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11 <book xmlns="http://docbook.org/ns/docbook" xmlns:mml="http://www.w3.org/1998/Math/MathML" version="5.0" xml:lang="en">
14 <title>DCP-o-matic users' manual</title>
15 <author><firstname>Carl</firstname><surname>Hetherington</surname></author>
18 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
19 <title>Introduction</title>
22 Hello, and welcome to DCP-o-matic!
25 <!-- ============================================================== -->
27 <title>What is DCP-o-matic?</title>
29 <para>DCP-o-matic is a set of programs to allow you to:</para>
32 <listitem>Create <ulink
33 url="https://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
34 Cinema Packages</ulink> (DCPs) from video, audio, subtitle and closed-caption files.</listitem>
35 <listitem>Play and verify DCPs.</listitem>
36 <listitem>Create KDMs for DCPs.</listitem>
37 <listitem>Write cinema-format drives containing DCPs.</listitem>
43 <!-- ============================================================== -->
45 <title>Licence</title>
48 DCP-o-matic is free and open-source and is licensed under the <ulink
49 url="https://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
56 <!-- ============================================================== -->
58 <title>Acknowledgements</title>
61 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
66 <!-- ============================================================== -->
68 <title>This manual</title>
71 This manual presents bits of DCP-o-matic's user interface (such as menu items or buttons) <guilabel>like this</guilabel>.
75 Notes of an advanced nature are presented like this. Ignore them unless you want to know the details.
82 <!-- ============================================================== -->
83 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
84 <title>Installation</title>
87 <!-- ============================================================== -->
89 <title>Windows</title>
92 To install DCP-o-matic on Windows, download the installer from
93 <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
94 and double-click it. Click through the installer wizard, and
95 DCP-o-matic will be installed onto your machine.
99 If you are using a 32-bit version of Windows, you will need the 32-bit
100 installer. For 64-bit Windows, either installer will work, but I
101 suggest you use the 64-bit version as it will allow DCP-o-matic to
102 use more memory. You may find that DCP-o-matic crashes if you run
103 many parallel encoding threads (more than 4) on the 32-bit
110 <!-- ============================================================== -->
115 DCP-o-matic will run on macOS version 10.10 (Yosemite) and
116 higher. DCP-o-matic is split into seven separate applications, each of
117 which can be installed by downloading the <code>.dmg</code>,
118 double-clicking to open and then dragging the icon to your
119 <guilabel>Applications</guilabel> folder.
123 If you don't know which parts of DCP-o-matic to install, start
124 with the first (main) part.
129 <!-- ============================================================== -->
131 <title>Debian, Ubuntu or Mint Linux</title>
134 You can install DCP-o-matic on:
138 <listitem>Debian 9 (‘squeeze’), 10 (‘buster’) and unstable (‘sid’)</listitem>
139 <listitem>Ubuntu 16.04, 18.04, 20.04 and 20.10</listitem>
140 <listitem>Mint 18 and 19</listitem>
144 using <code>.deb</code> packages: download the appropriate package
145 from <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
146 and double-click it. Debian, Ubuntu or Mint will install the necessary bits and
147 pieces and set DCP-o-matic up for you.
150 <!-- ============================================================== -->
153 <!-- ============================================================== -->
155 <title>Fedora, Centos and Mageia Linux</title>
157 <para>There are <code>.rpm</code> packages for Fedora 31, 32 and 33, Centos 7 and 8 and Mageia 7 on
158 <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
161 <!-- ============================================================== -->
163 <!-- ============================================================== -->
165 <title>Arch Linux</title>
167 Packages for Arch Linux are available from <ulink
168 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
169 thanks to Stefan Karner.
174 <!-- ============================================================== -->
176 <title>Other Linux distributions</title>
179 Installation on other Linux systems (for which no packages are
180 available) is quite hard as it must be compiled from source. If you
181 can't download packages for your distribution, do let me know by
182 <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I will look
183 into providing packages on the website.
187 The following dependencies are required:
189 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
190 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
191 <listitem><ulink url="http://www.mega-nerd.com/SRC/">libsamplerate</ulink></listitem>
192 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
193 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
194 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
195 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
196 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
197 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
198 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
199 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
200 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
201 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
202 <listitem><ulink url="http://carlh.net/asdcplib">asdcplib with some patches</ulink></listitem>
203 <listitem><ulink url="http://carlh.net/libdcp">libdcp</ulink></listitem>
204 <listitem><ulink url="http://carlh.net/libsub">libsub</ulink></listitem>
205 <listitem><ulink url="http://carlh.net/libcxml">libcxml</ulink></listitem>
206 <listitem><ulink url="https://carlh.net/locked_sstream">locked_sstream</ulink></listitem>
207 <listitem><ulink url="https://www.music.mcgill.ca/~gary/rtaudio/">rtaudio</ulink></listitem>
208 <listitem><ulink url="http://site.icu-project.org">libicu</ulink></listitem>
213 Once you have installed the development packages for the dependencies,
214 download the source code from <ulink
215 url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>,
216 unpack it and run the following commands from inside the source
221 ./waf configure --disable-tests
227 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
244 <!-- ============================================================== -->
245 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
246 <title>Creating a DCP from a video</title>
249 In this chapter we will see how to create a DCP from a video file using
250 DCP-o-matic. We will gloss over the details and look at the basics.
254 <title>Creating a new film</title>
257 Let's make a very simple DCP to see how DCP-o-matic works. First, we
258 need some content. Download the low-resolution trailer for the open
259 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
260 url="https://download.blender.org/durian/trailer/Sintel_Trailer.480p.DivX_Plus_HD.mkv">their
261 website</ulink>. Generally one would want to use the
262 highest-resolution material available, but for this test we will use
263 the low-resolution version to save everyone's bandwidth bills.
267 Now, start DCP-o-matic and its window will open. First, we will
268 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
269 some pieces of content, along with some settings, which we will make into
270 a DCP. DCP-o-matic stores its data in a folder on your disk while it
271 creates the DCP. You can create a new film by selecting
272 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
273 shown in <xref linkend="fig-file-new"/>.
276 <figure id="fig-file-new">
277 <title>Creating a new film</title>
280 <imagedata fileref="screenshots/file-new&scs;"/>
286 This will open a dialogue box for the new film, as shown in <xref
287 linkend="fig-video-new-film"/>.
290 <figure id="fig-video-new-film">
291 <title>Dialogue box for creating a new film</title>
294 <imagedata fileref="screenshots/new-film&scs;"/>
300 In this dialogue box you can choose a name for the film. This will be
301 used to name the folder to store its data in, and also as the initial
302 name for the DCP itself. You can also choose whereabouts you want to create
303 the film. In the example from the figure, DCP-o-matic will create a
304 folder called ‘DCP Test’ inside my existing folder <code>DCP</code> into which it
305 will write its working files.
311 <!-- ============================================================== -->
313 <title>Adding content</title>
316 The next step is to add the content that you want to use. DCP-o-matic
317 can make DCPs from multiple pieces of content, but in this example we
318 will use a single piece. Click the <guilabel>Add
319 file(s)...</guilabel> button, as shown in <xref
320 linkend="fig-add-file"/>, and a file chooser will open for you to
321 select the content file to use, as shown in <xref
322 linkend="fig-video-select-content-file"/>.
325 <figure id="fig-add-file">
326 <title>Adding content files</title>
329 <imagedata fileref="screenshots/add-file&scs;"/>
334 <figure id="fig-video-select-content-file">
335 <title>Selecting a video content file</title>
338 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
344 Select your content file and click <guilabel>Open</guilabel>. In this
345 case we are using the Sintel trailer that we downloaded earlier.
349 When you do this, DCP-o-matic will take a look at your file. After a
350 short while (when the progress bar at the bottom right of the window
351 has finished), you can look through your content using the slider to
352 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
355 <figure id="fig-examine-content">
356 <title>Examining the content</title>
359 <imagedata fileref="screenshots/examine-content&scs;"/>
365 Dragging the slider will move through your video. You can also click
366 the <guilabel>Play</guilabel> button to play the content back.
374 <!-- ============================================================== -->
376 <title>Making the DCP</title>
378 <para>In most cases, some adjustments would be made to DCP-o-matic's
379 settings once the content has been added. For our simple test,
380 however, the default values will suffice, so we can go straight onto
381 making the DCP.</para>
384 Choose <guilabel>Make DCP</guilabel> from the
385 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
386 This may take some time (many hours in some cases). While the job is
387 in progress, DCP-o-matic will update you on how it is getting on with
388 the progress bar in the bottom of its window, as shown in <xref
389 linkend="fig-making-dcp"/>.
392 <figure id="fig-making-dcp">
393 <title>Making the DCP</title>
396 <imagedata fileref="screenshots/making-dcp&scs;"/>
402 When it has finished, the DCP will end up on your disk inside the
403 film's folder. You can then copy this to a projector via a USB
404 stick, hard-drive or network connection. See <xref
405 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
409 Alternatively, DCP-o-matic can upload your DCP directly to a projector
410 or Theatre Management System (TMS) that is accessible via SCP or FTP
411 across your network. See <xref linkend="sec-prefs-tms"/>.
418 <!-- ============================================================== -->
419 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
420 <title>Creating a DCP from a still image</title>
423 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
424 for an advertisement or an on-screen announcement. This chapter shows you
429 As with DCPs made from video files, the first step is to create a new
430 ‘Film’; select <guilabel>New</guilabel> from the
431 <guilabel>File</guilabel> menu and the new film dialogue will open as
432 shown in <xref linkend="fig-still-new-film"/>.
435 <figure id="fig-still-new-film">
436 <title>Dialogue box for creating a new film</title>
439 <imagedata fileref="screenshots/new-film&scs;"/>
445 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
446 the content. As before, click <guilabel>Add file(s)...</guilabel>.
447 For our example, we will add a single image file, as shown in <xref
448 linkend="fig-still-select-content-file"/>.
451 <figure id="fig-still-select-content-file">
452 <title>Selecting a still content file</title>
455 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
461 Most of the default settings will be fine for a simple test. The one
462 thing that you might wish to change is the length of the still.
463 Select the <guilabel>Timing</guilabel> tab and you will see a
464 <guilabel>Full length</guilabel> setting, as shown in <xref
465 linkend="fig-timing-tab"/>.
468 <figure id="fig-timing-tab">
469 <title>The timing tab</title>
472 <imagedata fileref="screenshots/timing-tab&scs;"/>
478 This length is a ‘timecode’: it consists of four numbers.
479 The first is hours, the second minutes, the third seconds, and the
480 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
484 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
485 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
486 be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
487 to encode a single frame which it can then repeat.
493 <!-- ============================================================== -->
494 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" id="ch-manipulating-existing-dcps">
495 <title>Manipulating existing DCPs</title>
498 DCP-o-matic is often used to take content in formats such as MP4 and
499 make it into a DCP. It can also be used to take existing DCPs and
500 modify them in various ways.
504 <title>Importing a DCP into DCP-o-matic</title>
507 The first step in manipulating an existing DCP is to import it. Click
508 <guilabel>Add DCP...</guilabel> and select your DCP's folder. It will
509 be added to the DCP-o-matic project. If the DCP is unencrypted you
510 can preview it in the normal way, though playback will be slow as
511 decoding of DCPs is almost as computationally intensive as encoding
516 If your DCP is a Version File (VF) (i.e. it refers to
517 another DCP's assets) you should import it as follows:
521 <listitem>Use <guilabel>Add DCP...</guilabel> to import the VF DCP.
522 The VF DCP will be added to the content list and marked “NEEDS
523 OV”.</listitem>
524 <listitem>Right-click on the VF DCP in the content list and choose <guilabel>Add OV...</guilabel> from the menu.</listitem>
525 <listitem>Choose the folder that contains the OV DCP. The VF will now be playable as normal.</listitem>
531 <section xml:id="sec-decrypting">
532 <title>Decrypting encrypted DCPs</title>
535 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
536 details). If you import an encrypted DCP you will need a key, in the
537 form of a Key Delivery Message (KDM), to decrypt it.
541 KDMs must be prepared by the organisation which created the DCP. They
542 contain the keys to decrypt the DCP wrapped up in such a way that only
543 the intended recipient can read them. You will need to provide the
544 organisation with a certificate which identifies your copy of
545 DCP-o-matic and allows them to create a KDM for you.
549 To get DCP-o-matic's decryption certificate, open the Preferences
550 dialogue (see <xref linkend="ch-preferences"/>) and go to the
551 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
552 decryption certificate...</guilabel> button at the bottom of this tab
553 and save the certificate. Send this certificate to the DCP creators
554 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
558 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
559 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and the DCP
560 will be decrypted and become available for preview.
567 <title>Making a DCP from a DCP</title>
570 In many ways, using DCPs as <emphasis>content</emphasis> in
571 DCP-o-matic is the same as using any other content. There are a few
572 things to note, though.
577 <title>Re-use of existing data</title>
580 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
581 data from DCP content without modification. This has the advantage
582 that creation of the new DCP will be quick, as the time-consuming
583 JPEG2000 encoding is not necessary.
587 DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
588 the following content settings:
592 <listitem>Crop</listitem>
593 <listitem>Scaling</listitem>
594 <listitem>Subtitle burn-in</listitem>
595 <listitem>Fades</listitem>
596 <listitem>Colour conversion</listitem>
600 DCP-o-matic will be forced to decode and re-encode your JPEG2000 data
601 if you change any of these settings on a piece of DCP content.
607 <section xml:id="sec-overlay">
608 <title>Making overlay files</title>
611 With its default settings, DCP-o-matic will take any data from DCP
612 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
615 <figure id="fig-dcp-copy">
616 <title>Creating a new DCP by copying an existing one</title>
617 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
621 This can be inefficient in some cases. Consider, for example, a film
622 which has ten different translations for which the subtitles are
623 different but video and audio are the same. If the video and audio
624 content takes up, say, 100Gb this means that the set of DCPs for every
625 translation would be about 1Tb with a lot of duplicated data.
629 The DCP format has a solution to this problem. One DCP can refer to
630 the ‘assets’ (picture, sound or subtitle) of another DCP.
631 For our translation example this means that we could have a
632 ‘base’ DCP (often called the OV or Original Version)
633 containing video, audio and one set of subtitles and then any number
634 of overlay DCPs (often called VF or Version Files) which refer to the
635 base version and replace the original subtitles with their own. <xref
636 linkend="fig-dcp-refer"/> shows this principle for one of our
637 translations. The DCP that we make refers to the original content
638 DCP's video and audio rather than containing a copy.
641 <figure id="fig-dcp-refer">
642 <title>Creating a new DCP by referring to an existing one</title>
643 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
647 To play back the subtitled DCP the projectionist ingests both the base
648 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
652 To make a DCP like this:
656 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
657 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
658 <listitem>Select the DCP in the content list</listitem>
659 <listitem>Tick the <guilabel>Use's this DCP's ... as OV and make VF</guilabel> checkbox
660 in the tabs for the parts of the DCP that you want to refer to in your
661 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>
662 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
672 <!-- ============================================================== -->
675 <!-- ============================================================== -->
676 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
677 <title>Content settings</title>
680 The previous chapters showed DCP generation using the default
681 settings. DCP-o-matic offers a range of features to adjust the
682 content that goes into your DCP, and this chapter describes those
687 <title>Adding and removing content</title>
690 At the top of the <guilabel>Content</guilabel> tab is a list of the
691 content that will go into our DCP. There can be as many pieces of
692 content as you like, and they can be of the following types:
696 <listitem>Movie — a file containing some video, probably some
697 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
700 <listitem>Sound — a file containing one or more channels of
701 audio; for example, a WAV or AIFF file.
704 <listitem>Still image — a file containing a single still image; for
705 example, a JPEG, PNG or TIFF file.
708 <listitem>Moving image — a directory containing many still
709 images which should be treated as the frames of a video.
712 <listitem>Subtitle — a file containing subtitle which will be
713 superimposed on the image of the DCP. These can be
714 <guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel>, <guilabel>.ass</guilabel> or <guilabel>.xml</guilabel>
717 <listitem>DCP — an existing DCP.</listitem>
721 To add one or more movie, sound, still-image or subtitle files, select
722 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
726 DCP-o-matic will automatically map a set of audio files to the correct channels if you include appropriate ‘tags’ in your filenames, as shown in <xref linkend="tab-audio-file-naming"/>.
729 <table id="tab-audio-file-naming">
730 <title>Audio file naming</title>
731 <tgroup cols='3' align='left' colsep='1' rowsep='1'>
735 <entry>Examples</entry>
736 <entry>Channel</entry>
741 <entry><code>L</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
742 <entry>film-L.wav my_movie_L_final.wav</entry>
746 <entry><code>R</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
747 <entry>film-R.wav my_movie_R_final.wav</entry>
751 <entry><code>C</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
752 <entry>film-C.wav my_movie_C_final.wav</entry>
753 <entry>Centre</entry>
756 <entry><code>Lfe</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
757 <entry>film-Lfe.wav my_movie_Lfe_final.wav</entry>
758 <entry>LFE (sub)</entry>
761 <entry><code>Ls</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
762 <entry>film-Ls.wav my_movie_Ls_final.wav</entry>
763 <entry>Left surround</entry>
766 <entry><code>Rs</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
767 <entry>film-Rs.wav my_movie_Rs_final.wav</entry>
768 <entry>Right surround</entry>
775 To add a directory (folder) of images, choose <guilabel>Add
776 folder...</guilabel> and choose the directory from the selector.
777 DCP-o-matic will open a small dialogue box where you can enter the
778 frame rate that the image sequence should be run at.
782 To add a DCP, choose <guilabel>Add DCP...</guilabel> and choose the
783 DCP's directory from the selector.
787 You can remove a piece of content by clicking on its name and then
788 clicking the <guilabel>Remove</guilabel> button.
793 <!-- ============================================================== -->
795 <title>Adding existing DCPs</title>
797 <para>Adding existing DCPs to a DCP-o-matic film is a little different
798 to adding other types of content. Most content has to be converted to
799 JPEG2000, the compression scheme used by DCPs, which is a very
800 time-consuming process. Existing DCPs are already in JPEG2000 format
801 so do not require conversion. This means that, provided no settings
802 such as crop are used on the DCP content, picture and sound data will
803 be passed from existing to new DCP unaltered.
806 <para>Encrypted DCPs that are added as content will require a KDM
807 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
808 should ask the creator of the imported DCP to provide a KDM for
809 DCP-o-matic's decryption certificate, which can be obtained by
810 clicking <guilabel>Export DCP decryption certificate...</guilabel>
811 from the <guilabel>Keys</guilabel> tab of the
812 <guilabel>Preferences</guilabel> dialog (see <xref
813 linkend="sec-prefs-keys"/>).
818 <!-- ============================================================== -->
820 <title>Content Properties</title>
823 Below the content list are the controls to set content properties. To
824 adjust the properties for a piece of content, click its name in the
825 content list. The content property controls will then become active
826 for that piece of content.
830 If you want to change the properties for multiple pieces of content at
831 the same time, select the content in the list by clicking the first
832 piece then clicking the other pieces with <keycap>shift</keycap> key
833 held down. Note that not all settings can be changed in this way.
837 The content properties are split up into four sections:
838 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
839 <guilabel>Timed text</guilabel> and <guilabel>Timing</guilabel>. Not
840 all of these sections will be active for all content types. The controls
841 in each section are described below.
847 <!-- ============================================================== -->
852 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
855 <figure id="fig-video-tab">
856 <title>Video settings tab</title>
859 <imagedata fileref="screenshots/video-tab&scs;"/>
865 <!-- ============================================================== -->
867 <title>Use this DCP's video as OV and make VF</title>
870 This option is only applicable if the selected content is an existing
871 DCP. It allows you make a VF DCP, using the video content from the
872 existing DCP by referencing it (rather than copying). See <xref
873 linkend="sec-overlay"/>.
878 <!-- ============================================================== -->
880 <title>Image type</title>
883 The next option on this tab is the ‘type’ of the video.
884 This specifies how DCP-o-matic should interpret the video's image.
885 <guilabel>2D</guilabel> is the default; this just takes the video
886 image as a standard 2D frame. The <guilabel>3D
887 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
888 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
891 <figure id="fig-3d-left-right">
892 <title>3D left/right image type</title>
895 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
901 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
902 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
903 linkend="fig-3d-top-bottom"/>.
906 <figure id="fig-3d-top-bottom">
907 <title>3D top/bottom image type</title>
910 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
916 Another option is <guilabel>3D alternate</guilabel> which takes the
917 first frame of the content as for the left eye, the second for the
918 right eye, the third for the left, and so on. Finally, you can
919 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
920 only</guilabel> if this content contains only the the left or right
921 eye images. This is useful when you have the left and right eye image
922 sets in different files; you can specify one content as <guilabel>3D
923 left only</guilabel> and another as <guilabel>3D right only</guilabel>
924 and DCP-o-matic will pick up the appropriate frames from each.
930 <!-- ============================================================== -->
932 <title>Filtering</title>
935 The ‘filters’ settings allow you to apply various video
936 filters to the image. These may be useful to try to improve
937 poor-quality sources like DVDs. You can set up the filters by clicking the
938 <guilabel>Edit</guilabel> button next to the filters entry in the
939 setup area of the DCP-o-matic window; this opens the filters selector
940 as shown in <xref linkend="fig-filters"/>.
943 <figure id="fig-filters">
944 <title>Filters selector</title>
947 <imagedata fileref="screenshots/filters&scs;"/>
953 After changing the filters setup, you will need to regenerate the DCP
954 to see the effect on the cinema screen. The preview in DCP-o-matic
955 will update itself whenever filters are changed, though of course this
956 image may be smaller and of lower resolution than a projected image!
962 <!-- ============================================================== -->
964 <title>Colour conversion</title>
967 The <guilabel>Colour conversion</guilabel> setting specifies what
968 colour transforms and gamma correction DCP-o-matic will use when
969 converting the selected content into the XYZ colourspace for the DCP.
973 The easiest way to select the required conversion is to choose one of
974 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
975 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
976 know which preset you should use, refer to the suggestions in <xref
977 linkend="tab-colour-conversion"/>.
980 <table id="tab-colour-conversion">
981 <title>Suggested colour conversion settings</title>
982 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
983 <colspec colwidth='1*'/>
984 <colspec colwidth='5*'/>
987 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs.</entry>
990 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
993 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
996 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
1003 For other required colour conversions, and if you know what you are
1004 doing, you can choose <guilabel>Custom</guilabel> which will open the full
1005 colour conversion editing dialogue box:
1008 <figure id="fig-colour-conversion">
1009 <title>Dialogue box for custom colour conversion</title>
1012 <imagedata fileref="screenshots/colour-conversion&scs;"/>
1018 Alternatively, choose <guilabel>None</guilabel> if your source files
1019 are already in the XYZ colour space and require no conversion.
1023 DCP-o-matic's colour conversion processes are discussed in much more
1024 detail in a separate document <ulink
1025 url="https://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
1030 <!-- ============================================================== -->
1032 <title>Other settings</title>
1035 The <guilabel>crop</guilabel> settings can be used to crop your
1036 content, which is often used to remove black borders from the edges of
1037 the image. The specified number of pixels will be trimmed from each
1038 edge, and the content image in the right of the window will be updated
1039 to show the effect of the crop.
1043 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
1044 settings can be used to apply linear fades into and out of a piece of
1045 content. Specify the time for each, clicking <guilabel>Set</guilabel>
1046 after making any changes.
1050 The <guilabel>Scale to</guilabel> option governs the shape that
1051 DCP-o-matic will scale the content's image into. Select the aspect
1052 ratio that your content should be presented in.
1057 <!-- ============================================================== -->
1059 <title>Video description</title>
1062 At the bottom of the video tab is a short description of what will
1063 happen to your video with the current settings. In the example of
1064 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
1065 video file is 2048x872 pixels and it has square pixels (a pixel
1066 aspect ratio of 1.00) hence its display aspect ratio is 2.35:1. Since
1067 the controls specify ‘2.35’ for the ratio, DCP-o-matic
1068 does not scale the image but pads it to the DCP's container ratio of
1069 1.85:1. For a 2K DCP this is 1998x1080 pixels.
1073 This description also gives the frame rate of the content and what
1074 will happen to it when it is played at the DCP's frame rate. See
1075 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
1076 frame-rate conversion.
1084 <!-- ============================================================== -->
1086 <title>Audio</title>
1089 The <guilabel>Audio</guilabel> tab controls properties of the sound, as shown in <xref linkend="fig-audio-tab"/>.
1092 <figure id="fig-audio-tab">
1093 <title>Audio settings tab</title>
1096 <imagedata fileref="screenshots/audio-tab&scs;"/>
1101 <!-- ============================================================== -->
1103 <title>The audio map</title>
1106 The section at the bottom of the audio tab is the ‘audio
1107 map’. This governs how sound from the content will be arranged
1112 Down the left-hand side of the map is the list of audio channels in
1113 the currently-selected piece of content. These are labelled with two
1114 numbers; the first is the stream index within the content and the
1115 second is the channel number within that stream. Some content will
1116 have different streams for different languages or audio mixes. Along
1117 the top is each channel in the DCP. A green box means that the
1118 corresponding content channel will be copied into the corresponding
1123 When content channels are copied into DCP channels they can be done
1124 with variable gain. If, for example, you want to copy a channel
1125 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1126 two channels into one, you may want to use a gain of -6dB on each one
1127 to prevent clipping when the two channels are added.
1131 The green boxes of the audio mapping view tell you (very roughly) how
1132 much gain is applied to each channel. A full-height box means 0dB
1133 (i.e. unity) gain. Any less height indicates lower gain.
1137 To map one channel to another with 0dB gain, click in the empty box
1138 and it will turn green to reflect the mapping. A second click will
1139 turn the mapping back off. To set some other gain, right-click on the
1140 box to open the gain menu. This allows you to set
1141 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1142 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1143 <guilabel>Edit</guilabel> which allows you to set the required gain
1148 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1151 <figure id="fig-audio-map-eg1">
1152 <title>Audio map example 1</title>
1155 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1161 Here, we have two channels in the source which are mapped to left and
1162 right, respectively, in the DCP. The full green boxes show that the
1163 mapping is at unity gain (0dB) in each case. Imagine that we modify
1164 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1167 <figure id="fig-audio-map-eg2">
1168 <title>Audio map example 2</title>
1171 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1177 We now have the content's streams mapped to left and right and also
1178 mixed together and placed in the DCP's centre channel. The smaller
1179 green boxes on the centre mappings show that those channels are added
1180 with some non-unity gain; you can see by hovering the mouse pointer
1181 over those boxes that the gain for content channels 1 and 2 is -6dB
1182 when being sent to the centre channel and 0dB when being sent to left
1186 <figure id="fig-audio-map-eg3">
1187 <title>Audio map example 3</title>
1190 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1196 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1197 shows the mapping of a 5.1 source into a 5.1 DCP.
1203 <!-- ============================================================== -->
1205 <title>Other controls</title>
1208 The <guilabel>Use this DCP's audio as OV and make VF</guilabel>
1209 checkbox is only applicable if the selected content is an existing
1210 DCP. It allows you to make a VF DCP, using the audio content from the
1211 existing DCP by referencing it (rather than copying). See <xref
1212 linkend="sec-overlay"/>.
1216 <guilabel>Show graphs of audio levels</guilabel> will analyse the
1217 audio of the selected content and plot it on a graph. See <xref
1218 linkend="sec-show-audio"/> for more details.
1222 ‘Audio Gain’ is used to alter the volume of the
1223 soundtrack. The specified gain (in dB) will be applied to each sound
1224 channel of your content before it is written to the DCP.
1228 If you use a sound processor that DCP-o-matic knows about, it can help
1229 you calculate changes in gain that you should apply. Say, for
1230 example, that you make a test DCP and find that you have to run it at
1231 volume 5 instead of volume 7 to get a good sound level in the screen.
1232 If this is the case, click the <guilabel>Calculate...</guilabel>
1233 button next to the audio gain entry, and the dialogue box in <xref
1234 linkend="fig-calculate-audio-gain"/> will open.
1237 <figure id="fig-calculate-audio-gain">
1238 <title>Calculating audio gain</title>
1241 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1247 For our example, put 5 in the first box and 7 in the second and click
1248 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1249 that it should apply to make this happen. Then you can re-make the
1250 DCP (this will be reasonably fast, as the video data will already have
1251 been done) and it should play back at the correct volume with 7 on
1252 your sound-rack fader.
1256 Current versions of DCP-o-matic only know about the Dolby CP650 and
1257 CP750. If you use a different sound processor, and know the gain
1258 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1263 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1264 between audio and video. A positive delay will move the audio later
1265 with respect to the video, and a negative delay will move it earlier.
1272 <!-- ============================================================== -->
1274 <title>Timed text (subtitles and closed captions)</title>
1277 The timed text tab contains settings related to subtitles and closed captions in your
1278 content, as shown in <xref linkend="fig-timed-text-tab"/>.
1281 <figure id="fig-timed-text-tab">
1282 <title>Timed text settings tab</title>
1285 <imagedata fileref="screenshots/timed-text-tab&scs;"/>
1291 Depending on where timed text comes from it can sometimes be used as
1292 either an open subtitle (to be overlaid onto the cinema screen and
1293 seen by everybody) or as a closed caption (to be displayed to
1294 individual viewers using a special system such as the Doremi
1299 DCP-o-matic can either:
1303 <listitem>Extract timed text that is embedded in video files, or</listitem>
1304 <listitem>Use timed text from SubRip (<code>.srt</code>), SubStation
1305 Alpha (<code>.ssa</code> or <code>.ass</code>) or DCP XML files. You may find the great
1307 url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
1308 for creating such files.</listitem>
1312 Embedded timed text is usually represented using a set of bitmaps,
1313 especially on files that have come from DVD or BluRay. Such text can
1314 be used as a subtitle, but not a closed caption (since the closed
1315 captioning system requires the text to be delivered as
1316 character codes rather than an image).
1319 <para>In contrast, SubRip, SubStation Alpha or DCP text can be used as either a subtitle or a closed caption.</para>
1322 With subtitles you have the further choice of whether to burn the
1323 subtitles into the image or include them as a separate subtitle
1324 ‘asset’ within your DCP (in which case the projector
1325 overlays them onto the image on playback). The difference between
1326 burn-in and overlay is illustrated by <xref linkend="fig-burn-in"/>
1327 and <xref linkend="fig-discrete"/>.
1330 <figure id="fig-burn-in">
1331 <title>Burnt-in subtitles</title>
1334 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1339 <figure id="fig-discrete">
1340 <title>Separate subtitles</title>
1343 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1349 The advantage of separate subtitles is that the same video content can
1350 be used for DCPs in many different languages. This means that only a
1351 small text file needs to be changed for each target language, rather
1352 than a large video file. It also means that the time-consuming video
1353 encoding need only be done once for the project rather than once for
1358 Select the <guilabel>Use as</guilabel> check-box to enable the timed
1359 text in the selected content, then choose what you want to use the
1360 text for: open subtitles or closed captions.
1364 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1365 burn subtitles into the image; if this is not ticked the
1366 subtitles will be included separately in the DCP to be rendered by the
1371 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1372 controls move subtitles around within the image. These controls have
1373 no effect for closed captions. The offsets are expressed as a
1374 percentage of the video frame size; 100% X offset is the entire width
1375 of the frame, and 100% Y offset is the entire height. Hence, to move
1376 the subtitles down by half the frame height you would use a Y offset
1381 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1382 controls scale subtitles. These controls have no effect for closed
1383 captions. Scale values of 1 make the subtitles the same size
1384 (relative to the size of the image) as they are on the original.
1385 Values lower than 1 make them smaller, and values higher make them
1386 larger. You can stretch the subtitles in either direction by
1387 specifying different values for X and Y scale. Subtitles from DVD and
1388 Blu Ray sources are frequently larger (relative to the video frame)
1389 than those typically used for DCP, so it is often useful to scale such
1390 subtitles down using these controls.
1394 The <guilabel>Line spacing</guilabel> control adjusts the line spacing
1395 of the subtitles. This only works for subtitles that did not come from bitmaps.
1399 The <guilabel>Stream</guilabel> control changes the subtitle stream
1400 that is used when the content has more than one.
1404 If you are using non-image (text) subtitles or closed captions you can see the
1405 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1406 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1410 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1411 change how the subtitles look. Some of the controls in the
1412 <guilabel>Appearance</guilabel> only apply to burnt-in subtitles, as
1413 only limited control is available for subtitles rendered by the
1420 <!-- ============================================================== -->
1422 <title>Timing</title>
1425 The timing tab contains settings related to the timing of your
1426 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1429 <figure id="fig-timing-tab-detail">
1430 <title>Timing settings tab</title>
1433 <imagedata fileref="screenshots/timing-tab&scs;"/>
1439 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1440 These are expressed as four numbers, as shown in <xref
1441 linkend="fig-timecode"/>.
1444 <figure id="fig-timecode">
1445 <title>Timecode</title>
1448 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1454 <guilabel>Position</guilabel> is the time at which this piece of
1455 content should start within the DCP. In most cases, this will be
1456 <code>0:0:0:0</code> to make the content start at the beginning of the
1461 <guilabel>Full length</guilabel> is the length of the piece of
1462 content. This can only be set for still-image content: for video or
1463 sound content, it is fixed by the nature of the content file. If
1464 still-image content is being used you can set the length for which it
1465 should be displayed using this control.
1469 <guilabel>Trim from start</guilabel> specifies the amount that should
1470 be trimmed from the start of the content. You can set this amount to
1471 trim up to the current preview position by clicking <guilabel>Trim up
1472 to current position</guilabel>.
1476 <guilabel>Trim from end</guilabel> specifies the amount that should be
1477 trimmed from the end of the content. You can set this amount to trim
1478 after the current preview position by clicking <guilabel>Trim after to
1479 current position</guilabel>.
1483 <guilabel>Play length</guilabel> indicates how long this piece of
1484 content will be once the trims have been applied. This will be equal
1485 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1489 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1490 still-image content. It can also be used to override the detected
1491 frame rate of other content if DCP-o-matic has got it wrong.
1495 Each timecode control has a <guilabel>Set</guilabel> which you should
1496 click when you have entered a new value for a timecode. The
1497 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1498 any changes to the corresponding timecode.
1504 <!-- ============================================================== -->
1506 <title>Timeline</title>
1509 The timeline window gives an overview of all the pieces of content
1510 in your film, and how they are arranged. You can open the
1511 timeline by clicking the <guilabel>Timeline...</guilabel> button
1512 next to the content list. This will open a window like the one in <xref linkend="fig-timeline1"/>.
1515 <figure id="fig-timeline1">
1516 <title>Timeline</title>
1519 <imagedata fileref="screenshots/timeline1&scs;"/>
1525 The horizontal axis represents time, and you can see the time codes (in
1526 hours:minutes:seconds) along the bottom of the window. Pieces of
1527 content are represented with rectangles in the main part of the
1528 window. Content containing different types of data (e.g. a MP4
1529 file with video, audio and subtitles) have a rectangle for each
1534 Within the timeline you can select content by clicking, and drag
1535 it to change its position. Right-clicking a piece of content will
1536 open the content menu.
1540 The toolbar at the top of the window offers the following tools:
1544 <listitem>Select — to select and move content.</listitem>
1545 <listitem>Zoom in — to drag out an area that you want to see more closely.</listitem>
1546 <listitem>Zoom out — to zoom out so that the window shows the whole film.</listitem>
1547 <listitem>Snap — when enabled, content will snap to other content when you drag it close.</listitem>
1548 <listitem>Sequence — when enabled, content will be kept in sequence, without gaps, even if some content is removed.</listitem>
1552 <!-- ============================================================== -->
1554 <title>Video processing pipeline</title>
1557 This section gives a little more detail about how DCP-o-matic process
1558 video as it takes it from a source and puts it into a DCP.
1562 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1563 image which is letterboxed with 36 black pixels each at the top and
1564 bottom, and the video content within the letterbox should be presented
1565 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1566 happen with a trailer). The source image is shown in <xref
1567 linkend="fig-pipeline1"/>.
1570 <figure id="fig-pipeline1">
1571 <title>Example image to demonstrate video processing</title>
1574 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1580 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1584 <listitem>Crop</listitem>
1585 <listitem>Scale</listitem>
1586 <listitem>Place in container</listitem>
1590 First, some amount of the image can be cropped. This is almost always
1591 used to remove black borders (letterboxing and/or pillarboxing) around
1596 In our example image, we would use 36 pixels of crop from the top and
1597 bottom. This would give the new image shown in <xref
1598 linkend="fig-pipeline2"/>.
1601 <figure id="fig-pipeline2">
1602 <title>Example image after cropping</title>
1605 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1611 The next step is to scale the image. Since this content should be
1612 presented in a 2.39:1 (scope) aspect ratio inside a 1.85:1 (flat) DCP we would select
1613 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1614 option in the <guilabel>Video</guilabel> tab and
1615 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1616 option in the <guilabel>DCP</guilabel> tab.
1619 <para>The <guilabel>Scale to</guilabel> option should always be set to
1620 the aspect ratio at which the content should be seen. The
1621 <guilabel>Container</guilabel> option should be set to the preset that
1622 you want to use on the projector. Of course, these two settings will
1627 Given the scaling and container information, DCP-o-matic will look at
1628 the DCP's container size, and then scale the source image up until one
1629 or both of its dimensions (width, height or both) fits the size of the
1630 container, all the while preserving the desired aspect ratio.
1634 In our example here, the DCP's container is specified as 1.85:1 (so
1635 that the DCP will play back correctly using the projector's
1636 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1637 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1638 result in the image hitting the sides of the container first, at a
1639 size of 1998 x 836. This gives us a new version of the image as shown
1640 in <xref linkend="fig-pipeline3"/>.
1643 <figure id="fig-pipeline3">
1644 <title>Example image after cropping and scaling</title>
1647 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1653 The final step is to place the image into the DCP. In this case,
1654 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1655 we have set the <guilabel>container</guilabel> in the
1656 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1657 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1658 be some black bars at the top and bottom of the image. DCP-o-matic
1659 shares out this black equally, as shown in <xref
1660 linkend="fig-pipeline3"/>.
1663 <figure id="fig-pipeline4">
1664 <title>Example image in the DCP</title>
1667 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1676 <title>Copy and paste settings</title>
1679 Once you have set up a piece of content it is possible to copy the
1680 settings you have applied to another piece of content. To do this,
1681 select the content to copy from and choose <guilabel>Copy</guilabel>
1682 from the <guilabel>Edit</guilabel> menu. Then select the content to
1683 copy to and choose <guilabel>Paste</guilabel>. A dialogue box will
1684 open to allow you to choose which settings you want to copy. Clicking
1685 <guilabel>OK</guilabel> will apply the copied settings.
1694 <!-- ============================================================== -->
1695 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1696 <title>DCP settings</title>
1699 This chapter describes the settings that apply to the whole DCP. The
1700 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1701 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1704 <figure id="fig-dcp-tab">
1705 <title>DCP settings tab</title>
1708 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1714 The first thing here is the name. This is generally set to the title
1715 of the film that is being encoded. If <guilabel>Use ISDCF
1716 name</guilabel> is not ticked, the name that you specify will be used
1717 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1718 is ticked, the name that you enter will be used as part of a
1719 ISDCF-compliant name.
1723 Underneath the name field is a preview of the name that the DCP will
1724 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1725 name</guilabel> check-box. The ISDCF name will be composed using details
1726 of your content's soundtrack, the current date and other things that
1727 can be specified in the ISDCF name details dialogue box, which you can
1728 open by clicking on the <guilabel>Details</guilabel> button.
1732 If you want to take the ISDCF-compliant name that DCP-o-matic
1733 generates and modify it, click <guilabel>Copy as name</guilabel> and
1734 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1735 You can then edit it as you wish. The DCP name should not matter (in
1736 that it should not affect how the DCP ingests or plays) but
1737 projectionists will appreciate it if you use the standard naming
1738 scheme as it makes it easier to identify details of the content.
1742 The <guilabel>Content Type</guilabel> option can be
1743 ‘feature’, ‘trailer’ or whatever; select the
1744 required type from the drop-down list. On some projection systems
1745 this will affect where your content appears in the projector's server
1746 user interface, so take care to select an appropriate type.
1750 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1751 is signed. This is rarely important; if in doubt, tick it.
1755 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1756 should be encrypted or not. If this is ticked, the DCP will require a
1757 KDM to play back. Encryption is discussed in <xref
1758 linkend="ch-encryption"/>.
1762 If you use encryption DCP-o-matic will generate a random encryption
1763 key for you. To specify your own key, click the
1764 <guilabel>Edit..</guilabel> button next to the key.
1768 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1769 controls specify how the DCP will be split up into
1770 ‘reels’. See <xref linkend="sec-reels"/>.
1774 The <guilabel>Standard</guilabel> option specifies which of the two
1775 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1776 more modern of the two).
1780 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1781 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1785 At the bottom of the DCP tab are a further two tabs, one each to
1786 contain the settings for the DCP's video and audio parts.
1790 The <guilabel>Container</guilabel> option sets the ratio of the image
1791 in the DCP. If this ratio is different to the ratio used for any
1792 content, DCP-o-matic will pad the content with black. In simple cases
1793 this should be set to the same ratio as that for the the primary piece
1794 of video content. Alternatively, you might want to pillarbox a small
1795 format into a Flat container: in this case, select the small format
1796 for the content's ratio and ‘Flat’ for the DCP.
1800 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1801 your DCP. This can be a little tricky to get right. Ideally, you
1802 want it to be the same as the video content that you are using. If it
1803 is not the same, DCP-o-matic must resort to some tricks to alter your
1804 content to fit the specified frame rate. Frame rates are discussed in
1805 more detail in <xref linkend="ch-frame-rates"/>.
1809 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1810 to what DCP-o-matic thinks is the best given the content that you have
1815 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1816 is checked. A 3D DCP will then be created, and any 2D content will be
1817 made 3D compatible by repeating the same frame for both left and right
1818 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1819 Real-D etc.) but not on a 2D system.
1823 The <guilabel>Resolution</guilabel> tab allows you to choose the
1824 resolution for your DCP. Use 2K unless you have content that is of
1825 high enough resolution to be worth presenting in 4K.
1829 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1830 the final image files used within the DCP will be. Larger numbers
1831 will give better quality, but correspondingly larger DCPs. The
1832 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1833 Most commercial DCPs use bit rates between 75 and 125 Mbit/s.
1837 <guilabel>Re-encode JPEG2000 data from input</guilabel> governs
1838 whether or not JPEG2000-encoded data from a piece of content (usually
1839 a DCP) will be re-used in the output data as-is or whether it will be
1840 decoded and re-encoded by DCP-o-matic. If the option is enabled
1841 DCP-o-matic will decompress any JPEG2000 data it finds and re-encode
1842 it. This is useful if you want to reduce the bitrate of a DCP.
1843 Usually you will achieve better quality and quicker results by leaving
1844 this option switched off.
1848 The <guilabel>Audio Channels</guilabel> control sets the number of
1849 audio channels that the DCP will have. If the DCP has any channels
1850 for which there is no content audio they will be replaced by silence.
1851 You can only set an even number of channels here, since that is
1852 required by the DCI standard. If you want an odd number of channels,
1853 set the DCP channel count to one greater than you need and the
1854 unused channel will be filled with silence.
1858 The <guilabel>Processor</guilabel> control allows you to select a
1859 process to apply to the audio before it goes into the DCP. Three processes are currently provided:
1863 <listitem>Mid-side decode — this will take a L/R
1864 stereo input and extract the common part (corresponding to the
1865 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1866 The remaining L/R parts will be kept in the L/R channels of the DCP.
1867 This may be useful to make near-field L/R mixes more compatible with
1868 cinema audio systems.</listitem>
1869 <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:
1871 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1872 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1873 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1874 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1875 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1876 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1879 This upmixing algorithm is due to Gérald Maruccia.
1882 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1884 <listitem>DCP L is input L.</listitem>
1885 <listitem>DCP R is input R.</listitem>
1886 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1887 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1888 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1893 The up-mixers are not particularly advanced and should be used with care. You are strongly advised to check how the DCPs sound in a cinema if you have used one of DCP-o-matic's upmixers.
1895 <!-- ============================================================== -->
1896 <section xml:id="sec-reels">
1897 <title>Reels</title>
1900 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1901 way as a 35mm reel is a section of a film. A DCP can be split up into
1902 any number of reels and the joins (the equivalent to 35mm splices or changeovers)
1903 between the reels are seamless.
1907 There is no reason why you can't just use a single reel for the whole
1908 of your DCP, as there is no limit to their length. Many people choose
1913 There are, however, some possible advantages of splitting things up
1919 The picture, sound and subtitle data of the DCP will be
1920 split up into more smaller files on disk, rather than fewer larger
1921 files. This can be useful if the DCP is to be transferred on storage
1922 that have file size limits. The FAT32 filesystem, for example, can
1923 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1924 not be transferred using a FAT32-formatted disk. If that DCP were
1925 split up into two 3Gb reels it could be transferred.
1928 It is easier to re-use DCP components if they are in reels. Consider,
1929 for example, a film company who wants to put a 5 second ident onto the
1930 beginning of DCPs that they distribute. If they receive a feature
1931 film DCP they can modify it to add their ident as a separate reel.
1932 This is easier than attaching the picture data to the feature's existing data.
1937 DCP-o-matic offers three options for setting up the reels in your DCP:
1938 <guilabel>single reel</guilabel>, <guilabel>split by video content</guilabel> or <guilabel>custom</guilabel>.
1942 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1943 This is a perfectly good option if you have no particular reason to
1948 <guilabel>Split by video content</guilabel> puts each piece of source
1949 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1952 <figure id="fig-reels-by-video">
1953 <title>Making reels using split by video content</title>
1954 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1958 Here we have three video files (<code>ident.mp4</code>,
1959 <code>feature.ts</code> and <code>cred.mov</code>). With
1960 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1961 reel to hold each video file.
1965 <guilabel>Custom</guilabel> splits reels by the size of the files that
1966 will make up their video content. With <guilabel>Custom</guilabel>
1967 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1973 <!-- ============================================================== -->
1974 <section xml:id="sec-show-audio">
1975 <title>Show audio</title>
1978 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1979 to examine the audio in your content and plot a graph of its level
1980 over time. This can be useful for getting a rough idea of how loud
1981 the sound will be in the cinema auditorium. A typical plot is shown
1982 in <xref linkend="fig-audio-plot"/>
1985 <figure id="fig-audio-plot">
1986 <title>Audio plot</title>
1989 <imagedata fileref="screenshots/audio-plot&scs;"/>
1995 The plot gives the audio level (vertical axis, in dB) with time
1996 (horizontal axis). 0dB represents full scale, so if there is anything
1997 near this you are in danger of clipping the projector's audio outputs.
2001 There are two plot types: the peak level and the RMS, which can be
2002 shown or hidden using the check-boxes on the right hand side of the
2007 The channel check-boxes will show or hide the plot(s) for
2008 the corresponding channels in the DCP.
2012 The smoothing slider applies a variable degree of temporal smoothing
2013 to the plots, which can make them easier to read in some cases.
2017 Obviously the audio plot is no substitute for listening in an
2018 auditorium, but it can be useful to get levels in the right rough area.
2026 <!-- ============================================================== -->
2027 <chapter xml:id="ch-templates" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2028 <title>Templates</title>
2031 If you frequently make DCPs with similar settings you may find it
2032 useful to use templates.
2036 Say, for example, you often make 4K feature DCPs from video files in
2037 ’scope at 25fps. You can speed up this process by following
2042 <listitem>Create a film with any content and set it up how you like;
2043 in our example, set the content to scale to DCP, the DCP resolution
2044 to 4K, and so on.</listitem>
2045 <listitem>Choose <guilabel>Save as template...</guilabel> from the <guilabel>File</guilabel> menu.</listitem>
2046 <listitem>Enter a name for your template.</listitem>
2050 Then in the future you can create a new film, tick the
2051 <guilabel>Template</guilabel> box and choose your previously-saved
2052 template. The basic film's settings will come from your template, and
2053 when you add some content it will take on the settings of the
2054 first similarly-typed piece of content in your template.
2058 For example, if the template has a piece of video content and some
2059 subtitles, any video that you add to the new film will take on the
2060 settings of the video in the template. Similarly, any subtitles that
2061 you add will take on the settings of the subtitles from the template.
2065 The following settings from the <guilabel>DCP</guilabel> tab are saved
2070 <listitem>“Use ISDCF name” checkbox</listitem>
2071 <listitem>Content type (FTR, TLR etc.)</listitem>
2072 <listitem>Container</listitem>
2073 <listitem>Resolution</listitem>
2074 <listitem>JPEG200 bandwidth</listitem>
2075 <listitem>Video frame rate</listitem>
2076 <listitem>Signed and encrypted checkboxes</listitem>
2077 <listitem>Audio channels</listitem>
2078 <listitem>Standard (Interop / SMPTE)</listitem>
2079 <listitem>Audio processor</listitem>
2080 <listitem>Reel type and length</listitem>
2081 <listitem>Upload after make DCP checkbox</listitem>
2085 In addition to this, the settings (but not the filenames) of any
2086 content in the template are stored, as discussed above. The status of
2087 the <guilabel>Keep video and subtitles in sequence</guilabel> checkbox
2088 from the timeline is also preserved.
2094 <!-- ============================================================== -->
2095 <chapter xml:id="ch-export" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2096 <title>Export</title>
2099 As well as creating DCPs from the content you specify, DCP-o-matic
2100 can also export projects to ProRes and MP4 files. This is most
2101 often useful to convert DCPs to a file that is smaller and easier to play back.
2105 To convert a DCP to ProRes or MP4, the first step is start a new
2106 project and import the DCP (see <xref
2107 linkend="ch-manipulating-existing-dcps"/>). Then, choose
2108 <guilabel>Export...</guilabel> from the <guilabel>Jobs</guilabel>
2109 menu to open the export dialogue, as shown in <xref linkend="fig-export"/>.
2112 <figure id="fig-export">
2113 <title>Export dialogue</title>
2116 <imagedata fileref="screenshots/export&scs;"/>
2122 From this dialogue you can select the required output format,
2123 output file and, in the case of MP4, the quality of the output
2124 file. Higher quality files will, of course, be larger.
2128 You can also choose whether to mix down multichannel sources to stereo and whether you want to write separate reels to separate files.
2132 <!-- ============================================================== -->
2133 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2134 <title>Encryption</title>
2137 DCP's do not have to be encrypted, but they can be. This
2138 chapter discusses the basic principles of DCP encryption, and how
2139 DCP-o-matic can create encrypted DCPs and KDMs for them.
2143 <!-- ============================================================== -->
2145 <title>Basics</title>
2148 DCPs can be encrypted. This means that the picture and sound data are
2149 encoded in such a way that only cinemas ‘approved’ by the
2150 DCP's creators can read them. In particular, this means copies of the
2151 DCP can be distributed by insecure means: if a bad person called
2152 Mallory obtains a hard drive containing an encrypted DCP, there is no
2153 way that he can play it. Only those cinemas who receive a correct key
2154 delivery message (KDM) can play the DCP.
2158 <!-- ============================================================== -->
2160 <title>How it works</title>
2163 This section attempts to summarise how DCP encryption works. You can
2164 skip it if you like. You may need some knowledge of encryption
2165 methods to understand it.
2169 We suppose that we are trying to send a DCP to
2170 Alice's cinema without a troublemaker called Mallory being able to
2175 There are two main families of encryption techniques. The first,
2176 symmetric-key encryption, allows us to encode some data using some
2177 numeric key. After encoding, no-one can decode the data unless they
2182 The first step in a DCP encryption is to encode its data with a random key
2183 using symmetric-key encryption. The encrypted DCP can then be sent
2184 anywhere, safe in the knowledge that even if Mallory got hold of a
2185 copy, he could not decrypt it.
2189 Alice, however, needs to know the key so she can play the DCP in her
2190 cinema. A simple approach might be for us to send Alice the key.
2191 However, if Mallory can intercept the DCP, he might also be able to
2192 intercept our communication of the key to Alice. Furthermore, if Alice
2193 happened to know Mallory, she could just send him a copy of the key.
2197 The clever bit in the process requires the use of public-key
2198 encryption. With this technique we can encrypt a block of data using
2199 some ‘public’ key. That data can then only be decrypted
2200 using a corresponding private key which is
2201 <emphasis>different</emphasis> to the public key. The private and
2202 public keys form a pair which are related mathematically, but it is
2203 extremely hard (or rather, virtually impossible) to derive the private
2204 key from the public key.
2208 Public-key encryption allows us to distribute the DCP's key to Alice
2209 securely. The manufacturer of Alice's projector generates a public
2210 and private key. They hide the private key inside the projector where
2211 no-one can read it. They then make the public key available to anyone
2216 DCP-o-matic has a similar arrangement except that it stores its
2217 private keys in the user's configuration file. See <xref
2218 linkend="sec-decrypting"/> for details of how to share DCP-o-matic's
2219 certificate so that others can make encrypted DCPs for DCP-o-matic.
2223 We take our DCP's symmetric key and encrypt it using the public key of
2224 Alice's projector. We send the result to Alice over email (using a
2225 format called a Key Delivery Message, or KDM). Her projector then
2226 decrypts our message using its private key, yielding the magic
2227 symmetric key which can decrypt the DCP.
2231 If is fine if Mallory intercepts our email to Alice, since the only
2232 key which can decrypt the message is the private key buried inside
2233 Alice's projector. The projector manufacturer is very careful that
2234 no-one ever finds out what this key is. Our DCP is secure: only Alice
2235 can play it back, since only her projector knows the key (even Alice
2243 <!-- ============================================================== -->
2245 <title>Encryption using DCP-o-matic</title>
2248 There are two steps to distributing an encrypted DCP. First, the
2249 DCP's data must be encrypted, and secondly KDMs must be generated for
2250 those cinemas that are allowed to play the DCP.
2254 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
2255 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
2256 encrypt the DCP that it makes using a random key that DCP-o-matic
2257 generates. The key will be written to the film's metadata file, which
2258 should be kept secure.
2262 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
2263 ticked will not play on any projector as-is (it will be marked as
2264 ‘locked’, or whatever the projector manufacturer's term
2269 The second part of distributions is to generate KDMs for the cinemas
2270 that you wish to allow to play your DCP. There are two approaches to
2271 this within DCP-o-matic: using the project, or using a DKDM. These
2272 approaches are now described in turn.
2276 <title>Creating KDMs from a DCP-o-matic project</title>
2279 You can create KDMs from inside a DCP-o-matic project using the
2280 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
2281 menu. This will open the KDM dialogue box, as shown in <xref
2282 linkend="fig-kdm"/>.
2285 <figure id="fig-kdm">
2286 <title>KDM dialog</title>
2289 <imagedata scale="35" fileref="screenshots/kdm&scs;"/>
2295 In order to generate KDMs for a particular projector, you need to know
2296 its <emphasis>certificate</emphasis>. These are usually made
2297 available by the projector manufacturers as text files with a
2298 <code>.pem</code> extension.
2302 DCP-o-matic can store these certificates along with details of their
2303 cinemas and screens within those cinemas. Each screen has a
2304 certificate for its projector (and optionally certificates for other
2305 trusted devices, such as the sound processor). DCP-o-matic can
2306 generate KDMs for any screens that it knows about.
2310 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
2311 a dialogue box into which you can enter the cinema's name, and
2312 optionally an email address. This email address can be used to
2313 get DCP-o-matic to deliver KDMs via email.
2317 Once you have added a cinema, select it by clicking on its name, then
2318 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2319 allows you to enter a name for the screen and load in its certificate
2320 from a file. The certificate should be in SHA256 PEM format.
2324 Alternatively, certificates for projection systems made by some
2325 manufacturers can be downloaded from databases provided by the
2326 manufacturer. Currently this is supported for Doremi, Dolby, Barco,
2327 Christie and GDC equipment (through downloading Barco, Christie or GDC
2328 certificates requires you to have an appropriate account set up in
2329 DCP-o-matic's preferences). If you are targeting a screen with
2330 equipment by one of these manufacturers you can click
2331 <guilabel>Download</guilabel> then enter the serial number of the
2332 server in the screen and click <guilabel>Download</guilabel> again
2333 and, all being well, the certificate will be fetched. Most cinema
2334 projection or technical departments will know these serial numbers.
2338 Note that the reliability of the manufacturers' certificate databases
2339 cannot be guaranteed. It is vital that KDMs are tested by the
2340 destination cinema will in advance of show time to identify any
2345 Once you have set up all the screens that you need KDMs for, select
2346 the CPL that you want to create the KDM for. You can use the
2347 drop-down list to select the CPLs in the current film project, or load
2348 a CPL from somewhere else. Select the cinemas and/or screens that you
2349 want KDMs for and fill in the start and end dates and times.
2353 You must also select the type of KDM that you want to generate. If in
2354 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2358 The differences between the three KDM types are fairly subtle.
2359 <guilabel>DCI Specific</guilabel> and <guilabel>DCI Any</guilabel> add
2360 a <code><ContentAuthenticator></code> tag to the KDM which
2361 allows the exhibitor to check that the DCP and KDM have come from a
2362 bona-fide source. In addition, <guilabel>DCI Specific</guilabel> adds
2363 information on trusted devices to the KDM. This allows the KDM
2364 creator to specify devices (such as sound processors) that are allowed
2365 to use keys delivered by the KDM. At present it is not clear how
2366 widely the <guilabel>DCI Specific</guilabel> and <guilabel>DCI
2367 Any</guilabel> features are supported (or even tolerated) by servers
2368 so you are advised to use <guilabel>Modified Transitional
2373 Finally, choose what you want to do with the KDMs. They can be
2374 written to disk, to a location that you can specify by clicking
2375 <guilabel>Browse</guilabel>. Alternatively, if you choose
2376 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2377 emailed to the appropriate cinema email addresses. Click
2378 <guilabel>Make KDMs</guilabel> to generate the KDMs.
2384 <title>Creating KDMs using a DKDM</title>
2388 It can be inconvenient to need a whole DCP-o-matic project just to
2389 create KDMs for its film. Perhaps you want to archive the project to
2390 save space, or create KDMs on a different machine. In such situations
2391 it is easier to use a DKDM. This is a normal KDM, but instead of
2392 being targeted at a projection system (to allow it to decrypt the
2393 content) it is targeted at a particular user's certificate. This
2394 means that the certificate owner can create new KDMs for other users.
2395 The DKDM holds everything that is required to create further KDMs.
2399 Sometimes it is useful to create DKDMs that can be used by
2400 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2401 any point in the future, use DCP-o-matic's standalone KDM creator to
2402 make KDMs for the DKDM's film for any cinema.
2406 In other cases a DKDM is sent to a 3rd party so that they can create
2407 KDMs for your films. This can be useful if, for example, you have a
2408 distributor who provides 24-hour KDM support to cinemas and can create
2409 KDMs for anybody that requires them at short notice.
2413 To create a DKDM for DCP-o-matic, open your encrypted project and
2414 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2415 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2416 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2417 be available in the KDM creator. This is a separate program which you
2418 can start from the same place that you start the ‘normal’
2419 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2422 <figure id="fig-kdm-creator">
2423 <title>The KDM creator</title>
2426 <imagedata scale="30" fileref="screenshots/kdm-creator&scs;"/>
2432 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2433 to be created for, the date range, the DCP that the KDMs are for and
2434 the destination for the KDMs and click <guilabel>Create
2439 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2440 which you have clicked <guilabel>Make DKDM for
2441 DCP-o-matic</guilabel> in the main DCP-o-matic program. If you have
2442 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2443 specifying the file containing the DKDM.
2447 If another organisation wants to send you a DKDM they will ask you for
2448 a target certificate. You can get DCP-o-matic's target certificate by
2449 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2450 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2458 <title>Encryption keys</title>
2461 You must be careful when using encryption not to lose important keys.
2465 If you are making KDMs from a DCP-o-matic film you
2466 <emphasis>must</emphasis> ensure that you have a backup of the
2467 <code>metadata.xml</code> file from the project, as well as the DCP
2472 If you are using a DKDM you <emphasis>must</emphasis> ensure that you
2473 have a backup of DCP-o-matic's <code>config.xml</code> file, since it
2474 contains the only key which can decrypt the DKDM. The
2475 <code>config.xml</code> file location depends on your operating
2476 system; possible locations are listed in <xref linkend="ch-config"/>.
2482 <title>Should I encrypt?</title>
2485 The question of whether encryption is appropriate for a given
2486 project is a tricky one.
2490 On the one hand, if you distribute an unencrypted DCP it is easy for
2491 anybody to take it and do whatever they want with its contents.
2492 They could use DCP-o-matic to convert it to a MP4, show it in
2493 their cinema, or even edit and redistribute it in ways that you
2498 Encryption prevents this, but brings its own problems. It will be
2499 impossible for a cinema to screen your DCP unless they have the
2500 correct KDM. This is easy enough if things work as they should,
2501 but problems can occur. For example, cinemas may substitute
2502 broken playout servers with new ones without telling you: then the
2503 KDM that you sent them will be invalid, and a new one required.
2504 If the cinema can't get in touch with you, or somebody else who
2505 can create a new KDM, they can't screen your DCP. Often these
2506 problems are only discovered very close to showtime, with little
2511 If you are distributing encrypted DCPs widely it is worth thinking
2512 about who will make the KDMs, and who will provide quick-response
2513 technical support. It may be a good idea to engage a company who can
2514 provide such services.
2521 <title>Encryption overview</title>
2523 <figure id="fig-encryption-overview">
2524 <title>Overview of encryption</title>
2527 <imagedata fileref="diagrams/crypt&dia;"/>
2537 <!-- ============================================================== -->
2538 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2539 <title>Preferences</title>
2542 DCP-o-matic provides preferences which can be used to modify its
2543 behaviour. They are described in this chapter.
2547 Preferences can be edited by choosing
2548 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2549 menu. This opens a dialogue which is split into eleven tabs.
2552 <!-- ============================================================== -->
2554 <title>General</title>
2557 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2560 <figure id="fig-prefs-general">
2561 <title>General preferences</title>
2564 <imagedata fileref="screenshots/prefs-general&scs;"/>
2570 <!-- ============================================================== -->
2572 <title>Language</title>
2575 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2576 a language from the list, that language will be used for DCP-o-matic.
2577 You will need to restart DCP-o-matic to see the new language.
2581 The translations for DCP-o-matic have been contributed by helpful
2582 users. If your language is not on the last, head to <ulink
2583 url="https://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2584 find out how to contribute a translation.
2589 <!-- ============================================================== -->
2591 <title>Interface complexity</title>
2594 Choose <guilabel>Simple</guilabel> to see a cut-down, simplified
2595 interface or <guilabel>Full</guilabel> to see DCP-o-matic's full
2601 <!-- ============================================================== -->
2603 <title>Number of threads DCP-o-matic should use</title>
2606 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2607 to speed things up. Set this value to the number of threads
2608 DCP-o-matic should use. This should normally be the number of
2609 processors (or processor cores) in your machine. DCP-o-matic will try
2610 to set this up correctly when you run it for the first time.
2616 <!-- ============================================================== -->
2618 <title>Number of threads DCP-o-matic encode server should use</title>
2621 This is the number of threads that the encode server should use when
2622 it is running and helping another copy of DCP-o-matic to speed up its
2629 <!-- ============================================================== -->
2631 <title>Configuration file</title>
2634 This is the location of DCP-o-matic's configuration file on disk. You
2635 can use this to share configuration between several copies of
2636 DCP-o-matic, across a network share, for instance.
2640 <!-- ============================================================== -->
2642 <title>Cinema and screen database file</title>
2645 This option allows you to change the file that DCP-o-matic uses to
2646 store details of the cinemas and screens used to make KDMs.
2651 <!-- ============================================================== -->
2653 <title>Play sound via</title>
2656 The checkbox to the left of <guilabel>Play sound</guilabel> enables or
2657 disables DCP-o-matic use of sound. On some machines there will be
2658 multiple options in the drop-down menu to decide how the sound should
2663 <!-- ============================================================== -->
2665 <title>Integrated loudness</title>
2668 If <guilabel>Find integrated loudness, true peak and loudness range
2669 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2670 work when analysing audio. Leave this ticked if the extra parameters
2671 are useful to you. If not, untick it and audio analysis will be
2677 <!-- ============================================================== -->
2679 <title>Automatically analyse content audio</title>
2682 If this checkbox is ticked an audio analysis will be run whenever content is added that contains sound.
2686 <!-- ============================================================== -->
2688 <title>Updates</title>
2691 The <guilabel>Check for updates on startup</guilabel> option, if
2692 enabled, will tell DCP-o-matic to check on <ulink
2693 url="https://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2694 newer versions of DCP-o-matic then the one you are running. If so, a
2695 dialogue box will open with a link to download the new version.
2699 The <guilabel>Check for testing updates as well as stable
2700 ones</guilabel> option will also check for test updates as well as
2701 those that are formally ‘released’. This is useful if you
2702 like to live on the bleeding edge!
2706 <!-- ============================================================== -->
2708 <title>Issuer and creator</title>
2711 With these controls you can set the issuer and creator strings that
2712 will be put into the DCPs which you create. The issuer is typically your name
2713 (or your organisation's name) and the creator is typically the name of the tool
2714 used to make the DCP (e.g. DCP-o-matic).
2720 <!-- ============================================================== -->
2722 <title>Defaults</title>
2725 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2728 <figure id="fig-prefs-defaults">
2729 <title>Defaults preferences</title>
2732 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2738 The options in this tab simply allow you to set up default values for
2739 various properties of new films.
2744 <!-- ============================================================== -->
2746 <title>Servers</title>
2749 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2752 <figure id="fig-prefs-servers">
2753 <title>Servers preferences</title>
2756 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2762 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2763 locate encoding servers automatically (see <xref
2764 linkend="ch-servers"/>).
2768 Instead of this (or in addition) servers can be specified explicitly.
2769 To add a server, click <guilabel>Add...</guilabel> and enter the host
2770 name or IP address of the server to use.
2776 <!-- ============================================================== -->
2777 <section xml:id="sec-prefs-keys">
2781 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) has controls
2782 related to the keys and certificates used in some parts of DCP
2786 <figure id="fig-prefs-keys">
2787 <title>Keys preferences</title>
2790 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2796 <guilabel>Export KDM decryption certificate...</guilabel> allows you
2797 to save the certificate that DCP-o-matic uses when decrypting KDMs
2798 that you give it. Use this option if somebody wants to make a KDM for
2799 you and asks for your certificate.
2803 <guilabel>Export all KDM decryption settings...</guilabel> exports a
2804 file which contains all the DCP-o-matic settings related to the use of
2805 KDMs supplied by other people. Use this button and <guilabel>Import
2806 all KDM decryption settings...</guilabel> to transfer settings between
2807 different copies of DCP-o-matic so that they can both use the same
2812 The two <guilabel>Advanced...</guilabel> buttons open advanced
2813 dialogue boxes for detailed manipulation of DCP-o-matic's certificate
2820 <title>Advanced keys settings</title>
2823 At the top of the <guilabel>Advanced</guilabel> dialogue for signing
2824 DCPs and KDMs is the chain of certificates that will be used to sign
2825 DCPs and KDMs. DCP-o-matic creates a random chain when you first run
2826 it and if you are happy to use this chain you can ignore the
2827 preferences. Otherwise, you can add or remove certificates from the
2828 chain using the <guilabel>Add...</guilabel> and
2829 <guilabel>Remove</guilabel> buttons.
2833 If you want DCP-o-matic to re-create the certificate chain (using new,
2834 random certificates) click <guilabel>Re-make
2835 certificates and key...</guilabel> and specify your organisation and common
2836 names in the dialogue box that opens.
2840 Underneath the certificate chain is the private key that corresponds
2841 to the leaf certificate in the chain. You can specify your own
2842 private key by clicking <guilabel>Import...</guilabel>. You must do
2843 this if you change the leaf certificate, so that the leaf private key
2844 corresponds to the public key held in the leaf certificate.
2848 At the top of the <guilabel>Advanced</guilabel> dialogue for decrypting DCPs is the chain and key which is used by
2849 DCP-o-matic when you import an encrypted DCP as a piece of content.
2850 The leaf certificate of this chain contains the public key that should
2851 be used when targeting a KDM at DCP-o-matic.
2855 Clicking <guilabel>Export chain...</guilabel> will
2856 export the whole certificate chain.
2861 <!-- ============================================================== -->
2862 <section xml:id="sec-prefs-tms">
2864 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2867 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2868 options for specifying details about your theatre management system
2869 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2870 you can upload DCPs directly from DCP-o-matic to the TMS using the
2871 <guilabel>Send DCP to TMS</guilabel> option in the
2872 <guilabel>Jobs</guilabel> menu.
2875 <figure id="fig-prefs-tms">
2876 <title>TMS preferences</title>
2879 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2885 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2886 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2887 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2888 FTP. Do let us know if you use any other type of TMS with the
2889 <guilabel>Send DCP to TMS</guilabel> feature.
2893 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2894 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2895 should be uploaded to (which will be relative to the home directory of
2896 the SSH or FTP user). Finally, the user name and password are the
2897 credentials required to log into the TMS via SSH or FTP.
2901 Note that for this to work on Doremi servers you will need to set the
2902 <code>PasswordAuthentication</code> option in your server's
2903 <code>sshd_config</code> to <code>yes</code>.
2909 <!-- ============================================================== -->
2911 <title>Email</title>
2914 The Email tab is shown in <xref linkend="fig-prefs-email"/>.
2917 <figure id="fig-prefs-email">
2918 <title>Email preferences</title>
2921 <imagedata fileref="screenshots/prefs-email&scs;"/>
2927 These settings are used when DCP-o-matic sends emails.
2931 <guilabel>Outgoing mail server</guilabel> should be the host name of a mail (SMTP) server that DCP-o-matic can use. You can also specify the port that DCP-o-matic should use. <guilabel>User name</guilabel> and <guilabel>Password</guilabel> are the credentials that are required to send email through the server you have specified.
2936 <!-- ============================================================== -->
2938 <title>KDM email</title>
2941 The KDM email tab is shown in <xref linkend="fig-prefs-kdm-email"/>.
2944 <figure id="fig-prefs-kdm-email">
2945 <title>KDM email preferences</title>
2948 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2954 This is a template for the email that is used to send KDMs out to
2955 cinemas. You can change it to say whatever you like. A few
2956 ‘magic’ strings will be replaced by information from the
2957 KDM that is being sent; these strings are shown in <xref linkend="tab-kdm-magic"/>.
2960 <table id="tab-kdm-magic">
2961 <title>‘Magic’ KDM strings</title>
2962 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2965 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2968 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2971 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2974 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2977 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2984 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2989 <!-- ============================================================== -->
2991 <title>Notifications</title>
2994 The Notifications tab is shown in <xref linkend="fig-prefs-notifications"/>.
2997 <figure id="fig-prefs-notifications">
2998 <title>Notifications preferences</title>
3001 <imagedata fileref="screenshots/prefs-notifications&scs;"/>
3007 DCP-o-matic can notify the user when jobs have completed. These
3008 notifications can be either or both of a message box on-screen (if
3009 <guilabel>Message box</guilabel> is ticked) and email (if
3010 <guilabel>Email</guilabel> is ticked). If you enable email
3011 notifications you can fill in the details of the emails you want to
3016 The bottom box in the tab is the contents of the email that should
3017 be sent. DCP-o-matic will replace the ‘magic’ strings
3018 <code>$JOB_NAME</code> and <code>$JOB_STATUS</code> in the with the
3019 details of the job that has completed.
3025 <!-- ============================================================== -->
3027 <title>Cover sheet</title>
3030 The DCP cover sheet configuration is shown in <xref linkend="fig-prefs-cover-sheet"/>.
3033 <figure id="fig-prefs-cover-sheet">
3034 <title>DCP cover sheet preferences</title>
3037 <imagedata fileref="screenshots/prefs-cover-sheet&scs;"/>
3043 This is a template for the cover sheet that is written next to every DCP that DCP-o-matic creates. You can change it to say whatever you like. A few
3044 ‘magic’ strings will be replaced by information from the
3045 DCP that has been made:
3049 <title>‘Magic’ cover sheet strings</title>
3050 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
3053 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
3056 <entry><code>$TYPE</code></entry><entry>DCP content type (e.g. feature, trailer...)</entry>
3059 <entry><code>$CONTAINER</code></entry><entry>The container ratio (e.g. flat, scope...)</entry>
3062 <entry><code>$AUDIO</code></entry><entry>Details of the audio channels</entry>
3065 <entry><code>$AUDIO_LANGUAGE</code></entry><entry>Audio language</entry>
3068 <entry><code>$SUBTITLE_LANGUAGE</code></entry><entry>Subtitle language</entry>
3071 <entry><code>$LENGTH</code></entry><entry>DCP length in hours, minutes and seconds</entry>
3074 <entry><code>$SIZE</code></entry><entry>DCP size in gigabytes</entry>
3081 The <guilabel>Reset to default text</guilabel> will replace the current cover sheet with DCP-o-matic's default.
3087 <!-- ============================================================== -->
3088 <section xml:id="sec-prefs-advanced">
3089 <title>Advanced</title>
3090 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
3093 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
3096 <figure id="fig-prefs-advanced">
3097 <title>Advanced preferences</title>
3100 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
3106 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
3107 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
3108 are advised to leave this at 250Mbit/s in normal use for maximum DCP
3113 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
3114 the DCP video frame rates that DCP-o-matic will create. This may be
3115 useful for experimentation. Again, you are strongly advised to leave
3116 this unticked for normal use.
3120 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
3121 JPEG2000 data only on encoding servers and not on the host. We
3122 suggest you leave this unticked unless you have a good reason to do otherwise.
3126 With the filename format fields you can adjust the filenames that are
3127 used for metadata (CPL and PKL files) and assets (MXF and subtitle
3128 files). Below each field there is a list of the ‘magic’
3129 values that you can use in the format and an example of a filename
3130 that you might see with your current settings.
3134 The four checkboxes labelled <guilabel>Log</guilabel> control what
3135 sort of messages DCP-o-matic writes to its log file when creating a
3136 DCP. It is useful to leave <guilabel>General</guilabel>,
3137 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
3138 as this makes the log files useful for tracking down bugs.
3142 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
3143 to allow developers to investigate and optimise the speed of
3144 DCP-o-matic. It will significantly increase the size of the log files
3145 that are generated, so in normal use it is best to leave this
3152 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
3153 <title>Frame rates</title>
3156 In an ideal world, a DCP would be created using content at the same
3157 video frame and audio sampling rates as the DCP. This is not,
3158 however, always possible.
3162 <!-- ============================================================== -->
3164 <title>DCP frame rate limitations</title>
3167 There are some limitations to video and audio frame rates in DCPs. This is
3168 complicated by the fact that not all projectors will play DCPs at the
3169 same frame rates. It is possible to create a DCP which one projector will
3170 play fine, but another (of a different type) will refuse to play.
3174 <!-- ============================================================== -->
3176 <title>Guaranteed rates</title>
3179 The only rates that are guaranteed to work on all DCI projectors are
3180 24 frames per second (fps) for video and 48kHz for audio. If you are
3181 sending DCPs to unknown places it is wise to consider using these
3182 rates if at all possible.
3188 <!-- ============================================================== -->
3190 <title>Other often-supported rates</title>
3192 Many projectors now in the wild support additional video frame rates:
3193 25, 30, 48, 50 and 60 fps.
3198 <!-- ============================================================== -->
3200 <title>Adapting content to fit the DCP rate</title>
3203 DCP-o-matic has a few tricks to allow you to use content that is not
3204 in one of the ‘approved’ rates.
3208 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
3209 with minimal loss in quality.
3213 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
3214 with a non-supported content rate is to run it at the wrong speed, and
3215 to adjust the audio to keep it in sync.
3218 <para>Let us consider the example of a 25fps source for which you want
3219 to create a 24fps DCP. DCP-o-matic will put the frames from the
3220 source directly into the DCP without modification, but will tell the
3221 projector to play them back at 24fps. This means that the DCP's video
3222 will run slightly slower than the original.
3226 If DCP-o-matic did nothing else, the result of this would be that the
3227 audio would be running at the original speed with the video running
3228 slowly. Hence the audio would drift slowly out of sync. To avoid
3229 this, DCP-o-matic also resamples the audio such that the projector
3230 will play it too slow by the same amount. Hence it will sound
3231 slightly different but will remain in sync with the video.
3235 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
3242 <!-- ============================================================== -->
3244 <title>Setting up</title>
3247 The <guilabel>Frame Rate</guilabel> control in the
3248 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
3249 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
3250 what DCP-o-matic thinks is the best for your content. With this
3251 button, DCP-o-matic assumes that the most commonly-working frame rates (24,
3252 25 and 30fps) are allowed.
3256 After this, the <guilabel>Video</guilabel> tab for each piece of
3257 content will give a summary of what DCP-o-matic is doing with that
3262 If you want to experiment with other non-standard frame rates, you can
3263 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
3264 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
3265 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
3266 use this only on your own equipment, and only for experimentation
3275 <!-- ============================================================== -->
3276 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
3277 <title>Encoding servers</title>
3280 One way to increase the speed of DCP encoding is to use more
3281 than one machine at the same time. An instance of DCP-o-matic can
3282 offload some of the time-consuming JPEG2000 encoding to any number of
3283 other machines on a network. To do this, one ‘master’
3284 machine runs DCP-o-matic, and the ‘server’ machines run
3285 a small program called <code>dcpomatic_server</code>.
3289 The master and server machines do not need to be the same type, so you
3290 can mix Windows PCs, Macs and Linux machines as you wish.
3294 <!-- ============================================================== -->
3296 <title>Running the servers</title>
3299 There are two options for the encoding server;
3300 <code>dcpomatic_server_cli</code>, which runs on the command line, and
3301 <code>dcpomatic_server</code>, which has a simple GUI. The command line
3302 version is well-suited to headless servers, especially on Linux, and
3303 the GUI version works best on Windows where it will put an icon in the
3308 To run the command line version, simply enter:
3312 dcpomatic2_server_cli
3316 at a command prompt. If you are running the program on a machine with
3317 a multi-core processor, you can run multiple parallel encoding threads
3318 by doing something like:
3322 dcpomatic2_server_cli -t 4
3326 to run 4 threads in parallel.
3330 To run the GUI version on windows, run the ‘DCP-o-matic encode
3331 server’ from the start menu. An icon will appear in the system
3332 tray; right-click it to open a menu from whence you can quit the
3333 server or open a window to show its status.
3336 <para>If you would rather not bother installing DCP-o-matic on your
3337 server computers, the other option is to use the live-CD
3338 image that you can download from the <ulink
3339 url="https://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
3341 <para>Either burn the image to CD, or write it to a USB stick (using
3342 something like <ulink
3343 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
3344 PC from the CD or USB stick and it becomes a DCP-o-matic server
3345 without touching your standard operating system install.
3350 <!-- ============================================================== -->
3352 <title>Setting up DCP-o-matic</title>
3355 DCP-o-matic periodically looks on the local network for servers. Any
3356 that it finds are given work to do during encodes. Selecting
3357 <guilabel>Encoding Servers</guilabel> from the
3358 <guilabel>Tools</guilabel> menu brings up a window which shows that
3359 servers that DCP-o-matic has found.
3364 <!-- ============================================================== -->
3366 <title>Some notes about encode servers</title>
3369 DCP-o-matic does not mind if servers come and go; if a server
3370 disappears, DCP-o-matic will stop sending work to it, and will check
3371 it every minute or so in case it has come back online.
3375 You will probably find that using a 1Gb/s or faster network will
3376 provide a significant speed-up compared to a 100Mb/s network.
3383 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3384 <title>Generated files</title>
3387 DCP-o-matic generates a number of files as it makes a DCP. <xref
3388 linkend="fig-file-structure"/> shows the files that might be generated
3389 after you have created a DCP for a film called ‘DCP Test’.
3392 <figure id="fig-file-structure">
3393 <title>Creating a new film</title>
3396 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
3402 The <code>DCP Test</code> folder is the one that you specify when you
3403 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
3404 menu. Everything is stored inside this folder.
3408 DCP-o-matic generates some working files as it goes along. These are as follows:
3411 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
3412 along. This can be useful for debugging purposes if something goes
3415 <listitem><code>metadata</code> stores the settings that you have made
3416 for this film: things like cropping, output format and so on.</listitem>
3418 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
3419 video data as it encodes it.</listitem>
3421 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
3423 <listitem><code>info</code> contains details of each video frame that
3424 DCP-o-matic has written so far. This is used when an encoding
3425 operation is interrupted and DCP-o-matic must resume it.</listitem>
3430 Following this is the DCP itself:
3431 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
3432 contains some small XML files, which describe the DCP, and two large
3433 MXF files, which contain the DCP's audio and video data. It may also
3434 contain subtitles in either XML or MXF format. This folder
3435 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
3436 to the cinema which is showing your DCP.
3443 <title>Command-line tools</title>
3446 DCP-o-matic includes some tools which allow DCP creation from the
3447 command line or from scripting languages. This chapter covers the
3452 There are three command-line tools in DCP-o-matic.
3453 <code>dcpomatic2_create</code> creates film directories, with the
3454 associated metadata, from a list of content files. Then
3455 <code>dcpomatic2_cli</code> runs the transcode process on these
3456 film directories. Finally, <code>dcpomatic2_kdm_cli</code> can be
3457 used to create KDMs.
3461 Some applications will benefit from setting up the films using the
3462 main DCP-o-matic GUI and then using <code>dcpomatic2_cli</code> to
3463 do the encode. This allows, for example, setup on a relatively
3464 low-powered machine before running the encode on a higher-powered
3469 <title><code>dcpomatic2_create</code></title>
3472 The syntax for <code>dcpomatic2_create</code> is:
3476 <code>dcpomatic2_create [OPTION] <CONTENT> [[OPTION] <CONTENT> ...]</code>
3480 <code>[CONTENT]</code> are the files or folders that you want to use in the
3483 <listitem>‘Movie’ files in almost any common format (e.g. MP4, MOV, MKV, etc.)</listitem>
3484 <listitem>A folder containing and image sequence in almost any common format (e.g. TIFF, DPX etc.)</listitem>
3485 <listitem>Sound files (e.g. WAV, MP3, AIFF)</listitem>
3486 <listitem>Subtitles files (e.g. <code>.srt</code>, DCP XML, <code>.ssa</code> etc.)</listitem>
3494 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_create.xml"/>
3497 For example, to setup a film using a MP4 file you might do:
3501 <code>dcpomatic2_create -o my_film --container-ratio 185 --content-ratio 185 -c FTR -n "My Film" Stuff.mp4</code>
3505 This will create a folder called <code>my_film</code> which is ready for a DCP to be made by <code>dcpomatic2_cli</code>.
3509 <code>dcpomatic2_create</code> will use any default settings that you have configured in the main DCP-o-matic preferences.
3514 <title><code>dcpomatic2_cli</code></title>
3517 The syntax for <code>dcpomatic2_cli</code> is:
3521 <code>dcpomatic2_cli [OPTION] [FILM]</code>
3524 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_cli.xml"/>
3527 For example, to encode a film called <code>my_film</code> you might do:
3531 <code>dcpomatic2_cli my_film</code>
3536 <title><code>dcpomatic2_kdm_cli</code></title>
3539 The syntax for <code>dcpomatic2_kdm_cli</code> is:
3543 <code>dcpomatic2_kdm_cli [OPTION] <FILM|CPL-ID></code>
3546 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_kdm_cli.xml"/>
3553 <!-- ============================================================== -->
3555 <title>Loose ends</title>
3558 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
3562 <!-- ============================================================== -->
3564 <title>Resuming encodes</title>
3567 If you cancel a DCP encoding run half-way through, or your computer
3568 crashes... fear not. DCP-o-matic takes care to ensure that, in most
3569 cases, it can resume encoding from where it left off. When you
3570 re-start a DCP creation, using the same settings are a previous run,
3571 DCP-o-matic will first check that the existing picture frames are
3572 correct, and then resume from where it left off. The checking of
3573 existing frames does take some time, but it is much faster than
3574 running a full re-encode.
3578 This resumption is achieved by writing a digest (hash) to disk for
3579 every image frame that is written. On resumption, the existing MXF
3580 file for image data is read and its contents checked against the
3588 <!-- ============================================================== -->
3589 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3590 <title>Common tasks</title>
3593 This chapter describes how to carry out some commonly-required tasks
3594 with DCP-o-matic. The full details are elsewhere in the manual: here
3595 we just discuss different approaches to these tasks and how to carry
3600 <title>Adding subtitles to an existing DCP</title>
3603 You have three options:
3607 <listitem>Make a “Version File” (VF) DCP.</listitem>
3608 <listitem>Make a complete DCP with projector-added subtitles.</listitem>
3609 <listitem>Make a complete DCP with burnt-in subtitles.</listitem>
3613 Making a VF DCP is usually the best option. This will be a very small
3614 DCP which contains only the subtitles: it refers to your existing DCP
3615 for the picture and sound. The projectionist will ingest both the
3616 existing and VF DCPs and play back the VF. The advantages of this
3617 approach are that the VF is very quick to generate, and small in size,
3618 making it easy to distribute. This is especially useful if you have
3619 to make VF DCPs in many different languages.
3623 Making a complete DCP with projector-added subtitles gives you a new,
3624 single DCP which the projectionist can ingest and play. It will be
3625 the same size as your existing DCP, and fairly quick to create. This
3626 approach relies on the projector (or server) to create the subtitles
3627 and overlay them on the image, which mostly works well but is not
3628 100% reliable.
3632 Making a complete DCP with burnt-in subtitles gives you a new, single DCP
3633 but with the subtitles rendered by DCP-o-matic and copied into your
3634 image. This is slower to create than a DCP with projector-added
3635 subtitles as every video frame with a subtitle must be re-encoded.
3636 The advantage of this approach is that it is less likely to go wrong,
3637 especially if you are using unusual subtitle positioning or character
3642 <title>Making a VF DCP</title>
3645 <listitem>Start a new DCP-o-matic film.</listitem>
3646 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3647 <listitem>Go to the <guilabel>DCP</guilabel> tab and choose <guilabel>Split by video content</guilabel> for <guilabel>Reel type</guilabel>.</listitem>
3648 <listitem>Go to the <guilabel>Video</guilabel> and
3649 <guilabel>Audio</guilabel> tabs in turn and tick the <guilabel>Use this DCP's audio as OV and make VF</guilabel> checkboxes.</listitem>
3650 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3651 <listitem>Check the subtitle appearance in the preview; it will be
3652 slow to respond as it is having to decompress images from the existing
3654 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3660 <title>Making a complete DCP with projector-added subtitles</title>
3663 <listitem>Start a new DCP-o-matic film.</listitem>
3664 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3665 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3666 <listitem>Check the subtitle appearance in the preview; it will be
3667 slow to respond as it is having to decompress images from the existing
3668 DCP. Adjust the appearance using controls in the
3669 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3670 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3676 <title>Making a complete DCP with burnt-in subtitles</title>
3679 <listitem>Start a new DCP-o-matic film.</listitem>
3680 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3681 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3682 <listitem>Go to the <guilabel>Subtitle</guilabel> tab and tick the <guilabel>Burn subtitles into image</guilabel> checkbox.</listitem>
3683 <listitem>Check the subtitle appearance in the preview; it will be
3684 slow to respond as it is having to decompress images from the existing
3685 DCP. Adjust the appearance using controls in the
3686 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3687 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3694 <title>Adding soundtracks or subtitles in different languages</title>
3697 If you have a film that is to be dubbed or subtitled in several
3698 languages, the best approach with DCP-o-matic is as follows:
3702 <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>
3703 <listitem>For each language, make a new Version File (VF) DCP which refers to the OV.</listitem>
3707 Once you have done this, you send the OV DCP to every cinema and then
3708 the appropriate VF to each cinema depending on what language they want
3709 to play the film in. The projectionist ingests both DCPs and then plays the VF.
3713 The advantage of this approach is that the VF DCPs are much smaller
3714 than the OV since they only have the language-specific parts. If you
3715 are just changing the subtitles you can often ship the OV by normal
3716 transport means (e.g. a hard drive or high-speed download) and send
3721 The full details of OV and VF files are discussed in <xref linkend="sec-overlay"/>. The steps can be summarised as follows:
3725 <listitem>Create a new DCP-o-matic project for the OV, as normal, adding video and perhaps sound. Make the DCP.</listitem>
3726 <listitem>Create a new DCP-o-matic project for the VF.</listitem>
3727 <listitem>Use <guilabel>Add folder...</guilabel> to add your OV DCP to the project.</listitem>
3728 <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>
3729 <listitem>Do the same in the <guilabel>Audio</guilabel> tab if your OV has audio.</listitem>
3730 <listitem>Add your language-specific audio and/or subtitles and Make DCP.</listitem>
3737 <chapter xml:id="ch-player" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3738 <title>Playing and verifying DCPs</title>
3740 <para>DCP-o-matic includes a DCP player, and although it requires a
3741 very high-speed CPU to play DCPs in full resolution, it can also
3742 play DCPs at reduced resolutions with slower CPUs.</para>
3744 <para>To use the player, start <guilabel>DCP-o-matic
3745 Player</guilabel>, and load a DCP using the
3746 <guilabel>Open</guilabel> option on the <guilabel>File</guilabel>
3749 <para>If you load a VF and/or encrypted DCP you can add your OV
3750 and/or KDM using the appropriate options on the
3751 <guilabel>File</guilabel> menu.</para>
3753 <para>During playback the <guilabel>Performance</guilabel> area at
3754 the bottom right of the window will give details of how many frames
3755 are being dropped; these are frames that were not decoded from the
3756 DCP quickly enough. If this number is high you can increase
3757 performance at the cost of rendering quality by choosing an option
3758 from the <guilabel>View</guilabel> menu. If you set the player to
3759 decode at less than full resolution the DCP's data will be decoded
3760 at this lower resolution, which is quicker than decoding at full
3765 The player also offers a simple DCP validator. To check a DCP,
3766 open it and then select <guilabel>Verify DCP</guilabel> from the
3767 <guilabel>Tools</guilabel> menu. This will run some basic checks to see if the DCP meets the required standards.
3772 <!-- ============================================================== -->
3773 <chapter xml:id="ch-config" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3774 <title>Configuration files</title>
3776 <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>
3779 <listitem>Windows: <code>c:\Users\your_user_name\AppData\Local\dcpomatic</code></listitem>
3780 <listitem>OS X: <code>/Users/your_user_Name/Library/Preferences/com.dcpomatic/2</code></listitem>
3781 <listitem>Linux: <code>~/.config/dcpomatic2</code></listitem>
3784 <para>Possible XML tags are as follows:</para>
3786 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="config.xml"/>
3792 <!-- LocalWords: dbcent DCP matic Hetherington DCPs KDMs GPL XP sid
3794 <!-- LocalWords: matic's jessie Tahr Xenial Xerus Centos Mageia GTK
3796 <!-- LocalWords: Karner FFmpeg libsndfile libsamplerate OpenSSL waf
3798 <!-- LocalWords: libopenjpeg libssh wxWidgets libxml xmlsec libzip
3800 <!-- LocalWords: asdcplib libdcp libsub libcxml sstream sudo Sintel
3802 <!-- LocalWords: dcpomatic TMS SCP timecode DCP's unencrypted OV Gb
3804 <!-- LocalWords: Decrypting KDM decrypt decrypted MOV VOB WAV AIFF
3806 <!-- LocalWords: PNG srt ssa xml wav Lfe XYZ colourspace sRGB RGB
3808 <!-- LocalWords: colourspaces pdf fader CP Doremi CaptiView SubRip
3810 <!-- LocalWords: SubStation BluRay
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