1433 still-image content. It can also be used to override the detected
1434 frame rate of other content if DCP-o-matic has got it wrong.
1438 Each timecode control has a <guilabel>Set</guilabel> which you should
1439 click when you have entered a new value for a timecode. The
1440 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1441 any changes to the corresponding timecode.
1447 <!-- ============================================================== -->
1449 <title>Video processing pipeline</title>
1452 This section gives a little more detail about how DCP-o-matic process
1453 video as it takes it from a source and puts it into a DCP.
1457 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1458 image which is letterboxed with 36 black pixels each at the top and
1459 bottom, and the video content within the letterbox should be presented
1460 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1461 happen with a trailer). The source image is shown in <xref
1462 linkend="fig-pipeline1"/>.
1465 <figure id="fig-pipeline1">
1466 <title>Example image to demonstrate video processing</title>
1469 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1475 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1479 <listitem>Crop</listitem>
1480 <listitem>Scale</listitem>
1481 <listitem>Place in container</listitem>
1485 First, some amount of the image can be cropped. This is almost always
1486 used to remove black borders (letterboxing and/or pillarboxing) around
1491 In our example image, we would use 36 pixels of crop from the top and
1492 bottom. This would give the new image shown in <xref
1493 linkend="fig-pipeline2"/>.
1496 <figure id="fig-pipeline2">
1497 <title>Example image after cropping</title>
1500 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1506 The next step is to scale the image. Since this content should be
1507 presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select
1508 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1509 option in the <guilabel>Video</guilabel> tab and
1510 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1511 option in the <guilabel>DCP</guilabel> tab.
1514 <para>The <guilabel>Scale to</guilabel> option should always be set to
1515 the aspect ratio at which the content should be seen. The
1516 <guilabel>Container</guilabel> option should be set to the preset that
1517 you want to use on the projector. Of course, these two settings will
1522 Given the scaling and container information, DCP-o-matic will look at
1523 the DCP's container size, and then scale the source image up until one
1524 or both of its dimensions (width, height or both) fits the size of the
1525 container, all the while preserving the desired aspect ratio.
1529 In our example here, the DCP's container is specified as 1.85:1 (so
1530 that the DCP will play back correctly using the projector's
1531 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1532 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1533 result in the image hitting the sides of the container first, at a
1534 size of 1998 x 836. This gives us a new version of the image as shown
1535 in <xref linkend="fig-pipeline3"/>.
1538 <figure id="fig-pipeline3">
1539 <title>Example image after cropping and scaling</title>
1542 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1548 The final step is to place the image into the DCP. In this case,
1549 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1550 we have set the <guilabel>container</guilabel> in the
1551 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1552 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1553 be some black bars at the top and bottom of the image. DCP-o-matic
1554 shares out this black equally, as shown in <xref
1555 linkend="fig-pipeline3"/>.
1558 <figure id="fig-pipeline4">
1559 <title>Example image in the DCP</title>
1562 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1571 <title>Copy and paste settings</title>
1574 Once you have set up a piece of content it is possible to copy the
1575 settings you have applied to another piece of content. To do this,
1576 select the content to copy from and choose <guilabel>Copy</guilabel>
1577 from the <guilabel>Edit</guilabel> menu. Then select the content to
1578 copy to and choose <guilabel>Paste</guilabel>. A dialogue box will
1579 open to allow you to choose which settings you want to copy. Clicking
1580 <guilabel>OK</guilabel> will apply the copied settings.
1589 <!-- ============================================================== -->
1590 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1591 <title>DCP settings</title>
1594 This chapter describes the settings that apply to the whole DCP. The
1595 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1596 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1599 <figure id="fig-dcp-tab">
1600 <title>DCP settings tab</title>
1603 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1609 The first thing here is the name. This is generally set to the title
1610 of the film that is being encoded. If <guilabel>Use ISDCF
1611 name</guilabel> is not ticked, the name that you specify will be used
1612 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1613 is ticked, the name that you enter will be used as part of a
1614 ISDCF-compliant name.
1618 Underneath the name field is a preview of the name that the DCP will
1619 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1620 name</guilabel> check-box. The ISDCF name will be composed using details
1621 of your content's soundtrack, the current date and other things that
1622 can be specified in the ISDCF name details dialogue box, which you can
1623 open by clicking on the <guilabel>Details</guilabel> button.
1627 If you want to take the ISDCF-compliant name that DCP-o-matic
1628 generates and modify it, click <guilabel>Copy as name</guilabel> and
1629 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1630 You can then edit it as you wish. The DCP name should not matter (in
1631 that it should not affect how the DCP ingests or plays) but
1632 projectionists will appreciate it if you use the standard naming
1633 scheme as it makes it easier to identify details of the content.
1637 The <guilabel>Content Type</guilabel> option can be
1638 ‘feature’, ‘trailer’ or whatever; select the
1639 required type from the drop-down list. On some projection systems
1640 this will affect where your content appears in the projector's server
1641 user interface, so take care to select an appropriate type.
1645 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1646 is signed. This is rarely important; if in doubt, tick it.
1650 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1651 should be encrypted or not. If this is ticked, the DCP will require a
1652 KDM to play back. Encryption is discussed in <xref
1653 linkend="ch-encryption"/>.
1657 If you use encryption DCP-o-matic will generate a random encryption
1658 key for you. To specify your own key, click the
1659 <guilabel>Edit..</guilabel> button next to the key.
1663 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1664 controls specify how the DCP will be split up into
1665 ‘reels’. See <xref linkend="sec-reels"/> below.
1669 The <guilabel>Standard</guilabel> option specifies which of the two
1670 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1671 more modern of the two).
1675 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1676 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1680 At the bottom of the DCP tab are a further two tabs, one each to
1681 contain the settings for the DCP's video and audio parts.
1685 The <guilabel>Container</guilabel> option sets the ratio of the image
1686 in the DCP. If this ratio is different to the ratio used for any
1687 content, DCP-o-matic will pad the content with black. In simple cases
1688 this should be set to the same ratio as that for the the primary piece
1689 of video content. Alternatively, you might want to pillarbox a small
1690 format into a Flat container: in this case, select the small format
1691 for the content's ratio and ‘Flat’ for the DCP.
1695 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1696 your DCP. This can be a little tricky to get right. Ideally, you
1697 want it to be the same as the video content that you are using. If it
1698 is not the same, DCP-o-matic must resort to some tricks to alter your
1699 content to fit the specified frame rate. Frame rates are discussed in
1700 more detail in <xref linkend="ch-frame-rates"/>.
1704 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1705 to what DCP-o-matic thinks is the best given the content that you have
1710 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1711 is checked. A 3D DCP will then be created, and any 2D content will be
1712 made 3D compatible by repeating the same frame for both left and right
1713 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1714 Real-D etc.) but not on a 2D system.
1718 The <guilabel>Resolution</guilabel> tab allows you to choose the
1719 resolution for your DCP. Use 2K unless you have content that is of
1720 high enough resolution to be worth presenting in 4K.
1724 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1725 the final image files used within the DCP will be. Larger numbers
1726 will give better quality, but correspondingly larger DCPs. The
1727 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1728 Most commercial DCPs use bit rates between 75 and 125 Mbit/s.
1732 The <guilabel>Audio Channels</guilabel> control sets the number of
1733 audio channels that the DCP will have. If the DCP has any channels
1734 for which there is no content audio they will be replaced by silence.
1735 You can only set an even number of channels here, since that is
1736 required by the DCI standard. If you want an odd number of channels,
1737 set the DCP channel count to one greater than you need and the
1738 unused channel will be filled with silence.
1742 The <guilabel>Processor</guilabel> control allows you to select a
1743 process to apply to the audio before it goes into the DCP. Three processes are currently provided:
1747 <listitem>Mid-side decode — this will take a L/R
1748 stereo input and extract the common part (corresponding to the
1749 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1750 The remaining L/R parts will be kept in the L/R channels of the DCP.
1751 This may be useful to make near-field L/R mixes more compatible with
1752 cinema audio systems.</listitem>
1753 <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:
1755 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1756 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1757 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1758 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1759 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1760 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1763 This upmixing algorithm is due to Gérald Maruccia.
1766 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1768 <listitem>DCP L is input L.</listitem>
1769 <listitem>DCP R is input R.</listitem>
1770 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1771 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1772 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1777 <!-- ============================================================== -->
1778 <section xml:id="sec-reels">
1779 <title>Reels</title>
1782 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1783 way as a 35mm reel is a section of a film. A DCP can be split up into
1784 any number of reels and the joins (the equivalent to 35mm splices)
1785 between the reels are seamless.
1789 There is no reason why you can't just use a single reel for the whole
1790 of your DCP, as there is no limit on their length. Many people choose
1795 There are, however, some possible advantages of splitting things up
1801 The picture, sound and subtitle data of the DCP will be
1802 split up into more smaller files on disk, rather than fewer larger
1803 files. This can be useful if the DCP is to be transferred on storage
1804 that have file size limits. The FAT32 filesystem, for example, can
1805 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1806 not be transferred using a FAT32-formatted disk. If that DCP were
1807 split up into two 3Gb reels it could be transferred.
1810 It is easier to re-use DCP components if they are in reels. Consider,
1811 for example, a film company who wants to put a 5 second ident onto the
1812 beginning of DCPs that they distribute. If they receive a feature
1813 film DCP they can modify it to add their ident as a separate reel.
1814 This is easier than attaching the picture data in the DCP.
1819 DCP-o-matic offers three options for setting up the reels in your DCP:
1820 single reel, split by video content or custom.
1824 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1825 This is a perfectly good option if you have no particular reason to
1830 <guilabel>Split by video content</guilabel> puts each piece of source
1831 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1834 <figure id="fig-reels-by-video">
1835 <title>Making reels using split by video content</title>
1836 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1840 Here we have three video files (<code>ident.mp4</code>,
1841 <code>feature.ts</code> and <code>cred.mov</code>). With
1842 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1843 reel to hold each video file.
1847 <guilabel>Custom</guilabel> splits reels by the size of the files that
1848 will make up their video content. With <guilabel>Custom</guilabel>
1849 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1855 <!-- ============================================================== -->
1856 <section xml:id="sec-show-audio">
1857 <title>Show audio</title>
1860 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1861 to examine the audio in your content and plot a graph of its level
1862 over time. This can be useful for getting a rough idea of how loud
1863 the sound will be in the cinema auditorium. A typical plot is shown
1864 in <xref linkend="fig-audio-plot"/>
1867 <figure id="fig-audio-plot">
1868 <title>Audio plot</title>
1871 <imagedata fileref="screenshots/audio-plot&scs;"/>
1877 The plot gives the audio level (vertical axis, in dB) with time
1878 (horizontal axis). 0dB represents full scale, so if there is anything
1879 near this you are in danger of clipping the projector's audio outputs.
1883 There are two plot types: the peak level and the RMS, which can be
1884 shown or hidden using the check-boxes on the right hand side of the
1889 The channel check-boxes will show or hide the plot(s) for
1890 the corresponding channels in the DCP.
1894 The smoothing slider applies a variable degree of temporal smoothing
1895 to the plots, which can make them easier to read in some cases.
1899 Obviously the audio plot is no substitute for listening in an
1900 auditorium, but it can be useful to get levels in the right rough area.
1908 <!-- ============================================================== -->
1909 <chapter xml:id="ch-templates" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1910 <title>Templates</title>
1913 If you frequently make DCPs with similar settings you may find it
1914 useful to use templates.
1918 Say, for example, you often make 4K feature DCPs from video files in
1919 ’scope at 25fps. You can speed up this process by following
1924 <listitem>Create a film with any content and set it up how you like;
1925 in our example, set the content to scale to DCP, the DCP resolution
1926 to 4K, and so on.</listitem>
1927 <listitem>Choose <guilabel>Save as template...</guilabel> from the <guilabel>File</guilabel> menu.</listitem>
1928 <listitem>Enter a name for your template.</listitem>
1932 Then in the future you can create a new film, tick the
1933 <guilabel>Template</guilabel> box and choose your previously-saved
1934 template. The basic film's settings will come from your template, and
1935 when you add some content it will take on the settings of the
1936 first similarly-typed piece of content in your template.
1940 For example if the template has a piece of video content and some
1941 subtitles, any video that you add to the new film will take on the
1942 settings of the video in the template. Similarly, any subtitles that
1943 you add will take on the settings of the subtitles from the template.
1947 The following settings from the <guilabel>DCP</guilabel> tab are saved
1952 <listitem>“Use ISDCF name” checkbox</listitem>
1953 <listitem>Content type (FTR, TLR etc.)</listitem>
1954 <listitem>Container</listitem>
1955 <listitem>Resolution</listitem>
1956 <listitem>JPEG200 bandwidth</listitem>
1957 <listitem>Video frame rate</listitem>
1958 <listitem>Signed and encrypted checkboxes</listitem>
1959 <listitem>Audio channels</listitem>
1960 <listitem>Standard (Interop / SMPTE)</listitem>
1961 <listitem>Audio processor</listitem>
1962 <listitem>Reel type and length</listitem>
1963 <listitem>Upload after make DCP checkbox</listitem>
1967 In addition to this, the settings (but not the filenames) of any
1968 content in the template are stored, as discussed above. The status of
1969 the <guilabel>Keep video and subtitles in sequence</guilabel> checkbox
1970 from the timeline is also preserved.
1977 <!-- ============================================================== -->
1978 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1979 <title>Encryption</title>
1982 It is not required that DCPs be encrypted, but they can be. This
1983 chapter discusses the basic principles of DCP encryption, and how
1984 DCP-o-matic can create encrypted DCPs and KDMs for them.
1988 <!-- ============================================================== -->
1990 <title>Basics</title>
1993 DCPs can be encrypted. This means that the picture and sound data are
1994 encoded in such a way that only cinemas ‘approved’ by the
1995 DCP's creators can read them. In particular, this means copies of the
1996 DCP can be distributed by insecure means: if an ne'er-do-well called
1997 Mallory obtains a hard drive containing an encrypted DCP, there is no
1998 way that he can play it. Only those cinemas who receive a correct key
1999 delivery message (KDM) can play the DCP.
2003 <!-- ============================================================== -->
2005 <title>How it works (in a nutshell)</title>
2008 This section attempts to summarise how DCP encryption works. You can
2009 skip it if you like. You may need some knowledge of encryption
2010 methods to understand it.
2014 We suppose that we are trying to send a DCP to
2015 Alice's cinema without a troublemaker called Mallory being able to
2020 There are two main families of encryption techniques. The first,
2021 symmetric-key encryption, allows us to encode some data using some
2022 numeric key. After encoding, no-one can decode the data unless they
2027 The first step in a DCP encryption is to encode its data with some key
2028 using symmetric-key encryption. The encrypted DCP can then be sent
2029 anywhere, safe in the knowledge that even if Mallory got hold of a
2030 copy, he could not decrypt it.
2034 Alice, however, needs to know the key so she can play the DCP in her
2035 cinema. A simple approach might be for us to send Alice the key.
2036 However, if Mallory can intercept the DCP, he might also be able to
2037 intercept our communication of the key to Alice. Furthermore, if Alice
2038 happened to know Mallory, she could just send him a copy of the key.
2042 The clever bit in the process requires the use of public-key
2043 encryption. With this technique we can encrypt a block of data using
2044 some ‘public’ key. That data can then only be decrypted
2045 using a corresponding private key which is
2046 <emphasis>different</emphasis> to the public key. The private and
2047 public keys form a pair which are related mathematically, but it is
2048 extremely hard (or rather, virtually impossible) to derive the private
2049 key from the public key.
2053 Public-key encryption allows us to distribute the DCP's key to Alice
2054 securely. The manufacturer of Alice's projector generates a public
2055 and private key. They hide the private key deep inside the bowels of
2056 the projector (inside an integrated circuit) where no-one can read it.
2057 They then make the public key available to anyone who is interested.
2061 We take our DCP's symmetric key and encrypt it using the public key of
2062 Alice's projector. We send the result to Alice over email (using a
2063 format called a Key Delivery Message, or KDM). Her projector then
2064 decrypts our message using its private key, yielding the magic
2065 symmetric key which can decrypt the DCP.
2069 If is fine if Mallory intercepts our email to Alice, since the only
2070 key which can decrypt the message is the private key buried inside
2071 Alice's projector. The projector manufacturer is very careful that
2072 no-one ever finds out what this key is. Our DCP is secure: only Alice
2073 can play it back, since only her projector knows the key (even Alice
2081 <!-- ============================================================== -->
2083 <title>Encryption using DCP-o-matic</title>
2086 There are two steps to distributing an encrypted DCP. First, the
2087 DCP's data must be encrypted, and secondly KDMs must be generated for
2088 those cinemas that are allowed to play the DCP.
2092 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
2093 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
2094 encrypt the DCP that it makes using a random key that DCP-o-matic
2095 generates. The key will be written to the film's metadata file, which
2096 should be kept secure.
2100 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
2101 ticked will not play on any projector as-is (it will be marked as
2102 ‘locked’, or whatever the projector manufacturer's term
2107 The second part of distributions is to generate KDMs for the cinemas
2108 that you wish to allow to play your DCP. There are two approaches to
2109 this within DCP-o-matic: using the project, or using a DKDM. These
2110 approaches are now described in turn.
2114 <title>Creating KDMs from a DCP-o-matic project</title>
2117 You can create KDMs from inside a DCP-o-matic project using the
2118 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
2119 menu. This will open the KDM dialogue box, as shown in <xref
2120 linkend="fig-kdm"/>.
2123 <figure id="fig-kdm">
2124 <title>KDM dialog</title>
2127 <imagedata scale="40" fileref="screenshots/kdm&scs;"/>
2133 In order to generate KDMs for a particular projector, you need to know
2134 its <emphasis>certificate</emphasis>. These are usually made
2135 available by the projector manufacturers as text files with a
2136 <code>.pem</code> extension.
2140 DCP-o-matic can store these certificates along with details of their
2141 cinemas and screens within those cinemas. Each screen has a
2142 certificate for its projector (and optionally certificates for other
2143 trusted devices, such as the sound processor). DCP-o-matic can
2144 generate KDMs for any screens that it knows about.
2148 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
2149 a dialogue box into which you can enter the cinema's name, and
2150 optionally an email address. This email address can be used to
2151 get DCP-o-matic to deliver KDMs via email.
2155 Once you have added a cinema, select it by clicking on its name, then
2156 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2157 allows you to enter a name for the screen and load in its certificate
2158 from a file. The certificate should be in SHA256 PEM format.
2162 Alternatively, certificates for projection systems made by some
2163 manufacturers can be downloaded from databases provided by the
2164 manufacturer. Currently this is supported for Doremi and Dolby
2165 equipment. If you are targeting a screen with equipment by one of
2166 these manufacturers you can click <guilabel>Download</guilabel> then
2167 enter the serial number of the server in the screen and click
2168 <guilabel>Download</guilabel> again and, all being well, the certificate
2173 Using the download system you will need to know the serial number of
2174 the media server in use in the screen. Most cinema projection or
2175 technical departments will know these serial numbers.
2179 Note that the reliability of the manufacturers' certificate databases
2180 cannot be guaranteed. It is vital that KDMs are tested by the
2181 destination cinema will in advance of show time to identify any
2186 Once you have set up all the screens that you need KDMs for, select
2187 the CPL that you want to create the KDM for. You can use the
2188 drop-down list to select the CPLs in the current film project, or load
2189 a CPL from somewhere else. Select the cinemas and/or screens that you
2190 want KDMs for and fill in the start and end dates and times.
2194 You must also select the type of KDM that you want to generate. If in
2195 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2199 The differences between the three KDM types are fairly subtle.
2200 <guilabel>DCI Specific</guilabel> and <guilabel>DCI Any</guilabel> add
2201 a <code><ContentAuthenticator></code> tag to the KDM which
2202 allows the exhibitor to check that the DCP and KDM have come from a
2203 bona-fide source. In addition, <guilabel>DCI Specific</guilabel> adds
2204 information on trusted devices to the KDM. This allows the KDM
2205 creator to specify devices (such as sound processors) that are allowed
2206 to use keys delivered by the KDM. At present it is not clear how
2207 widely the <guilabel>DCI Specific</guilabel> and <guilabel>DCI
2208 Any</guilabel> features are supported (or even tolerated) by servers
2209 so you are advised to use <guilabel>Modified Transitional
2214 Finally, choose what you want to do with the KDMs. They can be
2215 written to disk, to a location that you can specify by clicking
2216 <guilabel>Browse</guilabel>. Alternatively, if you choose
2217 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2218 emailed to the appropriate cinema email addresses. Click
2219 <guilabel>Make KDMs</guilabel> to generate the KDMs.
2225 <title>Creating KDMs using a DKDM</title>
2229 It can be inconvenient to need a whole DCP-o-matic project just to
2230 create KDMs for its film. Perhaps you want to archive the project to
2231 save space, or create KDMs on a different machine. In such situations
2232 it is easier to use a DKDM. This is a normal KDM, but instead of
2233 being targeted at a projection system (to allow it to decrypt the
2234 content) it is targeted at a particular user's certificate. This
2235 means that the certificate owner can create new KDMs for other users.
2236 The DKDM holds everything that is required to create further KDMs.
2240 Sometimes it is useful to create DKDMs that can be used by
2241 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2242 any point in the future, use DCP-o-matic's standalone KDM creator to
2243 make KDMs for the DKDM's film for any cinema.
2247 In other cases a DKDM is sent to a 3rd party so that they can create
2248 KDMs for your films. This can be useful if, for example, you have a
2249 distributor who provides 24-hour KDM support to cinemas and can create
2250 KDMs for anybody that requires them at short notice.
2254 To create a DKDM for DCP-o-matic, open your encrypted project and
2255 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2256 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2257 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2258 be available in the KDM creator. This is a separate program which you
2259 can start from the same place that you start the ‘normal’
2260 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2263 <figure id="fig-kdm-creator">
2264 <title>The KDM creator</title>
2267 <imagedata scale="35" fileref="screenshots/kdm-creator&scs;"/>
2273 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2274 to be created for, the date range, the DCP that the KDMs are for and
2275 the destination for the KDMs and click <guilabel>Create
2280 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2281 which you have clicked <guilabel>Make DKDM for
2282 DCP-o-matic</guilabel>in the main DCP-o-matic program. If you have
2283 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2284 specifying the file containing the DKDM.
2288 If another organisation wants to send you a DKDM they will ask you for
2289 a target certificate. You can get DCP-o-matic's target certificate by
2290 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2291 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2299 <title>Encryption keys</title>
2302 You must be careful when using encryption not to lose important keys.
2306 If you are making KDMs from a DCP-o-matic film you
2307 <emphasis>must</emphasis> ensure that you have a backup of the
2308 <code>metadata.xml</code> file from the project, as well as the DCP
2313 If you are using a DKDM you <emphasis>must</emphasis> ensure that you
2314 have a backup of DCP-o-matic's <code>config.xml</code> file, since it
2315 contains the only key which can decrypt the DKDM. The
2316 <code>config.xml</code> file location depends on your operating
2317 system; possible locations are listed in <xref linkend="ch-config"/>
2323 <title>Encryption overview</title>
2325 <figure id="fig-encryption-overview">
2326 <title>Overview of encryption</title>
2329 <imagedata fileref="diagrams/crypt&dia;"/>
2339 <!-- ============================================================== -->
2340 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2341 <title>Preferences</title>
2344 DCP-o-matic provides a few preferences which can be used to modify its
2345 behaviour. This chapter explains those options.
2349 Preferences can be edited by choosing
2350 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2351 menu. This opens a dialogue which is split into seven tabs.
2354 <!-- ============================================================== -->
2356 <title>General</title>
2359 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2362 <figure id="fig-prefs-general">
2363 <title>General preferences</title>
2366 <imagedata fileref="screenshots/prefs-general&scs;"/>
2372 <!-- ============================================================== -->
2374 <title>Language</title>
2377 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2378 a language from the list, that language will be used for DCP-o-matic.
2379 You will need to restart DCP-o-matic to see the new language.
2383 The translations for DCP-o-matic have been contributed by helpful
2384 users. If your language is not on the last, head to <ulink
2385 url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2386 read about how to contribute a translation.
2391 <!-- ============================================================== -->
2393 <title>Number of threads DCP-o-matic should use</title>
2396 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2397 to speed things up. Set this value to the number of threads
2398 DCP-o-matic should use. This should normally be the number of
2399 processors (or processor cores) in your machine. DCP-o-matic will try
2400 to set this up correctly when you run it for the first time.
2406 <!-- ============================================================== -->
2408 <title>Number of threads DCP-o-matic encode server should use</title>
2411 This is the number of threads that the encode server should use when
2412 it is running and helping another copy of DCP-o-matic to speed up its
2419 <!-- ============================================================== -->
2421 <title>Configuration file</title>
2424 This is the location of DCP-o-matic's configuration file on disk. You
2425 can use this to share configuration between several copies of
2426 DCP-o-matic, across a network share, for instance.
2430 <!-- ============================================================== -->
2432 <title>Cinema and screen database file</title>
2435 This option allows you to change the file that DCP-o-matic uses to
2436 store details of the cinemas and screens used to make KDMs.
2441 <!-- ============================================================== -->
2443 <title>Play sound via</title>
2446 The checkbox to the left of <guilabel>Play sound</guilabel> enables or
2447 disables DCP-o-matic use of sound. On some machines there will be
2448 multiple options in the drop-down menu to decide how the sound should
2453 <!-- ============================================================== -->
2455 <title>Integrated loudness</title>
2458 If <guilabel>Find integrated loudness, true peak and loudness range
2459 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2460 work when analysing audio. Leave this ticked if the extra parameters
2461 are useful to you. If not, untick it and audio analysis will be
2467 <!-- ============================================================== -->
2469 <title>Automatically analyse content audio</title>
2472 If this checkbox is ticked an audio analysis will be run whenever content is added that contains sound.
2476 <!-- ============================================================== -->
2478 <title>Updates</title>
2481 The <guilabel>Check for updates on startup</guilabel> option, if
2482 enabled, will tell DCP-o-matic to check on <ulink
2483 url="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2484 newer versions of DCP-o-matic then the one you are running. If so, a
2485 dialogue box will open with a link to download the new version.
2490 The <guilabel>Check for testing updates as well as stable
2491 ones</guilabel> option will also check for test updates as well as
2492 those that are formally ‘released’. This is useful if you
2493 like to live on the bleeding edge!
2497 <!-- ============================================================== -->
2499 <title>Issuer and creator</title>
2502 With these controls you can set the issuer and creator strings that
2503 will be put into the DCPs which you create.
2509 <!-- ============================================================== -->
2511 <title>Defaults</title>
2514 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2517 <figure id="fig-prefs-defaults">
2518 <title>Defaults preferences</title>
2521 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2527 The options in this tab simply allow you to set up default values for
2528 various properties of new films.
2533 <!-- ============================================================== -->
2535 <title>Servers</title>
2538 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2541 <figure id="fig-prefs-servers">
2542 <title>Servers preferences</title>
2545 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2551 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2552 locate encoding servers automatically (see <xref
2553 linkend="ch-servers"/>).
2557 Instead of this (or in addition) servers can be specified explicitly.
2558 To add a server, click <guilabel>Add...</guilabel> and enter the host
2559 name or IP address of the server to use.
2565 <!-- ============================================================== -->
2566 <section xml:id="sec-prefs-keys">
2570 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) has controls
2571 related to the keys and certificates used in some parts of DCP
2575 <figure id="fig-prefs-keys">
2576 <title>Keys preferences</title>
2579 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2585 <guilabel>Export KDM decryption certificate...</guilabel> allows you
2586 to save the certificate that DCP-o-matic uses when decrypting KDMs
2587 that you give it. Use this option if somebody wants to make a KDM for
2588 you and asks for your certificate.
2592 <guilabel>Export KDM decryption chain...</guilabel> exports the whole
2593 KDM decryption chain rather than just its certificate. This may also
2594 be requested by KDM creators.
2598 <guilabel>Export all KDM decryption settings...</guilabel> exports a
2599 file which contains all the DCP-o-matic settings related to the use of
2600 KDMs supplied by other people. Use this button and <guilabel>Import
2601 all KDM decryption settings...</guilabel> to transfer settings between
2602 different copies of DCP-o-matic so that they can both use the same
2607 The two <guilabel>Advanced...</guilabel> buttons open advanced
2608 dialogue boxes for detailed manipulation of DCP-o-matic's certificate
2615 <title>Advanced keys settings</title>
2618 At the top of the <guilabel>Advanced</guilabel> dialogue for signing
2619 DCPs and KDMs is the chain of certificates that will be used to sign
2620 DCPs and KDMs. DCP-o-matic creates a random chain when you first run
2621 it and if you are happy to use this chain you can ignore the
2622 preferences. Otherwise, you can add or remove certificates from the
2623 chain using the <guilabel>Add...</guilabel> and
2624 <guilabel>Remove</guilabel> buttons.
2628 If you want DCP-o-matic to re-create the certificate chain (using new,
2629 random certificates) click <guilabel>Re-make
2630 certificates...</guilabel> and specify your organisation and common
2631 names in the dialogue box that opens.
2635 Underneath the certificate chain is the private key that corresponds
2636 to the leaf certificate in the chain. You can specify your own
2637 private key by clicking <guilabel>Load...</guilabel>. You must do
2638 this if you change the leaf certificate, so that the leaf private key
2639 corresponds to the public key held in the leaf certificate.
2643 At the top of the <guilabel>Advanced</guilabel> dialogue for decrypting DCPs is the chain and key which is used by
2644 DCP-o-matic when you import an encrypted DCP as a piece of content.
2645 The leaf certificate of this chain contains the public key that should
2646 be used when targeting a KDM at DCP-o-matic.
2651 If you want to import an encrypted DCP you will need to give the
2652 decryption certificate to the distributor of the DCP so that they can
2653 generate a DKDM for you. You can save this certificate to disk by
2654 clicking <guilabel>Export DCP decryption certificate...</guilabel>.
2655 As with the signing chain, DCP-o-matic will create a certificate chain
2656 and private key for you. You can also choose to load your own
2657 certificates and key or re-make the chain and key with new, random
2662 Clicking <guilabel>Export DCP decryption chain...</guilabel> will
2663 export the whole certificate chain, rather than just the leaf
2669 <!-- ============================================================== -->
2670 <section xml:id="sec-prefs-tms">
2672 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2675 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2676 options for specifying details about your theatre management system
2677 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2678 you can upload DCPs directly from DCP-o-matic to the TMS using the
2679 <guilabel>Send DCP to TMS</guilabel> option in the
2680 <guilabel>Jobs</guilabel> menu.
2683 <figure id="fig-prefs-tms">
2684 <title>TMS preferences</title>
2687 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2693 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2694 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2695 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2696 FTP. Do let us know if you use any other type of TMS with the
2697 <guilabel>Send DCP to TMS</guilabel> feature.
2701 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2702 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2703 should be uploaded to (which will be relative to the home directory of
2704 the SSH or FTP user). Finally, the user name and password are the
2705 credentials required to log into the TMS via SSH or FTP.
2709 Note that for this to work on Doremi servers you will need to set the
2710 <code>PasswordAuthentication</code> option in your server's
2711 <code>sshd_config</code> to <code>yes</code>.
2717 <!-- ============================================================== -->
2719 <title>KDM email</title>
2722 The KDM email is shown in <xref linkend="fig-prefs-kdm-email"/>.
2725 <figure id="fig-prefs-kdm-email">
2726 <title>KDM email preferences</title>
2729 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2735 This is a template for the email that is used to send KDMs out to
2736 cinemas. You can change it to say whatever you like. A few
2737 ‘magic’ strings will be replaced by information from the
2738 KDM that is being sent:
2742 <title>‘Magic’ KDM strings</title>
2743 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2746 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2749 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2752 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2755 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2758 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2765 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2771 <!-- ============================================================== -->
2773 <title>Cover sheet</title>
2776 The DCP cover sheet configuration is shown in <xref linkend="fig-prefs-cover-sheet"/>.
2779 <figure id="fig-prefs-cover-sheet">
2780 <title>DCP cover sheet preferences</title>
2783 <imagedata fileref="screenshots/prefs-cover-sheet&scs;"/>
2789 This is a template for the cover sheet that is written next to every DCP that DCP-o-matic creates. You can change it to say whatever you like. A few
2790 ‘magic’ strings will be replaced by information from the
2791 DCP that has been made:
2795 <title>‘Magic’ Cover sheet strings</title>
2796 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2799 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2802 <entry><code>$TYPE</code></entry><entry>DCP content type (e.g. feature, trailer...)</entry>
2805 <entry><code>$CONTAINER</code></entry><entry>The container ratio (e.g. flat, scope...)</entry>
2808 <entry><code>$AUDIO</code></entry><entry>Details of the audio channels</entry>
2811 <entry><code>$AUDIO_LANGUAGE</code></entry><entry>Audio language</entry>
2814 <entry><code>$SUBTITLE_LANGUAGE</code></entry><entry>Subtitle language</entry>
2817 <entry><code>$LENGTH</code></entry><entry>DCP length in hours, minutes and seconds</entry>
2820 <entry><code>$SIZE</code></entry><entry>DCP size in gigabytes</entry>
2827 The <guilabel>Reset to default text</guilabel> will replace the current cover sheet with DCP-o-matic's default.
2833 <!-- ============================================================== -->
2834 <section xml:id="sec-prefs-advanced">
2835 <title>Advanced</title>
2836 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
2839 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
2842 <figure id="fig-prefs-advanced">
2843 <title>Advanced preferences</title>
2846 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
2852 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
2853 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
2854 are advised to leave this at 250Mbit/s in normal use for maximum DCP
2859 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
2860 the DCP video frame rates that DCP-o-matic will create. This may be
2861 useful for experimentation. Again, you are strongly advised to leave
2862 this unticked for normal use.
2866 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
2867 JPEG2000 data only on encoding servers and not on the host. We
2868 suggest you leave this unticked unless you have a good reason to do otherwise.
2872 With the filename format fields you can adjust the filenames that are
2873 used for metadata (CPL and PKL files) and assets (MXF and subtitle
2874 files). Below each field there is a list of the ‘magic’
2875 values that you can use in the format and an example of a filename
2876 that you might see with your current settings.
2880 The four checkboxes labelled <guilabel>Log</guilabel> control what
2881 sort of messages DCP-o-matic writes to its log file when creating a
2882 DCP. It is useful to leave <guilabel>General</guilabel>,
2883 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
2884 as this makes the log files useful for tracking down bugs.
2888 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
2889 to allow developers to investigate and optimise the speed of
2890 DCP-o-matic. It will significantly increase the size of the log files
2891 that are generated, so in normal use it is best to leave this
2898 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
2899 <title>Frame rates</title>
2902 In an ideal world, a DCP would be created using content at the same
2903 video frame and audio sampling rates as the DCP. This is not,
2904 however, always possible.
2908 <!-- ============================================================== -->
2910 <title>DCP frame rate limitations</title>
2913 There are some limitations to video and audio frame rates in DCPs. This is
2914 complicated by the fact that not all projectors will play DCPs at the
2915 same frame rates. It is possible to create a DCP which one projector will
2916 play fine, but another (of a different type) will refuse to play, or
2917 even refuse to ingest.
2921 <!-- ============================================================== -->
2923 <title>Guaranteed rates</title>
2926 The only rates that are (pretty much) guaranteed to work on all DCI
2927 projectors are 24 frames per second (fps) for video and 48kHz or 96kHz
2928 for audio. If you are sending your DCPs to unknown places it wise to
2929 consider using these rates if at all possible.
2935 <!-- ============================================================== -->
2937 <title>Other often-supported rates</title>
2939 Many projectors now in the wild support additional video frame rates:
2945 <!-- ============================================================== -->
2947 <title>Adapting content to fit the DCP rate</title>
2950 DCP-o-matic has a few tricks to allow you to use content that is not
2951 in one of the ‘approved’ rates.
2955 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
2956 with minimal loss in quality.
2960 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
2961 with a non-supported content rate is to run it at the wrong speed, and
2962 to adjust the audio to keep it in sync.
2965 <para>Let us consider the example of a 25fps source for which you want
2966 to create a 24fps DCP. DCP-o-matic will put the frames from the
2967 source directly into the DCP without modification, but will tell the
2968 projector to play them back at 24fps. This means that the DCP's video
2969 will run slightly slower than the original.
2973 If DCP-o-matic did nothing else, the result of this would be that the
2974 audio would be running at the original speed with the video running
2975 slowly. Hence the audio would drift slowly out of sync. To avoid
2976 this, DCP-o-matic also resamples the audio such that the projector
2977 will play it too slow by the same amount. Hence it will sound
2978 slightly different but will remain in sync with the video.
2982 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
2989 <!-- ============================================================== -->
2991 <title>Setting up</title>
2994 The <guilabel>Frame Rate</guilabel> control in the
2995 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
2996 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
2997 what DCP-o-matic thinks is the best for your content. With this
2998 button, DCP-o-matic assumes that the whole range of frame rates (24,
2999 25, 30 and 48fps) are allowable.
3003 After this, the <guilabel>Video</guilabel> tab for each piece of
3004 content will give a summary of what DCP-o-matic is doing with that
3009 If you want to experiment with other non-standard frame rates, you can
3010 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
3011 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
3012 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
3013 use this only on your own equipment, and only for experimentation
3022 <!-- ============================================================== -->
3023 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
3024 <title>Encoding servers</title>
3027 One way to increase the speed of DCP encoding is to use more
3028 than one machine at the same time. An instance of DCP-o-matic can
3029 offload some of the time-consuming JPEG2000 encoding to any number of
3030 other machines on a network. To do this, one ‘master’
3031 machine runs DCP-o-matic, and the ‘server’ machines run
3032 a small program called <code>dcpomatic_server</code>.
3036 The master and server machines do not need to be the same type, so you
3037 can mix Windows PCs, Macs and Linux machines as you wish.
3041 <!-- ============================================================== -->
3043 <title>Running the servers</title>
3046 There are two options for the encoding server;
3047 <code>dcpomatic_server_cli</code>, which runs on the command line, and
3048 <code>dcpomatic_server</code>, which has a simple GUI. The command line
3049 version is well-suited to headless servers, especially on Linux, and
3050 the GUI version works best on Windows where it will put an icon in the
3055 To run the command line version, simply enter:
3059 dcpomatic2_server_cli
3063 at a command prompt. If you are running the program on a machine with
3064 a multi-core processor, you can run multiple parallel encoding threads
3065 by doing something like:
3069 dcpomatic2_server_cli -t 4
3073 to run 4 threads in parallel.
3077 To run the GUI version on windows, run the ‘DCP-o-matic encode
3078 server’ from the start menu. An icon will appear in the system
3079 tray; right-click it to open a menu from whence you can quit the
3080 server or open a window to show its status.
3083 <para>If you would rather not bother installing DCP-o-matic on your
3084 server computers, the other option is to use the live-CD
3085 image that you can download from the <ulink
3086 url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
3088 <para>Either burn the image to CD, or write it to a USB stick (using
3089 something like <ulink
3090 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
3091 PC from the CD or USB stick and it becomes a DCP-o-matic server
3092 without touching your standard operating system install.
3097 <!-- ============================================================== -->
3099 <title>Setting up DCP-o-matic</title>
3102 DCP-o-matic periodically looks on the local network for servers. Any
3103 that it finds are given work to do during encodes. Selecting
3104 <guilabel>Encoding Servers</guilabel> from the
3105 <guilabel>Tools</guilabel> menu brings up a window which shows that
3106 servers that DCP-o-matic has found.
3111 <!-- ============================================================== -->
3113 <title>Some notes about encode servers</title>
3116 DCP-o-matic does not mind if servers come and go; if a server
3117 disappears, DCP-o-matic will stop sending work to it, and will check
3118 it every minute or so in case it has come back online.
3122 You will probably find that using a 1Gb/s or faster network will
3123 provide a significant speed-up compared to a 100Mb/s network.
3130 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3131 <title>Generated files</title>
3134 DCP-o-matic generates a number of files as it makes a DCP. <xref
3135 linkend="fig-file-structure"/> shows the files that might be generated
3136 after you have created a DCP for a film called ‘DCP Test’.
3139 <figure id="fig-file-structure">
3140 <title>Creating a new film</title>
3143 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
3149 The <code>DCP Test</code> folder is the one that you specify when you
3150 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
3151 menu. Everything is stored inside this folder.
3155 DCP-o-matic generates some working files as it goes along. These are as follows:
3158 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
3159 along. This can be useful for debugging purposes if something goes
3162 <listitem><code>metadata</code> stores the settings that you have made
3163 for this film: things like cropping, output format and so on.</listitem>
3165 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
3166 video data as it encodes it.</listitem>
3168 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
3170 <listitem><code>info</code> contains details of each video frame that
3171 DCP-o-matic has written so far. This is used when an encoding
3172 operation is interrupted and DCP-o-matic must resume it.</listitem>
3177 Following this is the DCP itself:
3178 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
3179 contains some small XML files, which describe the DCP, and two large
3180 MXF files, which contain the DCP's audio and video data. It may also
3181 contain subtitles in either XML or MXF format. This folder
3182 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
3183 to the cinema which is showing your DCP.
3190 <title>Command-line tools</title>
3193 DCP-o-matic includes some tools which allow DCP creation from the
3194 command line or from scripting languages. This chapter covers the
3199 There are three command-line tools in DCP-o-matic.
3200 <code>dcpomatic2_create</code> creates film directories, with the
3201 associated metadata, from a list of content files. Then
3202 <code>dcpomatic2_cli</code> runs the transcode process on these
3203 film directories. Finally, <code>dcpomatic2_kdm_cli</code> can be
3204 used to create KDMs.
3208 Some applications will benefit from setting up the films using the
3209 main DCP-o-matic GUI and then using <code>dcpomatic2_cli</code> to
3210 do the encode. This allows, for example, setup on a relatively
3211 low-powered machine before running the encode on a higher-powered
3216 <title><code>dcpomatic2_create</code></title>
3219 The syntax for <code>dcpomatic2_create</code> is:
3223 <code>dcpomatic2_create [OPTION] [CONTENT] [<CONTENT> ...]</code>
3227 <code>[CONTENT]</code> are the files or folders that you want to use in the
3230 <listitem>‘Movie’ files in almost any common format (e.g. MP4, MOV, MKV, etc.)</listitem>
3231 <listitem>A folder containing and image sequence in almost any common format (e.g. TIFF, DPX etc.)</listitem>
3232 <listitem>Sound files (e.g. WAV, MP3, AIFF)</listitem>
3233 <listitem>Subtitles files (e.g. <code>.srt</code>, DCP XML, <code>.ssa</code> etc.)</listitem>
3242 <listitem><code>-v</code>, <code>--version</code> — show DCP-o-matic version</listitem>
3243 <listitem><code>-h</code>, <code>--help</code> — show this help</listitem>
3244 <listitem><code>-n</code>, <code>--name</code> — <name> film name</listitem>
3245 <listitem><code>-t, --template <name></code> — template name</listitem>
3246 <listitem><code>-c, --dcp-content-type <type></code> — FTR, SHR, TLR, TST, XSN, RTG, TSR, POL, PSA or ADV</listitem>
3247 <listitem><code>--container-ratio <ratio></code> — 119, 133, 137, 138, 166, 178, 185 or 239</listitem>
3248 <listitem><code>--content-ratio <ratio></code> — 119, 133, 137, 138, 166, 178, 185 or 239</listitem>
3249 <listitem><code>-s, --still-length <n></code> — number of seconds that still content should last</listitem>
3250 <listitem><code>--standard <standard></code> — SMPTE or interop (default SMPTE)</listitem>
3251 <listitem><code>--no-use-isdcf-name></code> — do not use an ISDCF name; use the specified name unmodified</listitem>
3252 <listitem><code>--no-sign</code>— do not sign the DCP</listitem>
3253 <listitem><code>-o</code>, <code>--output <dir></code> — output directory</listitem>
3257 For example, to setup a film using a MP4 file you might do:
3261 <code>dcpomatic2_create -o my_film --container-ratio 185 --content-ratio 185 -c FTR -n "My Film" Stuff.mp4</code>
3265 This will create a folder called <code>my_film</code> which is ready for a DCP to be made by <code>dcpomatic2_cli</code>.
3269 <code>dcpomatic2_create</code> will use any default settings that you have configured in the main DCP-o-matic preferences.
3274 <title><code>dcpomatic2_cli</code></title>
3277 The syntax for <code>dcpomatic2_cli</code> is:
3281 <code>dcpomatic2_cli [OPTION] [FILM]</code>
3286 <listitem><code>-v</code>, <code>--version</code> — show DCP-o-matic version</listitem>
3287 <listitem><code>-h</code>, <code>--help</code> — show this help</listitem>
3288 <listitem><code>-f</code>, <code>--flags</code> — show flags passed to C++ compiler on build</listitem>
3289 <listitem><code>-n</code>, <code>--no-progress</code> — do not print progress to stdout</listitem>
3290 <listitem><code>-r</code>, <code>--no-remote</code> — do not use any remote servers</listitem>
3291 <listitem><code>-t</code>, <code>--threads</code> — specify number of local encoding threads (overriding configuration)</listitem>
3292 <listitem><code>-j</code>, <code>--json</code> <port> — run a JSON server on the specified port</listitem>
3293 <listitem><code>-k</code>, <code>--keep-going</code> — keep running even when the job is complete</listitem>
3294 <listitem><code>-s</code>, <code>--servers</code> — just display a list of encoding servers that DCP-o-matic is configured to use; don't encode</listitem>
3295 <listitem><code>-d</code>, <code>--dcp-path</code> — echo DCP's path to stdout on successful completion (implies -n)</listitem>
3296 <listitem><code>--dump</code> — just dump a summary of the film's settings; don't encode</listitem>
3301 For example, to encode a film called <code>my_film</code> you might do:
3305 <code>dcpomatic2_cli my_film</code>
3310 <title><code>dcpomatic2_kdm_cli</code></title>
3313 The syntax for <code>dcpomatic2_kdm_cli</code> is:
3317 <code>dcpomatic2_kdm_cli [OPTION] <FILM|CPL-ID></code>
3322 <listitem><code>-o</code>, <code>--output</code> — output file or directory</listitem>
3323 <listitem><code>-f</code>, <code>--valid-from</code> — valid from time (in local time zone of the cinema) (e.g. "2013-09-28 01:41:51") or "now"</listitem>
3324 <listitem><code>-t</code>, <code>--valid-to</code> — valid to time (in local time zone of the cinema) (e.g. "2014-09-28 01:41:51")</listitem>
3325 <listitem><code>-d</code>, <code>--valid-duration</code> — valid duration (e.g. "1 day", "4 hours", "2 weeks")</listitem>
3326 <listitem><code>--formulation</code> — modified-transitional-1, dci-any or dci-specific [default modified-transitional-1]</listitem>
3327 <listitem><code>-z</code>, <code>--zip</code> — ZIP each cinema's KDMs into its own file</listitem>
3328 <listitem><code>-v</code>, <code>--verbose</code> — be verbose</listitem>
3329 <listitem><code>-c</code>, <code>--cinema</code> — specify a cinema, either by name or email address</listitem>
3330 <listitem><code>--certificate</code> — file containing projector certificate</listitem>
3331 <listitem><code>--cinemas</code> — list known cinemas from the DCP-o-matic settings</listitem>
3332 <listitem><code>--dkdm-cpls</code> — list CPLs for which DCP-o-matic has DKDMs</listitem>
3341 <!-- ============================================================== -->
3343 <title>Loose ends</title>
3346 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
3350 <!-- ============================================================== -->
3352 <title>Resuming encodes</title>
3355 If you cancel a DCP encoding run half-way through, or your computer
3356 crashes... fear not. DCP-o-matic takes care to ensure that, in most
3357 cases, it can resume encoding from where it left off. When you
3358 re-start a DCP creation, using the same settings are a previous run,
3359 DCP-o-matic will first check that the existing picture frames are
3360 correct, and then resume from where it left off. The checking of
3361 existing frames does take some time, but it is much faster than
3362 running a full re-encode.
3366 This resumption is achieved by writing a digest (hash) to disk for
3367 every image frame that is written. On resumption, the existing MXF
3368 file for image data is read and its contents checked against the
3376 <!-- ============================================================== -->
3377 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3378 <title>Common tasks</title>
3381 This chapter describes how to carry out some commonly-required tasks
3382 with DCP-o-matic. The full details are elsewhere in the manual: here
3383 we just discuss different approaches to these tasks and how to carry
3388 <title>Adding subtitles to an existing DCP</title>
3391 You have three options:
3395 <listitem>Make a “Version File” (VF) DCP.</listitem>
3396 <listitem>Make a complete DCP with projector-added subtitles.</listitem>
3397 <listitem>Make a complete DCP with burnt-in subtitles.</listitem>
3401 Making a VF DCP is usually the best option. This will be a very small
3402 DCP which contains only the subtitles: it refers to your existing DCP
3403 for the picture and sound. The projectionist will ingest both the
3404 existing and VF DCPs and play back the VF. The advantages of this
3405 approach are that the VF is very quick to generate, and small in size,
3406 making it easy to distribute. This is especially useful if you have
3407 to make VF DCPs in many different languages.
3411 Making a complete DCP with projector-added subtitles gives you a new,
3412 single DCP which the projectionist can ingest and play. It will be
3413 the same size as your existing DCP, and fairly quick to create. This
3414 approach relies on the projector (or server) to create the subtitles
3415 and overlay them on the image, which mostly works well but is not
3416 100% reliable.
3420 Making a complete DCP with burnt-in subtitles gives you a new, single DCP
3421 but with the subtitles rendered by DCP-o-matic and copied into your
3422 image. This is slower to create than a DCP with projector-added
3423 subtitles as every video frame with a subtitle must be re-encoded.
3424 The advantage of this approach is that it is less likely to go wrong,
3425 especially if you are using unusual subtitle positioning or character
3430 <title>Making a VF DCP</title>
3433 <listitem>Start a new DCP-o-matic film.</listitem>
3434 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3435 <listitem>Go to the <guilabel>DCP</guilabel> tab and choose <guilabel>Split by video content</guilabel> for <guilabel>Reel type</guilabel>.</listitem>
3436 <listitem>Go to the <guilabel>Video</guilabel> and
3437 <guilabel>Audio</guilabel> tabs in turn and tick the <guilabel>Use this DCP's audio as OV and make VF</guilabel> checkboxes.</listitem>
3438 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3439 <listitem>Check the subtitle appearance in the preview; it will be
3440 slow to respond as it is having to decompress images from the existing
3442 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3448 <title>Making a complete DCP with projector-added subtitles</title>
3451 <listitem>Start a new DCP-o-matic film.</listitem>
3452 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3453 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3454 <listitem>Check the subtitle appearance in the preview; it will be
3455 slow to respond as it is having to decompress images from the existing
3456 DCP. Adjust the appearance using controls in the
3457 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3458 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3464 <title>Making a complete DCP with burnt-in subtitles</title>
3467 <listitem>Start a new DCP-o-matic film.</listitem>
3468 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3469 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3470 <listitem>Go to the <guilabel>Subtitle</guilabel> tab and tick the <guilabel>Burn subtitles into image</guilabel> checkbox.</listitem>
3471 <listitem>Check the subtitle appearance in the preview; it will be
3472 slow to respond as it is having to decompress images from the existing
3473 DCP. Adjust the appearance using controls in the
3474 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3475 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3482 <title>Adding soundtracks or subtitles in different languages</title>
3485 If you have a film that is to be dubbed or subtitled in several
3486 languages, the best approach with DCP-o-matic is as follows:
3490 <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>
3491 <listitem>For each language, make a new Version File (VF) DCP which refers to the OV.</listitem>
3495 Once you have done this, you send the OV DCP to every cinema and then
3496 the appropriate VF to each cinema depending on what language they want
3497 to play the film in. The projectionist ingests both DCPs and then plays the VF.
3501 The advantage of this approach is that the VF DCPs are much smaller
3502 than the OV since they only have the language-specific parts. If you
3503 are just changing the subtitles you can often ship the OV by normal
3504 transport means (e.g. a hard drive or high-speed download) and send
3509 The full details of OV and VF files are discussed in <xref linkend="sec-overlay"/>. The steps can be summarised as follows:
3513 <listitem>Create a new DCP-o-matic project for the OV, as normal, adding video and perhaps sound. Make the DCP.</listitem>
3514 <listitem>Create a new DCP-o-matic project for the VF.</listitem>
3515 <listitem>Use <guilabel>Add folder...</guilabel> to add your OV DCP to the project.</listitem>
3516 <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>
3517 <listitem>Do the same in the <guilabel>Audio</guilabel> tab if your OV has audio.</listitem>
3518 <listitem>Add your language-specific audio and/or subtitles and Make DCP.</listitem>
3525 <chapter xml:id="ch-player" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3526 <title>Playing DCPs</title>
3528 <para>DCP-o-matic includes a DCP player, and although it requires a
3529 very high-speed CPU to play DCPs in full resolution, it can also
3530 play DCPs at reduced resolutions with slower CPUs.</para>
3532 <para>To use the player, start <guilabel>DCP-o-matic
3533 Player</guilabel>, and load a DCP using the
3534 <guilabel>Open</guilabel> option on the <guilabel>File</guilabel>
3537 <para>If you load a VF and/or encrypted DCP you can add your OV
3538 and/or KDM using the appropriate options on the
3539 <guilabel>File</guilabel> menu.</para>
3541 <para>During playback the <guilabel>Performance</guilabel> area at
3542 the bottom right of the window will give details of how many frames
3543 are being dropped; these are frames that were not decoded from the
3544 DCP quickly enough. If this number is high you can increase
3545 performance at the cost of rendering quality by choosing an option
3546 from the <guilabel>View</guilabel> menu. If you set the player to
3547 decode at less than full resolution the DCP's data will be decoded
3548 at this lower resolution, which is quicker than decoding at full
3554 <!-- ============================================================== -->
3555 <chapter xml:id="ch-config" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3556 <title>Configuration files</title>
3558 <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>
3561 <listitem>Windows: <code>c:\Users\your_user_name\AppData\Local\dcpomatic</code></listitem>
3562 <listitem>OS X: <code>/Users/your_user_Name/Library/Preferences/com.dcpomatic/2</code></listitem>
3563 <listitem>Linux: <code>~/.config/dcpomatic2</code></listitem>
3566 <para>Possible XML tags are as follows:</para>
3568 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="config.xml"/>
projects / dcpomatic.git / blob