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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 perform the following tasks:</para>
32 <listitem>Creation of <ulink
33 url="http://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
34 Cinema Packages</ulink> (DCPs) from video, audio, subtitle and closed-caption files.</listitem>
35 <listitem>Playback and verification of DCPs on a PC/Mac.</listitem>
36 <listitem>Creation of KDMs for DCPs.</listitem>
42 <!-- ============================================================== -->
44 <title>Licence</title>
47 DCP-o-matic is free and open-source and is licensed under the <ulink
48 url="http://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
55 <!-- ============================================================== -->
57 <title>Acknowledgements</title>
60 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
65 <!-- ============================================================== -->
67 <title>This manual</title>
70 This manual presents bits of DCP-o-matic's user interface (such as menu items or buttons) <guilabel>like this</guilabel>.
74 Notes of an advanced nature are presented like this. Ignore them unless you want to know the gory details.
81 <!-- ============================================================== -->
82 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
83 <title>Installation</title>
86 <!-- ============================================================== -->
88 <title>Windows</title>
91 To install DCP-o-matic on Windows, download the installer from
92 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
93 and double-click it. Click through the installer wizard, and
94 DCP-o-matic will be installed onto your machine.
98 If you are using a 32-bit version of Windows, you will need the 32-bit
99 installer. For 64-bit Windows, either installer will work, but I
100 suggest you used the 64-bit version as it will allow DCP-o-matic to
101 use more memory. You may find that DCP-o-matic crashes if you run
102 many parallel encoding threads (more than 4) on the 32-bit
107 If you are still using Windows XP, download the specific XP version as
108 it should be more stable on your machine than the ‘normal’
109 Windows version. Be aware, though, that support for Windows XP will
110 not last forever and you should plan to upgrade if at all possible.
116 <!-- ============================================================== -->
118 <title>Mac OS X</title>
121 DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
122 higher. DCP-o-matic is split into five separate applications, each of
123 which can be installed by downloading the <code>.dmg</code>,
124 double-clicking to open and then dragging the icon to your
125 <guilabel>Applications</guilabel> folder.
129 If you are not sure which parts of DCP-o-matic to install, start
130 with the first (main) part.
135 <!-- ============================================================== -->
137 <title>Debian, Ubuntu or Mint Linux</title>
140 You can install DCP-o-matic on:
144 <listitem>Debian 7 (‘wheezy’), 8 (‘jessie’), 9 (‘squeeze’) and unstable (‘sid’)</listitem>
145 <listitem>Ubuntu 14.04 (‘Trusty Tahr’), 16.04 (‘Xenial Xerus’), 18.04 (‘Bionic Beaver’) and 18.10 (‘Cosmic Cuttlefish’)</listitem>
146 <listitem>Mint 17, 18 and 19</listitem>
150 using <code>.deb</code> packages: download the appropriate package
151 from <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
152 and double-click it. Debian, Ubuntu or Mint will install the necessary bits and
153 pieces and set DCP-o-matic up for you.
156 <!-- ============================================================== -->
159 <!-- ============================================================== -->
161 <title>Fedora, Centos and Mageia Linux</title>
163 <para>There are <code>.rpm</code> packages for Fedora 27, 28 and 29, Centos 6 and 7 and Mageia 6 on
164 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
167 <!-- ============================================================== -->
169 <!-- ============================================================== -->
171 <title>Arch Linux</title>
173 Packages for Arch Linux are available from <ulink
174 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
175 thanks to Stefan Karner.
180 <!-- ============================================================== -->
182 <title>Other Linux distributions</title>
185 Installation on other Linux systems (for which no packages are
186 available) is quite hard as it must be compiled from source. If you
187 can't download packages for your distribution, do let me know by
188 <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I will look
189 into providing packages on the website.
193 The following dependencies are required:
195 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
196 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
197 <listitem><ulink url="http://www.mega-nerd.com/SRC/">libsamplerate</ulink></listitem>
198 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
199 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
200 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
201 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
202 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
203 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
204 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
205 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
206 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
207 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
208 <listitem><ulink url="http://carlh.net/asdcplib">asdcplib with some patches</ulink></listitem>
209 <listitem><ulink url="http://carlh.net/libdcp">libdcp</ulink></listitem>
210 <listitem><ulink url="http://carlh.net/libsub">libsub</ulink></listitem>
211 <listitem><ulink url="http://carlh.net/libcxml">libcxml</ulink></listitem>
212 <listitem><ulink url="https://carlh.net/locked_sstream">locked_sstream</ulink></listitem>
213 <listitem><ulink url="https://www.music.mcgill.ca/~gary/rtaudio/">rtaudio</ulink></listitem>
214 <listitem><ulink url="http://site.icu-project.org">libicu</ulink></listitem>
219 Once you have installed the development packages for the dependencies,
220 download the source code from <ulink
221 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>,
222 unpack it and run the following commands from inside the source
227 ./waf configure --disable-tests
233 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
245 <!-- ============================================================== -->
247 <title>‘Simple’ and ‘Full’ modes</title>
249 <para>When you start DCP-o-matic for the first time it will ask you if
250 you want to use ‘simple’ or ‘full’ mode.
253 <para>The difference between these two is that some of DCP-o-matic's
254 more complex or less-used controls are hidden from view in
255 ‘Simple’ mode. This makes the interface simpler to
256 navigate. You may wish to choose this mode if you do not have much
257 experience with DCP or video processing.
260 <para>Even if you choose ‘Simple’ mode you can always go
261 back to ‘Full’ mode by changing the <guilabel>Interface
262 complexity</guilabel> setting in the <guilabel>General</guilabel> tab
263 of <guilabel>Preferences</guilabel>.
267 All the screenshots in this manual are from a copy of DCP-o-matic in ‘Full’ mode.
277 <!-- ============================================================== -->
278 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
279 <title>Creating a DCP from a video</title>
282 In this chapter we will see how to create a DCP from a video file using
283 DCP-o-matic. We will gloss over the details and look at the basics.
287 <title>Creating a new film</title>
290 Let's make a very simple DCP to see how DCP-o-matic works. First, we
291 need some content. Download the low-resolution trailer for the open
292 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
293 url="https://download.blender.org/durian/trailer/Sintel_Trailer.480p.DivX_Plus_HD.mkv">their
294 website</ulink>. Generally one would want to use the
295 highest-resolution material available, but for this test we will use
296 the low-resolution version to save everyone's bandwidth bills.
300 Now, start DCP-o-matic and its window will open. First, we will
301 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
302 some pieces of content, along with some settings, which we will make into
303 a DCP. DCP-o-matic stores its data in a folder on your disk while it
304 creates the DCP. You can create a new film by selecting
305 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
306 shown in <xref linkend="fig-file-new"/>.
309 <figure id="fig-file-new">
310 <title>Creating a new film</title>
313 <imagedata scale="250" fileref="screenshots/file-new&scs;"/>
319 This will open a dialogue box for the new film, as shown in <xref
320 linkend="fig-video-new-film"/>.
323 <figure id="fig-video-new-film">
324 <title>Dialogue box for creating a new film</title>
327 <imagedata fileref="screenshots/video-new-film&scs;"/>
333 In this dialogue box you can choose a name for the film. This will be
334 used to name the folder to store its data in, and also as the initial
335 name for the DCP itself. You can also choose whereabouts you want to create
336 the film. In the example from the figure, DCP-o-matic will create a
337 folder called ‘DCP Test’ inside my existing folder <code>DCP</code> into which it
338 will write its working files.
344 <!-- ============================================================== -->
346 <title>Adding content</title>
349 The next step is to add the content that you want to use. DCP-o-matic
350 can make DCPs from multiple pieces of content, but in this example we
351 will use a single piece. Click the <guilabel>Add
352 file(s)...</guilabel> button, as shown in <xref
353 linkend="fig-add-file"/>, and a file chooser will open for you to
354 select the content file to use, as shown in <xref
355 linkend="fig-video-select-content-file"/>.
358 <figure id="fig-add-file">
359 <title>Adding content files</title>
362 <imagedata fileref="screenshots/add-file&scs;"/>
367 <figure id="fig-video-select-content-file">
368 <title>Selecting a video content file</title>
371 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
377 Select your content file and click <guilabel>Open</guilabel>. In this
378 case we are using the Sintel trailer that we downloaded earlier.
382 When you do this, DCP-o-matic will take a look at your file. After a
383 short while (when the progress bar at the bottom right of the window
384 has finished), you can look through your content using the slider to
385 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
388 <figure id="fig-examine-content">
389 <title>Examining the content</title>
392 <imagedata fileref="screenshots/examine-content&scs;"/>
398 Dragging the slider will move through your video. You can also click
399 the <guilabel>Play</guilabel> button to play the content back.
407 <!-- ============================================================== -->
409 <title>Making the DCP</title>
411 <para>In most cases, some adjustments would be made to DCP-o-matic's
412 settings once the content has been added. For our simple test,
413 however, the default values will suffice, so we can go straight onto
414 making the DCP.</para>
417 Choose <guilabel>Make DCP</guilabel> from the
418 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
419 This may take some time (many hours in some cases). While the job is
420 in progress, DCP-o-matic will update you on how it is getting on with
421 the progress bar in the bottom of its window, as shown in <xref
422 linkend="fig-making-dcp"/>.
425 <figure id="fig-making-dcp">
426 <title>Making the DCP</title>
429 <imagedata scale="250" fileref="screenshots/making-dcp&scs;"/>
435 When it has finished, the DCP will end up on your disk inside the
436 film's folder. You can then copy this to a projector via a USB
437 stick, hard-drive or network connection. See <xref
438 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
442 Alternatively, DCP-o-matic can upload your DCP directly to a projector
443 or Theatre Management System (TMS) that is accessible via SCP or FTP
444 across your network. See the <xref linkend="sec-prefs-tms"
445 endterm="sec-prefs-tms-short"/> in <xref linkend="sec-prefs-tms"/>.
452 <!-- ============================================================== -->
453 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
454 <title>Creating a DCP from a still image</title>
457 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
458 for an advertisement or an on-screen announcement. This chapter shows you
463 As with DCPs made from video files, the first step is to create a new
464 ‘Film’; select <guilabel>New</guilabel> from the
465 <guilabel>File</guilabel> menu and the new film dialogue will open as
466 shown in <xref linkend="fig-still-new-film"/>.
469 <figure id="fig-still-new-film">
470 <title>Dialogue box for creating a new film</title>
473 <imagedata fileref="screenshots/still-new-film&scs;"/>
479 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
480 the content. As before, click <guilabel>Add file(s)...</guilabel>.
481 For our example, we will add a single image file, as shown in <xref
482 linkend="fig-still-select-content-file"/>.
485 <figure id="fig-still-select-content-file">
486 <title>Selecting a still content file</title>
489 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
495 Most of the default settings will be fine for a simple test. The one
496 thing that you might wish to change is the length of the still.
497 Select the <guilabel>Timing</guilabel> tab and you will see a
498 <guilabel>Full length</guilabel> setting, as shown in <xref
499 linkend="fig-timing-tab"/>.
502 <figure id="fig-timing-tab">
503 <title>The timing tab</title>
506 <imagedata fileref="screenshots/timing-tab&scs;"/>
512 This length is a ‘timecode’: it consists of four numbers.
513 The first is hours, the second minutes, the third seconds, and the
514 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
518 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
519 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
520 be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
521 to encode a single frame which it can then repeat.
527 <!-- ============================================================== -->
528 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" id="ch-manipulating-existing-dcps">
529 <title>Manipulating existing DCPs</title>
532 DCP-o-matic is often used to take content in formats such as MP4 and
533 make it into a DCP. It can also be used to take existing DCPs and
534 modify them in various ways.
538 <title>Importing a DCP into DCP-o-matic</title>
541 The first step in manipulating an existing DCP is to import it. Click
542 <guilabel>Add DCP...</guilabel> and select your DCP's folder. It will
543 be added to the DCP-o-matic project. If the DCP is unencrypted you
544 can preview it in the normal way, though playback will be slow as
545 decoding of DCPs is almost as computationally intensive as encoding
550 If your DCP is a Version File (VF) (i.e. it refers to
551 another DCP's assets) you should import it as follows:
555 <listitem>Use <guilabel>Add DCP...</guilabel> to import the VF DCP.
556 The VF DCP will be added to the content list and marked “NEEDS
557 OV”.</listitem>
558 <listitem>Right-click on the VF DCP in the content list and choose <guilabel>Add OV...</guilabel> from the menu.</listitem>
559 <listitem>Choose the folder that contains the OV DCP. The VF will now be playable as normal.</listitem>
565 <section xml:id="sec-decrypting">
566 <title>Decrypting encrypted DCPs</title>
569 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
570 details). If you import an encrypted DCP you will need a key, in the
571 form of a Key Delivery Message (KDM), to decrypt it.
575 KDMs must be prepared by the organisation which created the DCP. They
576 contain the keys to decrypt the DCP wrapped up in such a way that only
577 the intended recipient can read them. You will need to provide the
578 organisation with a certificate which identifies your copy of
579 DCP-o-matic and allows them to create a KDM for you.
583 To get DCP-o-matic's decryption certificate, open the Preferences
584 dialogue (see <xref linkend="ch-preferences"/>) and go to the
585 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
586 decryption certificate...</guilabel> button at the bottom of this tab
587 and save the certificate. Send this certificate to the DCP creators
588 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
592 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
593 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and the DCP
594 will be decrypted and become available for preview.
601 <title>Making a DCP from a DCP</title>
604 In many ways, using DCPs as <emphasis>content</emphasis> in
605 DCP-o-matic is the same as using any other content. There are a few
606 things to note, though.
611 <title>Re-use of existing data</title>
614 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
615 data from DCP content without modification. This has the advantage
616 that creation of the new DCP will be quick, as the time-consuming
617 JPEG2000 encoding is not necessary.
621 DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
622 the following content settings:
626 <listitem>Crop</listitem>
627 <listitem>Scaling</listitem>
628 <listitem>Subtitle burn-in</listitem>
629 <listitem>Fades</listitem>
630 <listitem>Colour conversion</listitem>
634 DCP-o-matic will be forced to decode and re-encode your JPEG2000 data
635 if you change any of these settings on a piece of DCP content.
641 <section xml:id="sec-overlay">
642 <title>Making overlay files</title>
645 With its default settings, DCP-o-matic will take any data from DCP
646 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
649 <figure id="fig-dcp-copy">
650 <title>Creating a new DCP by copying an existing one</title>
651 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
655 This can be inefficient in some cases. Consider, for example, a film
656 which has ten different translations for which the subtitles are
657 different but video and audio are the same. If the video and audio
658 content takes up, say, 100Gb this means that the set of DCPs for every
659 translation would be about 1Tb with a lot of duplicated data.
663 The DCP format has a solution to this problem. One DCP can refer to
664 the ‘assets’ (picture, sound or subtitle) of another DCP.
665 For our translation example this means that we could have a
666 ‘base’ DCP (often called the OV or Original Version)
667 containing video, audio and one set of subtitles and then any number
668 of overlay DCPs (often called VF or Version Files) which refer to the
669 base version and replace the original subtitles with their own. <xref
670 linkend="fig-dcp-refer"/> shows this principle for one of our
671 translations. The DCP that we make refers to the original content
672 DCP's video and audio rather than containing a copy.
675 <figure id="fig-dcp-refer">
676 <title>Creating a new DCP by referring to an existing one</title>
677 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
681 To play back the subtitled DCP the projectionist ingests both the base
682 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
686 To make a DCP like this:
690 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
691 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
692 <listitem>Select the DCP in the content list</listitem>
693 <listitem>Tick the <guilabel>Use's this DCP's ... as OV and make VF</guilabel> checkbox
694 in the tabs for the parts of the DCP that you want to refer to in your
695 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>
696 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
706 <!-- ============================================================== -->
709 <!-- ============================================================== -->
710 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
711 <title>Content settings</title>
714 The previous chapters showed DCP generation using the default
715 settings. DCP-o-matic offers a range of features to adjust the
716 content that goes into your DCP, and this chapter describes those
721 <title>Adding and removing content</title>
724 At the top of the <guilabel>Content</guilabel> tab is a list of the
725 content that will go into our DCP. There can be as many pieces of
726 content as you like, and they can be of the following types:
730 <listitem>Movie — a file containing some video, probably some
731 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
734 <listitem>Sound — a file containing one or more channels of
735 audio; for example, a WAV or AIFF file.
738 <listitem>Still image — a file containing a single still image; for
739 example, a JPEG, PNG or TIFF file.
742 <listitem>Moving image — a directory containing many still
743 images which should be treated as the frames of a video.
746 <listitem>Subtitle — a file containing subtitle which will be
747 superimposed on the image of the DCP. These can be
748 <guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel>, <guilabel>.ass</guilabel> or <guilabel>.xml</guilabel>
751 <listitem>DCP — an existing DCP.</listitem>
755 To add one or more movie, sound, still-image or subtitle files, select
756 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
760 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"/>.
763 <table id="tab-audio-file-naming">
764 <title>Audio file naming</title>
765 <tgroup cols='3' align='left' colsep='1' rowsep='1'>
769 <entry>Examples</entry>
770 <entry>Channel</entry>
775 <entry><code>L</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
776 <entry>film-L.wav my_movie_L_final.wav</entry>
780 <entry><code>R</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
781 <entry>film-R.wav my_movie_R_final.wav</entry>
785 <entry><code>C</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
786 <entry>film-C.wav my_movie_C_final.wav</entry>
787 <entry>Centre</entry>
790 <entry><code>Lfe</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
791 <entry>film-Lfe.wav my_movie_Lfe_final.wav</entry>
792 <entry>LFE (sub)</entry>
795 <entry><code>Ls</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
796 <entry>film-Ls.wav my_movie_Ls_final.wav</entry>
797 <entry>Left surround</entry>
800 <entry><code>Rs</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
801 <entry>film-Rs.wav my_movie_Rs_final.wav</entry>
802 <entry>Right surround</entry>
809 To add a directory (folder) of images, choose <guilabel>Add
810 folder...</guilabel> and choose the directory from the selector.
811 DCP-o-matic will open a small dialogue box where you can enter the
812 frame rate that the image sequence should be run at.
816 To add a DCP, choose <guilabel>Add DCP...</guilabel> and choose the
817 DCP's directory from the selector.
821 You can remove a piece of content by clicking on its name and then
822 clicking the <guilabel>Remove</guilabel> button.
827 <!-- ============================================================== -->
829 <title>Adding existing DCPs</title>
831 <para>Adding existing DCPs to a DCP-o-matic film is a little different
832 to adding other types of content. Most content has to be converted to
833 JPEG2000, the compression scheme used by DCPs, which is a very
834 time-consuming process. Existing DCPs are already in JPEG2000 format
835 so do not require conversion. This means that, provided no settings
836 such as crop are used on the DCP content, picture and sound data will
837 be passed from existing to new DCP unaltered.
840 <para>Encrypted DCPs that are added as content will require a KDM
841 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
842 should ask the creator of the imported DCP to provide a KDM for
843 DCP-o-matic's decryption certificate, which can be obtained by
844 clicking <guilabel>Export DCP decryption certificate...</guilabel>
845 from the <guilabel>Keys</guilabel> tab of the
846 <guilabel>Preferences</guilabel> dialog (see <xref
847 linkend="sec-prefs-keys"/>).
852 <!-- ============================================================== -->
854 <title>Content Properties</title>
857 Below the content list are the controls to set content properties. To
858 adjust the properties for a piece of content, click its name in the
859 content list. The content property controls will then become active
860 for that piece of content.
864 If you want to change the properties for multiple pieces of content at
865 the same time, select the content in the list by clicking the first
866 piece then clicking the other pieces with <keycap>shift</keycap> key
867 held down. Note that not all settings can be changed in this way.
871 The content properties are split up into four sections:
872 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
873 <guilabel>Timed text</guilabel> and <guilabel>Timing</guilabel>. Not
874 all of these sections will be active for all content types. The controls
875 in each section are described below.
881 <!-- ============================================================== -->
886 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
889 <figure id="fig-video-tab">
890 <title>Video settings tab</title>
893 <imagedata fileref="screenshots/video-tab&scs;"/>
899 <!-- ============================================================== -->
901 <title>Use this DCP's video as OV and make VF</title>
904 This option is only applicable if the selected content is an existing
905 DCP. It allows you make a VF DCP, using the video content from the
906 existing DCP by referencing it (rather than copying). See <xref
907 linkend="sec-overlay"/>.
912 <!-- ============================================================== -->
914 <title>Image type</title>
917 The next option on this tab is the ‘type’ of the video.
918 This specifies how DCP-o-matic should interpret the video's image.
919 <guilabel>2D</guilabel> is the default; this just takes the video
920 image as a standard 2D frame. The <guilabel>3D
921 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
922 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
925 <figure id="fig-3d-left-right">
926 <title>3D left/right image type</title>
929 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
935 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
936 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
937 linkend="fig-3d-top-bottom"/>.
940 <figure id="fig-3d-top-bottom">
941 <title>3D top/bottom image type</title>
944 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
950 Another option is <guilabel>3D alternate</guilabel> which takes the
951 first frame of the content as for the left eye, the second for the
952 right eye, the third for the left, and so on. Finally, you can
953 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
954 only</guilabel> if this content contains only the the left or right
955 eye images. This is useful when you have the left and right eye image
956 sets in different files; you can specify one content as <guilabel>3D
957 left only</guilabel> and another as <guilabel>3D right only</guilabel>
958 and DCP-o-matic will pick up the appropriate frames from each.
964 <!-- ============================================================== -->
966 <title>Filtering</title>
969 The ‘filters’ settings allow you to apply various video
970 filters to the image. These may be useful to try to improve
971 poor-quality sources like DVDs. You can set up the filters by clicking the
972 <guilabel>Edit</guilabel> button next to the filters entry in the
973 setup area of the DCP-o-matic window; this opens the filters selector
974 as shown in <xref linkend="fig-filters"/>.
977 <figure id="fig-filters">
978 <title>Filters selector</title>
981 <imagedata fileref="screenshots/filters&scs;"/>
987 After changing the filters setup, you will need to regenerate the DCP
988 to see the effect on the cinema screen. The preview in DCP-o-matic
989 will update itself whenever filters are changed, though of course this
990 image may be smaller and of lower resolution than a projected image!
996 <!-- ============================================================== -->
998 <title>Colour conversion</title>
1001 The <guilabel>Colour conversion</guilabel> setting specifies what
1002 colour transforms and gamma correction DCP-o-matic will use when
1003 converting the selected content into the XYZ colourspace for the DCP.
1007 The easiest way to select the required conversion is to choose one of
1008 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
1009 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
1010 know which preset you should use, refer to the suggestions in <xref
1011 linkend="tab-colour-conversion"/>.
1014 <table id="tab-colour-conversion">
1015 <title>Suggested colour conversion settings</title>
1016 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
1017 <colspec colwidth='1*'/>
1018 <colspec colwidth='5*'/>
1021 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs.</entry>
1024 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
1027 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
1030 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
1037 For other required colour conversions, and if you know what you are
1038 doing, you can choose <guilabel>Custom</guilabel> which will open the full
1039 colour conversion editing dialogue box:
1042 <figure id="fig-colour-conversion">
1043 <title>Dialogue box for custom colour conversion</title>
1046 <imagedata fileref="screenshots/colour-conversion&scs;"/>
1052 Alternatively, choose <guilabel>None</guilabel> if your source files
1053 are already in the XYZ colour space and require no conversion.
1057 DCP-o-matic's colour conversion processes are discussed in much more
1058 detail in a separate document <ulink
1059 url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
1064 <!-- ============================================================== -->
1066 <title>Other settings</title>
1069 The <guilabel>crop</guilabel> settings can be used to crop your
1070 content, which is often used to remove black borders from the edges of
1071 the image. The specified number of pixels will be trimmed from each
1072 edge, and the content image in the right of the window will be updated
1073 to show the effect of the crop.
1077 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
1078 settings can be used to apply linear fades into and out of a piece of
1079 content. Specify the time for each, clicking <guilabel>Set</guilabel>
1080 after making any changes.
1084 The <guilabel>Scale to</guilabel> option governs the shape that
1085 DCP-o-matic will scale the content's image into. Select the aspect
1086 ratio that your content should be presented in.
1091 <!-- ============================================================== -->
1093 <title>Video description</title>
1096 At the bottom of the video tab is a short description of what will
1097 happen to your video with the current settings. In the example of
1098 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
1099 video file is 2048x872 pixels and it has square pixels (a pixel
1100 aspect ratio of 1.00) hence its display aspect ratio is 2.35:1. Since
1101 the controls specify ‘2.35’ for the ratio, DCP-o-matic
1102 does not scale the image but pads it to the DCP's container ratio of
1103 1.85:1. For a 2K DCP this is 1998x1080 pixels.
1107 This description also gives the frame rate of the content and what
1108 will happen to it when it is played at the DCP's frame rate. See
1109 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
1110 frame-rate conversion.
1118 <!-- ============================================================== -->
1120 <title>Audio</title>
1123 The <guilabel>Audio</guilabel> tab controls properties of the sound, as shown in <xref linkend="fig-audio-tab"/>.
1126 <figure id="fig-audio-tab">
1127 <title>Audio settings tab</title>
1130 <imagedata fileref="screenshots/audio-tab&scs;"/>
1135 <!-- ============================================================== -->
1137 <title>The audio map</title>
1140 The section at the bottom of the audio tab is the ‘audio
1141 map’. This governs how sound from the content will be arranged
1146 Down the left-hand side of the map is the list of audio channels in
1147 the currently-selected piece of content. These are labelled with two
1148 numbers; the first is the stream index within the content and the
1149 second is the channel number within that stream. Some content will
1150 have different streams for different languages or audio mixes. Along
1151 the top is each channel in the DCP. A green box means that the
1152 corresponding content channel will be copied into the corresponding
1157 When content channels are copied into DCP channels they can be done
1158 with variable gain. If, for example, you want to copy a channel
1159 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1160 two channels into one, you may want to use a gain of -6dB on each one
1161 to prevent clipping when the two channels are added.
1165 The green boxes of the audio mapping view tell you (very roughly) how
1166 much gain is applied to each channel. A full-height box means 0dB
1167 (i.e. unity) gain. Any less height indicates lower gain.
1171 To map one channel to another with 0dB gain, click in the empty box
1172 and it will turn green to reflect the mapping. A second click will
1173 turn the mapping back off. To set some other gain, right-click on the
1174 box to open the gain menu. This allows you to set
1175 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1176 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1177 <guilabel>Edit</guilabel> which allows you to set the required gain
1182 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1185 <figure id="fig-audio-map-eg1">
1186 <title>Audio map example 1</title>
1189 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1195 Here, we have two channels in the source which are mapped to left and
1196 right, respectively, in the DCP. The full green boxes show that the
1197 mapping is at unity gain (0dB) in each case. Imagine that we modify
1198 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1201 <figure id="fig-audio-map-eg2">
1202 <title>Audio map example 2</title>
1205 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1211 We now have the content's streams mapped to left and right and also
1212 mixed together and placed in the DCP's centre channel. The smaller
1213 green boxes on the centre mappings show that those channels are added
1214 with some non-unity gain; you can see by hovering the mouse pointer
1215 over those boxes that the gain for content channels 1 and 2 is -6dB
1216 when being sent to the centre channel and 0dB when being sent to left
1220 <figure id="fig-audio-map-eg3">
1221 <title>Audio map example 3</title>
1224 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1230 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1231 shows the mapping of a 5.1 source into a 5.1 DCP.
1237 <!-- ============================================================== -->
1239 <title>Other controls</title>
1242 The <guilabel>Use this DCP's audio as OV and make VF</guilabel>
1243 checkbox is only applicable if the selected content is an existing
1244 DCP. It allows you to make a VF DCP, using the audio content from the
1245 existing DCP by referencing it (rather than copying). See <xref
1246 linkend="sec-overlay"/>.
1250 <guilabel>Show graphs of audio levels</guilabel> will analyse the
1251 audio of the selected content and plot it on a graph. See <xref
1252 linkend="sec-show-audio"/> for more details.
1256 ‘Audio Gain’ is used to alter the volume of the
1257 soundtrack. The specified gain (in dB) will be applied to each sound
1258 channel of your content before it is written to the DCP.
1262 If you use a sound processor that DCP-o-matic knows about, it can help
1263 you calculate changes in gain that you should apply. Say, for
1264 example, that you make a test DCP and find that you have to run it at
1265 volume 5 instead of volume 7 to get a good sound level in the screen.
1266 If this is the case, click the <guilabel>Calculate...</guilabel>
1267 button next to the audio gain entry, and the dialogue box in <xref
1268 linkend="fig-calculate-audio-gain"/> will open.
1271 <figure id="fig-calculate-audio-gain">
1272 <title>Calculating audio gain</title>
1275 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1281 For our example, put 5 in the first box and 7 in the second and click
1282 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1283 that it should apply to make this happen. Then you can re-make the
1284 DCP (this will be reasonably fast, as the video data will already have
1285 been done) and it should play back at the correct volume with 7 on
1286 your sound-rack fader.
1290 Current versions of DCP-o-matic only know about the Dolby CP650 and
1291 CP750. If you use a different sound processor, and know the gain
1292 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1297 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1298 between audio and video. A positive delay will move the audio later
1299 with respect to the video, and a negative delay will move it earlier.
1306 <!-- ============================================================== -->
1308 <title>Timed text (subtitles and closed captions)</title>
1311 The timed text tab contains settings related to subtitles and closed captions in your
1312 content, as shown in <xref linkend="fig-timed-text-tab"/>.
1315 <figure id="fig-timed-text-tab">
1316 <title>Timed text settings tab</title>
1319 <imagedata fileref="screenshots/timed-text-tab&scs;"/>
1325 Depending on where timed text comes from it can sometimes be used as
1326 either an open subtitle (to be overlaid onto the cinema screen and
1327 seen by everybody) or as a closed caption (to be displayed to
1328 individual viewers using a special system such as the Doremi
1333 DCP-o-matic can either:
1337 <listitem>Extract timed text that is embedded in video files, or</listitem>
1338 <listitem>Use timed text from SubRip (<code>.srt</code>), SubStation
1339 Alpha (<code>.ssa</code> or <code>.ass</code>) or DCP XML files. You may find the great
1341 url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
1342 for creating such files.</listitem>
1346 Embedded timed text is usually represented using a set of bitmaps,
1347 especially on files that have come from DVD or BluRay. Such text can
1348 be used as a subtitle, but not a closed caption (since the closed
1349 captioning system requires the text to be delivered as
1350 character codes rather than an image).
1353 <para>In contrast, SubRip, SubStation Alpha or DCP text can be used as either a subtitle or a closed caption.</para>
1356 With subtitles you have the further choice of whether to burn the
1357 subtitles into the image or include them as a separate subtitle
1358 ‘asset’ within your DCP (in which case the projector
1359 overlays them onto the image on playback). The difference between
1360 burn-in and overlay is illustrated by <xref linkend="fig-burn-in"/>
1361 and <xref linkend="fig-discrete"/>.
1364 <figure id="fig-burn-in">
1365 <title>Burnt-in subtitles</title>
1368 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1373 <figure id="fig-discrete">
1374 <title>Separate subtitles</title>
1377 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1383 The advantage of separate subtitles is that the same video content can
1384 be used for DCPs in many different languages. This means that only a
1385 small text file needs to be changed for each target language, rather
1386 than a large video file. It also means that the time-consuming video
1387 encoding need only be done once for the project rather than once for
1392 Select the <guilabel>Use as</guilabel> check-box to enable the timed
1393 text in the selected content, then choose what you want to use the
1394 text for: open subtitles or closed captions.
1398 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1399 burn subtitles into the image; if this is not ticked the
1400 subtitles will be included separately in the DCP to be rendered by the
1405 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1406 controls move subtitles around within the image. These controls have
1407 no effect for closed captions. The offsets are expressed as a
1408 percentage of the video frame size; 100% X offset is the entire width
1409 of the frame, and 100% Y offset is the entire height. Hence, to move
1410 the subtitles down by half the frame height you would use a Y offset
1415 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1416 controls scale subtitles. These controls have no effect for closed
1417 captions. Scale values of 1 make the subtitles the same size
1418 (relative to the size of the image) as they are on the original.
1419 Values lower than 1 make them smaller, and values higher make them
1420 larger. You can stretch the subtitles in either direction by
1421 specifying different values for X and Y scale. Subtitles from DVD and
1422 Blu Ray sources are frequently larger (relative to the video frame)
1423 than those typically used for DCP, so it is often useful to scale such
1424 subtitles down using these controls.
1428 The <guilabel>Line spacing</guilabel> control adjusts the line spacing
1429 of the subtitles. This only works for subtitles that did not come from bitmaps.
1433 The <guilabel>Stream</guilabel> control changes the subtitle stream
1434 that is used when the content has more than one.
1438 If you are using non-image (text) subtitles or closed captions you can see the
1439 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1440 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1444 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1445 change how the subtitles look. Some of the controls in the
1446 <guilabel>Appearance</guilabel> only apply to burnt-in subtitles, as
1447 only limited control is available for subtitles rendered by the
1454 <!-- ============================================================== -->
1456 <title>Timing</title>
1459 The timing tab contains settings related to the timing of your
1460 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1463 <figure id="fig-timing-tab-detail">
1464 <title>Timing settings tab</title>
1467 <imagedata fileref="screenshots/timing-tab&scs;"/>
1473 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1474 These are expressed as four numbers, as shown in <xref
1475 linkend="fig-timecode"/>.
1478 <figure id="fig-timecode">
1479 <title>Timecode</title>
1482 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1488 <guilabel>Position</guilabel> is the time at which this piece of
1489 content should start within the DCP. In most cases, this will be
1490 <code>0:0:0:0</code> to make the content start at the beginning of the
1495 <guilabel>Full length</guilabel> is the length of the piece of
1496 content. This can only be set for still-image content: for video or
1497 sound content, it is fixed by the nature of the content file. If
1498 still-image content is being used you can set the length for which it
1499 should be displayed using this control.
1503 <guilabel>Trim from start</guilabel> specifies the amount that should
1504 be trimmed from the start of the content. You can set this amount to
1505 trim up to the current preview position by clicking <guilabel>Trim up
1506 to current position</guilabel>.
1510 <guilabel>Trim from end</guilabel> specifies the amount that should be
1511 trimmed from the end of the content. You can set this amount to trim
1512 after the current preview position by clicking <guilabel>Trim after to
1513 current position</guilabel>.
1517 <guilabel>Play length</guilabel> indicates how long this piece of
1518 content will be once the trims have been applied. This will be equal
1519 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1523 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1524 still-image content. It can also be used to override the detected
1525 frame rate of other content if DCP-o-matic has got it wrong.
1529 Each timecode control has a <guilabel>Set</guilabel> which you should
1530 click when you have entered a new value for a timecode. The
1531 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1532 any changes to the corresponding timecode.
1538 <!-- ============================================================== -->
1540 <title>Timeline</title>
1543 The timeline window gives an overview of all the pieces of content
1544 in your film, and how they are arranged. You can open the
1545 timeline by clicking the <guilabel>Timeline...</guilabel> button
1546 next to the content list. This will open a window like the one in <xref linkend="fig-timeline1"/>.
1549 <figure id="fig-timeline1">
1550 <title>Timeline</title>
1553 <imagedata fileref="screenshots/timeline1&scs;"/>
1559 The horizontal axis represents time, and you can see the time codes (in
1560 hours:minutes:seconds) along the bottom of the window. Pieces of
1561 content are represented with rectangles in the main part of the
1562 window. Content containing different types of data (e.g. a MP4
1563 file with video, audio and subtitles) have a rectangle for each
1568 Within the timeline you can select content by clicking, and drag
1569 it to change its position. Right-clicking a piece of content will
1570 open the content menu.
1574 The toolbar at the top of the window offers the following tools:
1578 <listitem>Select — to select and move content.</listitem>
1579 <listitem>Zoom in — to drag out an area that you want to see more closely.</listitem>
1580 <listitem>Zoom out — to zoom out so that the window shows the whole film.</listitem>
1581 <listitem>Snap — when enabled, content will snap to other content when you drag it close.</listitem>
1582 <listitem>Sequence — when enabled, content will be kept in sequence, without gaps, even if some content is removed.</listitem>
1586 <!-- ============================================================== -->
1588 <title>Video processing pipeline</title>
1591 This section gives a little more detail about how DCP-o-matic process
1592 video as it takes it from a source and puts it into a DCP.
1596 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1597 image which is letterboxed with 36 black pixels each at the top and
1598 bottom, and the video content within the letterbox should be presented
1599 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1600 happen with a trailer). The source image is shown in <xref
1601 linkend="fig-pipeline1"/>.
1604 <figure id="fig-pipeline1">
1605 <title>Example image to demonstrate video processing</title>
1608 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1614 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1618 <listitem>Crop</listitem>
1619 <listitem>Scale</listitem>
1620 <listitem>Place in container</listitem>
1624 First, some amount of the image can be cropped. This is almost always
1625 used to remove black borders (letterboxing and/or pillarboxing) around
1630 In our example image, we would use 36 pixels of crop from the top and
1631 bottom. This would give the new image shown in <xref
1632 linkend="fig-pipeline2"/>.
1635 <figure id="fig-pipeline2">
1636 <title>Example image after cropping</title>
1639 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1645 The next step is to scale the image. Since this content should be
1646 presented in a 2.39:1 (scope) aspect ratio inside a 1.85:1 (flat) DCP we would select
1647 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1648 option in the <guilabel>Video</guilabel> tab and
1649 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1650 option in the <guilabel>DCP</guilabel> tab.
1653 <para>The <guilabel>Scale to</guilabel> option should always be set to
1654 the aspect ratio at which the content should be seen. The
1655 <guilabel>Container</guilabel> option should be set to the preset that
1656 you want to use on the projector. Of course, these two settings will
1661 Given the scaling and container information, DCP-o-matic will look at
1662 the DCP's container size, and then scale the source image up until one
1663 or both of its dimensions (width, height or both) fits the size of the
1664 container, all the while preserving the desired aspect ratio.
1668 In our example here, the DCP's container is specified as 1.85:1 (so
1669 that the DCP will play back correctly using the projector's
1670 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1671 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1672 result in the image hitting the sides of the container first, at a
1673 size of 1998 x 836. This gives us a new version of the image as shown
1674 in <xref linkend="fig-pipeline3"/>.
1677 <figure id="fig-pipeline3">
1678 <title>Example image after cropping and scaling</title>
1681 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1687 The final step is to place the image into the DCP. In this case,
1688 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1689 we have set the <guilabel>container</guilabel> in the
1690 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1691 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1692 be some black bars at the top and bottom of the image. DCP-o-matic
1693 shares out this black equally, as shown in <xref
1694 linkend="fig-pipeline3"/>.
1697 <figure id="fig-pipeline4">
1698 <title>Example image in the DCP</title>
1701 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1710 <title>Copy and paste settings</title>
1713 Once you have set up a piece of content it is possible to copy the
1714 settings you have applied to another piece of content. To do this,
1715 select the content to copy from and choose <guilabel>Copy</guilabel>
1716 from the <guilabel>Edit</guilabel> menu. Then select the content to
1717 copy to and choose <guilabel>Paste</guilabel>. A dialogue box will
1718 open to allow you to choose which settings you want to copy. Clicking
1719 <guilabel>OK</guilabel> will apply the copied settings.
1728 <!-- ============================================================== -->
1729 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1730 <title>DCP settings</title>
1733 This chapter describes the settings that apply to the whole DCP. The
1734 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1735 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1738 <figure id="fig-dcp-tab">
1739 <title>DCP settings tab</title>
1742 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1748 The first thing here is the name. This is generally set to the title
1749 of the film that is being encoded. If <guilabel>Use ISDCF
1750 name</guilabel> is not ticked, the name that you specify will be used
1751 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1752 is ticked, the name that you enter will be used as part of a
1753 ISDCF-compliant name.
1757 Underneath the name field is a preview of the name that the DCP will
1758 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1759 name</guilabel> check-box. The ISDCF name will be composed using details
1760 of your content's soundtrack, the current date and other things that
1761 can be specified in the ISDCF name details dialogue box, which you can
1762 open by clicking on the <guilabel>Details</guilabel> button.
1766 If you want to take the ISDCF-compliant name that DCP-o-matic
1767 generates and modify it, click <guilabel>Copy as name</guilabel> and
1768 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1769 You can then edit it as you wish. The DCP name should not matter (in
1770 that it should not affect how the DCP ingests or plays) but
1771 projectionists will appreciate it if you use the standard naming
1772 scheme as it makes it easier to identify details of the content.
1776 The <guilabel>Content Type</guilabel> option can be
1777 ‘feature’, ‘trailer’ or whatever; select the
1778 required type from the drop-down list. On some projection systems
1779 this will affect where your content appears in the projector's server
1780 user interface, so take care to select an appropriate type.
1784 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1785 is signed. This is rarely important; if in doubt, tick it.
1789 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1790 should be encrypted or not. If this is ticked, the DCP will require a
1791 KDM to play back. Encryption is discussed in <xref
1792 linkend="ch-encryption"/>.
1796 If you use encryption DCP-o-matic will generate a random encryption
1797 key for you. To specify your own key, click the
1798 <guilabel>Edit..</guilabel> button next to the key.
1802 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1803 controls specify how the DCP will be split up into
1804 ‘reels’. See <xref linkend="sec-reels"/>.
1808 The <guilabel>Standard</guilabel> option specifies which of the two
1809 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1810 more modern of the two).
1814 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1815 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1819 At the bottom of the DCP tab are a further two tabs, one each to
1820 contain the settings for the DCP's video and audio parts.
1824 The <guilabel>Container</guilabel> option sets the ratio of the image
1825 in the DCP. If this ratio is different to the ratio used for any
1826 content, DCP-o-matic will pad the content with black. In simple cases
1827 this should be set to the same ratio as that for the the primary piece
1828 of video content. Alternatively, you might want to pillarbox a small
1829 format into a Flat container: in this case, select the small format
1830 for the content's ratio and ‘Flat’ for the DCP.
1834 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1835 your DCP. This can be a little tricky to get right. Ideally, you
1836 want it to be the same as the video content that you are using. If it
1837 is not the same, DCP-o-matic must resort to some tricks to alter your
1838 content to fit the specified frame rate. Frame rates are discussed in
1839 more detail in <xref linkend="ch-frame-rates"/>.
1843 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1844 to what DCP-o-matic thinks is the best given the content that you have
1849 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1850 is checked. A 3D DCP will then be created, and any 2D content will be
1851 made 3D compatible by repeating the same frame for both left and right
1852 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1853 Real-D etc.) but not on a 2D system.
1857 The <guilabel>Resolution</guilabel> tab allows you to choose the
1858 resolution for your DCP. Use 2K unless you have content that is of
1859 high enough resolution to be worth presenting in 4K.
1863 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1864 the final image files used within the DCP will be. Larger numbers
1865 will give better quality, but correspondingly larger DCPs. The
1866 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1867 Most commercial DCPs use bit rates between 75 and 125 Mbit/s.
1871 <guilabel>Re-encode JPEG2000 data from input</guilabel> governs
1872 whether or not JPEG2000-encoded data from a piece of content (usually
1873 a DCP) will be re-used in the output data as-is or whether it will be
1874 decoded and re-encoded by DCP-o-matic. If the option is enabled
1875 DCP-o-matic will decompress any JPEG2000 data it finds and re-encode
1876 it. This is useful if you want to reduce the bitrate of a DCP.
1877 Usually you will achieve better quality and quicker results by leaving
1878 this option switched off.
1882 The <guilabel>Audio Channels</guilabel> control sets the number of
1883 audio channels that the DCP will have. If the DCP has any channels
1884 for which there is no content audio they will be replaced by silence.
1885 You can only set an even number of channels here, since that is
1886 required by the DCI standard. If you want an odd number of channels,
1887 set the DCP channel count to one greater than you need and the
1888 unused channel will be filled with silence.
1892 The <guilabel>Processor</guilabel> control allows you to select a
1893 process to apply to the audio before it goes into the DCP. Three processes are currently provided:
1897 <listitem>Mid-side decode — this will take a L/R
1898 stereo input and extract the common part (corresponding to the
1899 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1900 The remaining L/R parts will be kept in the L/R channels of the DCP.
1901 This may be useful to make near-field L/R mixes more compatible with
1902 cinema audio systems.</listitem>
1903 <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:
1905 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1906 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1907 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1908 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1909 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1910 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1913 This upmixing algorithm is due to Gérald Maruccia.
1916 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1918 <listitem>DCP L is input L.</listitem>
1919 <listitem>DCP R is input R.</listitem>
1920 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1921 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1922 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1927 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.
1929 <!-- ============================================================== -->
1930 <section xml:id="sec-reels">
1931 <title>Reels</title>
1934 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1935 way as a 35mm reel is a section of a film. A DCP can be split up into
1936 any number of reels and the joins (the equivalent to 35mm splices or changeovers)
1937 between the reels are seamless.
1941 There is no reason why you can't just use a single reel for the whole
1942 of your DCP, as there is no limit to their length. Many people choose
1947 There are, however, some possible advantages of splitting things up
1953 The picture, sound and subtitle data of the DCP will be
1954 split up into more smaller files on disk, rather than fewer larger
1955 files. This can be useful if the DCP is to be transferred on storage
1956 that have file size limits. The FAT32 filesystem, for example, can
1957 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1958 not be transferred using a FAT32-formatted disk. If that DCP were
1959 split up into two 3Gb reels it could be transferred.
1962 It is easier to re-use DCP components if they are in reels. Consider,
1963 for example, a film company who wants to put a 5 second ident onto the
1964 beginning of DCPs that they distribute. If they receive a feature
1965 film DCP they can modify it to add their ident as a separate reel.
1966 This is easier than attaching the picture data to the feature's existing data.
1971 DCP-o-matic offers three options for setting up the reels in your DCP:
1972 <guilabel>single reel</guilabel>, <guilabel>split by video content</guilabel> or <guilabel>custom</guilabel>.
1976 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1977 This is a perfectly good option if you have no particular reason to
1982 <guilabel>Split by video content</guilabel> puts each piece of source
1983 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1986 <figure id="fig-reels-by-video">
1987 <title>Making reels using split by video content</title>
1988 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1992 Here we have three video files (<code>ident.mp4</code>,
1993 <code>feature.ts</code> and <code>cred.mov</code>). With
1994 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1995 reel to hold each video file.
1999 <guilabel>Custom</guilabel> splits reels by the size of the files that
2000 will make up their video content. With <guilabel>Custom</guilabel>
2001 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
2007 <!-- ============================================================== -->
2008 <section xml:id="sec-show-audio">
2009 <title>Show audio</title>
2012 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
2013 to examine the audio in your content and plot a graph of its level
2014 over time. This can be useful for getting a rough idea of how loud
2015 the sound will be in the cinema auditorium. A typical plot is shown
2016 in <xref linkend="fig-audio-plot"/>
2019 <figure id="fig-audio-plot">
2020 <title>Audio plot</title>
2023 <imagedata fileref="screenshots/audio-plot&scs;"/>
2029 The plot gives the audio level (vertical axis, in dB) with time
2030 (horizontal axis). 0dB represents full scale, so if there is anything
2031 near this you are in danger of clipping the projector's audio outputs.
2035 There are two plot types: the peak level and the RMS, which can be
2036 shown or hidden using the check-boxes on the right hand side of the
2041 The channel check-boxes will show or hide the plot(s) for
2042 the corresponding channels in the DCP.
2046 The smoothing slider applies a variable degree of temporal smoothing
2047 to the plots, which can make them easier to read in some cases.
2051 Obviously the audio plot is no substitute for listening in an
2052 auditorium, but it can be useful to get levels in the right rough area.
2060 <!-- ============================================================== -->
2061 <chapter xml:id="ch-templates" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2062 <title>Templates</title>
2065 If you frequently make DCPs with similar settings you may find it
2066 useful to use templates.
2070 Say, for example, you often make 4K feature DCPs from video files in
2071 ’scope at 25fps. You can speed up this process by following
2076 <listitem>Create a film with any content and set it up how you like;
2077 in our example, set the content to scale to DCP, the DCP resolution
2078 to 4K, and so on.</listitem>
2079 <listitem>Choose <guilabel>Save as template...</guilabel> from the <guilabel>File</guilabel> menu.</listitem>
2080 <listitem>Enter a name for your template.</listitem>
2084 Then in the future you can create a new film, tick the
2085 <guilabel>Template</guilabel> box and choose your previously-saved
2086 template. The basic film's settings will come from your template, and
2087 when you add some content it will take on the settings of the
2088 first similarly-typed piece of content in your template.
2092 For example, if the template has a piece of video content and some
2093 subtitles, any video that you add to the new film will take on the
2094 settings of the video in the template. Similarly, any subtitles that
2095 you add will take on the settings of the subtitles from the template.
2099 The following settings from the <guilabel>DCP</guilabel> tab are saved
2104 <listitem>“Use ISDCF name” checkbox</listitem>
2105 <listitem>Content type (FTR, TLR etc.)</listitem>
2106 <listitem>Container</listitem>
2107 <listitem>Resolution</listitem>
2108 <listitem>JPEG200 bandwidth</listitem>
2109 <listitem>Video frame rate</listitem>
2110 <listitem>Signed and encrypted checkboxes</listitem>
2111 <listitem>Audio channels</listitem>
2112 <listitem>Standard (Interop / SMPTE)</listitem>
2113 <listitem>Audio processor</listitem>
2114 <listitem>Reel type and length</listitem>
2115 <listitem>Upload after make DCP checkbox</listitem>
2119 In addition to this, the settings (but not the filenames) of any
2120 content in the template are stored, as discussed above. The status of
2121 the <guilabel>Keep video and subtitles in sequence</guilabel> checkbox
2122 from the timeline is also preserved.
2128 <!-- ============================================================== -->
2129 <chapter xml:id="ch-export" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2130 <title>Export</title>
2133 As well as creating DCPs from the content you specify, DCP-o-matic
2134 can also export projects to ProRes and MP4 files. This is most
2135 often useful to convert DCPs to a file that is smaller and easier to play back.
2139 To convert a DCP to ProRes or MP4, the first step is start a new
2140 project and import the DCP (see <xref
2141 linkend="ch-manipulating-existing-dcps"/>). Then, choose
2142 <guilabel>Export...</guilabel> from the <guilabel>Jobs</guilabel>
2143 menu to open the export dialogue, as shown in <xref linkend="fig-export"/>.
2146 <figure id="fig-export">
2147 <title>Export dialogue</title>
2150 <imagedata fileref="screenshots/export&scs;"/>
2156 From this dialogue you can select the required output format,
2157 output file and, in the case of MP4, the quality of the output
2158 file. Higher quality files will, of course, be larger.
2162 You can also choose whether to mix down multichannel sources to stereo and whether you want to write separate reels to separate files.
2166 <!-- ============================================================== -->
2167 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2168 <title>Encryption</title>
2171 It is not required that DCPs be encrypted, but they can be. This
2172 chapter discusses the basic principles of DCP encryption, and how
2173 DCP-o-matic can create encrypted DCPs and KDMs for them.
2177 <!-- ============================================================== -->
2179 <title>Basics</title>
2182 DCPs can be encrypted. This means that the picture and sound data are
2183 encoded in such a way that only cinemas ‘approved’ by the
2184 DCP's creators can read them. In particular, this means copies of the
2185 DCP can be distributed by insecure means: if an ne'er-do-well called
2186 Mallory obtains a hard drive containing an encrypted DCP, there is no
2187 way that he can play it. Only those cinemas who receive a correct key
2188 delivery message (KDM) can play the DCP.
2192 <!-- ============================================================== -->
2194 <title>How it works</title>
2197 This section attempts to summarise how DCP encryption works. You can
2198 skip it if you like. You may need some knowledge of encryption
2199 methods to understand it.
2203 We suppose that we are trying to send a DCP to
2204 Alice's cinema without a troublemaker called Mallory being able to
2209 There are two main families of encryption techniques. The first,
2210 symmetric-key encryption, allows us to encode some data using some
2211 numeric key. After encoding, no-one can decode the data unless they
2216 The first step in a DCP encryption is to encode its data with some key
2217 using symmetric-key encryption. The encrypted DCP can then be sent
2218 anywhere, safe in the knowledge that even if Mallory got hold of a
2219 copy, he could not decrypt it.
2223 Alice, however, needs to know the key so she can play the DCP in her
2224 cinema. A simple approach might be for us to send Alice the key.
2225 However, if Mallory can intercept the DCP, he might also be able to
2226 intercept our communication of the key to Alice. Furthermore, if Alice
2227 happened to know Mallory, she could just send him a copy of the key.
2231 The clever bit in the process requires the use of public-key
2232 encryption. With this technique we can encrypt a block of data using
2233 some ‘public’ key. That data can then only be decrypted
2234 using a corresponding private key which is
2235 <emphasis>different</emphasis> to the public key. The private and
2236 public keys form a pair which are related mathematically, but it is
2237 extremely hard (or rather, virtually impossible) to derive the private
2238 key from the public key.
2242 Public-key encryption allows us to distribute the DCP's key to Alice
2243 securely. The manufacturer of Alice's projector generates a public
2244 and private key. They hide the private key inside the projector where
2245 no-one can read it. They then make the public key available to anyone
2250 DCP-o-matic has a similar arrangement except that it stores its
2251 private keys in the user's configuration file. See <xref
2252 linkend="sec-decrypting"/> for details of how to share DCP-o-matic's
2253 certificate so that others can make encrypted DCPs for DCP-o-matic.
2257 We take our DCP's symmetric key and encrypt it using the public key of
2258 Alice's projector. We send the result to Alice over email (using a
2259 format called a Key Delivery Message, or KDM). Her projector then
2260 decrypts our message using its private key, yielding the magic
2261 symmetric key which can decrypt the DCP.
2265 If is fine if Mallory intercepts our email to Alice, since the only
2266 key which can decrypt the message is the private key buried inside
2267 Alice's projector. The projector manufacturer is very careful that
2268 no-one ever finds out what this key is. Our DCP is secure: only Alice
2269 can play it back, since only her projector knows the key (even Alice
2277 <!-- ============================================================== -->
2279 <title>Encryption using DCP-o-matic</title>
2282 There are two steps to distributing an encrypted DCP. First, the
2283 DCP's data must be encrypted, and secondly KDMs must be generated for
2284 those cinemas that are allowed to play the DCP.
2288 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
2289 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
2290 encrypt the DCP that it makes using a random key that DCP-o-matic
2291 generates. The key will be written to the film's metadata file, which
2292 should be kept secure.
2296 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
2297 ticked will not play on any projector as-is (it will be marked as
2298 ‘locked’, or whatever the projector manufacturer's term
2303 The second part of distributions is to generate KDMs for the cinemas
2304 that you wish to allow to play your DCP. There are two approaches to
2305 this within DCP-o-matic: using the project, or using a DKDM. These
2306 approaches are now described in turn.
2310 <title>Creating KDMs from a DCP-o-matic project</title>
2313 You can create KDMs from inside a DCP-o-matic project using the
2314 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
2315 menu. This will open the KDM dialogue box, as shown in <xref
2316 linkend="fig-kdm"/>.
2319 <figure id="fig-kdm">
2320 <title>KDM dialog</title>
2323 <imagedata scale="35" fileref="screenshots/kdm&scs;"/>
2329 In order to generate KDMs for a particular projector, you need to know
2330 its <emphasis>certificate</emphasis>. These are usually made
2331 available by the projector manufacturers as text files with a
2332 <code>.pem</code> extension.
2336 DCP-o-matic can store these certificates along with details of their
2337 cinemas and screens within those cinemas. Each screen has a
2338 certificate for its projector (and optionally certificates for other
2339 trusted devices, such as the sound processor). DCP-o-matic can
2340 generate KDMs for any screens that it knows about.
2344 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
2345 a dialogue box into which you can enter the cinema's name, and
2346 optionally an email address. This email address can be used to
2347 get DCP-o-matic to deliver KDMs via email.
2351 Once you have added a cinema, select it by clicking on its name, then
2352 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2353 allows you to enter a name for the screen and load in its certificate
2354 from a file. The certificate should be in SHA256 PEM format.
2358 Alternatively, certificates for projection systems made by some
2359 manufacturers can be downloaded from databases provided by the
2360 manufacturer. Currently this is supported for Doremi, Dolby, Barco,
2361 Christie and GDC equipment (through downloading Barco, Christie or GDC
2362 certificates requires you to have an appropriate account set up in
2363 DCP-o-matic's preferences). If you are targeting a screen with
2364 equipment by one of these manufacturers you can click
2365 <guilabel>Download</guilabel> then enter the serial number of the
2366 server in the screen and click <guilabel>Download</guilabel> again
2367 and, all being well, the certificate will be fetched. Most cinema
2368 projection or technical departments will know these serial numbers.
2372 Note that the reliability of the manufacturers' certificate databases
2373 cannot be guaranteed. It is vital that KDMs are tested by the
2374 destination cinema will in advance of show time to identify any
2379 Once you have set up all the screens that you need KDMs for, select
2380 the CPL that you want to create the KDM for. You can use the
2381 drop-down list to select the CPLs in the current film project, or load
2382 a CPL from somewhere else. Select the cinemas and/or screens that you
2383 want KDMs for and fill in the start and end dates and times.
2387 You must also select the type of KDM that you want to generate. If in
2388 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2392 The differences between the three KDM types are fairly subtle.
2393 <guilabel>DCI Specific</guilabel> and <guilabel>DCI Any</guilabel> add
2394 a <code><ContentAuthenticator></code> tag to the KDM which
2395 allows the exhibitor to check that the DCP and KDM have come from a
2396 bona-fide source. In addition, <guilabel>DCI Specific</guilabel> adds
2397 information on trusted devices to the KDM. This allows the KDM
2398 creator to specify devices (such as sound processors) that are allowed
2399 to use keys delivered by the KDM. At present it is not clear how
2400 widely the <guilabel>DCI Specific</guilabel> and <guilabel>DCI
2401 Any</guilabel> features are supported (or even tolerated) by servers
2402 so you are advised to use <guilabel>Modified Transitional
2407 Finally, choose what you want to do with the KDMs. They can be
2408 written to disk, to a location that you can specify by clicking
2409 <guilabel>Browse</guilabel>. Alternatively, if you choose
2410 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2411 emailed to the appropriate cinema email addresses. Click
2412 <guilabel>Make KDMs</guilabel> to generate the KDMs.
2418 <title>Creating KDMs using a DKDM</title>
2422 It can be inconvenient to need a whole DCP-o-matic project just to
2423 create KDMs for its film. Perhaps you want to archive the project to
2424 save space, or create KDMs on a different machine. In such situations
2425 it is easier to use a DKDM. This is a normal KDM, but instead of
2426 being targeted at a projection system (to allow it to decrypt the
2427 content) it is targeted at a particular user's certificate. This
2428 means that the certificate owner can create new KDMs for other users.
2429 The DKDM holds everything that is required to create further KDMs.
2433 Sometimes it is useful to create DKDMs that can be used by
2434 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2435 any point in the future, use DCP-o-matic's standalone KDM creator to
2436 make KDMs for the DKDM's film for any cinema.
2440 In other cases a DKDM is sent to a 3rd party so that they can create
2441 KDMs for your films. This can be useful if, for example, you have a
2442 distributor who provides 24-hour KDM support to cinemas and can create
2443 KDMs for anybody that requires them at short notice.
2447 To create a DKDM for DCP-o-matic, open your encrypted project and
2448 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2449 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2450 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2451 be available in the KDM creator. This is a separate program which you
2452 can start from the same place that you start the ‘normal’
2453 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2456 <figure id="fig-kdm-creator">
2457 <title>The KDM creator</title>
2460 <imagedata scale="30" fileref="screenshots/kdm-creator&scs;"/>
2466 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2467 to be created for, the date range, the DCP that the KDMs are for and
2468 the destination for the KDMs and click <guilabel>Create
2473 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2474 which you have clicked <guilabel>Make DKDM for
2475 DCP-o-matic</guilabel>in the main DCP-o-matic program. If you have
2476 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2477 specifying the file containing the DKDM.
2481 If another organisation wants to send you a DKDM they will ask you for
2482 a target certificate. You can get DCP-o-matic's target certificate by
2483 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2484 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2492 <title>Encryption keys</title>
2495 You must be careful when using encryption not to lose important keys.
2499 If you are making KDMs from a DCP-o-matic film you
2500 <emphasis>must</emphasis> ensure that you have a backup of the
2501 <code>metadata.xml</code> file from the project, as well as the DCP
2506 If you are using a DKDM you <emphasis>must</emphasis> ensure that you
2507 have a backup of DCP-o-matic's <code>config.xml</code> file, since it
2508 contains the only key which can decrypt the DKDM. The
2509 <code>config.xml</code> file location depends on your operating
2510 system; possible locations are listed in <xref linkend="ch-config"/>.
2516 <title>Should I encrypt?</title>
2519 The question of whether encryption is appropriate for a given
2520 project is a tricky one.
2524 On the one hand, if you distribute an unencrypted DCP it is easy for
2525 anybody to take it and do whatever they want with its contents.
2526 They could use DCP-o-matic to convert it to a MP4, show it in
2527 their cinema, or even edit and redistribute it in ways that you
2532 Encryption prevents this, but brings its own problems. It will be
2533 impossible for a cinema to screen your DCP unless they have the
2534 correct KDM. This is easy enough if things work as they should,
2535 but problems can occur. For example, cinemas may substitute
2536 broken playout servers with new ones without telling you: then the
2537 KDM that you sent them will be invalid, and a new one required.
2538 If the cinema can't get in touch with you, or somebody else who
2539 can create a new KDM, they can't screen your DCP. Often these
2540 problems are only discovered very close to showtime, with little
2545 If you are distributing encrypted DCPs widely it is worth thinking
2546 about who will make the KDMs, and who will provide quick-response
2547 technical support. It may be a good idea to engage a company who can
2548 provide such services.
2555 <title>Encryption overview</title>
2557 <figure id="fig-encryption-overview">
2558 <title>Overview of encryption</title>
2561 <imagedata fileref="diagrams/crypt&dia;"/>
2571 <!-- ============================================================== -->
2572 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2573 <title>Preferences</title>
2576 DCP-o-matic provides preferences which can be used to modify its
2577 behaviour. They are described in this chapter.
2581 Preferences can be edited by choosing
2582 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2583 menu. This opens a dialogue which is split into eleven tabs.
2586 <!-- ============================================================== -->
2588 <title>General</title>
2591 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2594 <figure id="fig-prefs-general">
2595 <title>General preferences</title>
2598 <imagedata fileref="screenshots/prefs-general&scs;"/>
2604 <!-- ============================================================== -->
2606 <title>Language</title>
2609 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2610 a language from the list, that language will be used for DCP-o-matic.
2611 You will need to restart DCP-o-matic to see the new language.
2615 The translations for DCP-o-matic have been contributed by helpful
2616 users. If your language is not on the last, head to <ulink
2617 url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2618 find out how to contribute a translation.
2623 <!-- ============================================================== -->
2625 <title>Interface complexity</title>
2628 Choose <guilabel>Simple</guilabel> to see a cut-down, simplified
2629 interface or <guilabel>Full</guilabel> to see DCP-o-matic's full
2635 <!-- ============================================================== -->
2637 <title>Number of threads DCP-o-matic should use</title>
2640 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2641 to speed things up. Set this value to the number of threads
2642 DCP-o-matic should use. This should normally be the number of
2643 processors (or processor cores) in your machine. DCP-o-matic will try
2644 to set this up correctly when you run it for the first time.
2650 <!-- ============================================================== -->
2652 <title>Number of threads DCP-o-matic encode server should use</title>
2655 This is the number of threads that the encode server should use when
2656 it is running and helping another copy of DCP-o-matic to speed up its
2663 <!-- ============================================================== -->
2665 <title>Configuration file</title>
2668 This is the location of DCP-o-matic's configuration file on disk. You
2669 can use this to share configuration between several copies of
2670 DCP-o-matic, across a network share, for instance.
2674 <!-- ============================================================== -->
2676 <title>Cinema and screen database file</title>
2679 This option allows you to change the file that DCP-o-matic uses to
2680 store details of the cinemas and screens used to make KDMs.
2685 <!-- ============================================================== -->
2687 <title>Play sound via</title>
2690 The checkbox to the left of <guilabel>Play sound</guilabel> enables or
2691 disables DCP-o-matic use of sound. On some machines there will be
2692 multiple options in the drop-down menu to decide how the sound should
2697 <!-- ============================================================== -->
2699 <title>Integrated loudness</title>
2702 If <guilabel>Find integrated loudness, true peak and loudness range
2703 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2704 work when analysing audio. Leave this ticked if the extra parameters
2705 are useful to you. If not, untick it and audio analysis will be
2711 <!-- ============================================================== -->
2713 <title>Automatically analyse content audio</title>
2716 If this checkbox is ticked an audio analysis will be run whenever content is added that contains sound.
2720 <!-- ============================================================== -->
2722 <title>Updates</title>
2725 The <guilabel>Check for updates on startup</guilabel> option, if
2726 enabled, will tell DCP-o-matic to check on <ulink
2727 url="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2728 newer versions of DCP-o-matic then the one you are running. If so, a
2729 dialogue box will open with a link to download the new version.
2733 The <guilabel>Check for testing updates as well as stable
2734 ones</guilabel> option will also check for test updates as well as
2735 those that are formally ‘released’. This is useful if you
2736 like to live on the bleeding edge!
2740 <!-- ============================================================== -->
2742 <title>Issuer and creator</title>
2745 With these controls you can set the issuer and creator strings that
2746 will be put into the DCPs which you create.
2752 <!-- ============================================================== -->
2754 <title>Defaults</title>
2757 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2760 <figure id="fig-prefs-defaults">
2761 <title>Defaults preferences</title>
2764 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2770 The options in this tab simply allow you to set up default values for
2771 various properties of new films.
2776 <!-- ============================================================== -->
2778 <title>Servers</title>
2781 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2784 <figure id="fig-prefs-servers">
2785 <title>Servers preferences</title>
2788 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2794 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2795 locate encoding servers automatically (see <xref
2796 linkend="ch-servers"/>).
2800 Instead of this (or in addition) servers can be specified explicitly.
2801 To add a server, click <guilabel>Add...</guilabel> and enter the host
2802 name or IP address of the server to use.
2808 <!-- ============================================================== -->
2809 <section xml:id="sec-prefs-keys">
2813 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) has controls
2814 related to the keys and certificates used in some parts of DCP
2818 <figure id="fig-prefs-keys">
2819 <title>Keys preferences</title>
2822 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2828 <guilabel>Export KDM decryption certificate...</guilabel> allows you
2829 to save the certificate that DCP-o-matic uses when decrypting KDMs
2830 that you give it. Use this option if somebody wants to make a KDM for
2831 you and asks for your certificate.
2835 <guilabel>Export all KDM decryption settings...</guilabel> exports a
2836 file which contains all the DCP-o-matic settings related to the use of
2837 KDMs supplied by other people. Use this button and <guilabel>Import
2838 all KDM decryption settings...</guilabel> to transfer settings between
2839 different copies of DCP-o-matic so that they can both use the same
2844 The two <guilabel>Advanced...</guilabel> buttons open advanced
2845 dialogue boxes for detailed manipulation of DCP-o-matic's certificate
2852 <title>Advanced keys settings</title>
2855 At the top of the <guilabel>Advanced</guilabel> dialogue for signing
2856 DCPs and KDMs is the chain of certificates that will be used to sign
2857 DCPs and KDMs. DCP-o-matic creates a random chain when you first run
2858 it and if you are happy to use this chain you can ignore the
2859 preferences. Otherwise, you can add or remove certificates from the
2860 chain using the <guilabel>Add...</guilabel> and
2861 <guilabel>Remove</guilabel> buttons.
2865 If you want DCP-o-matic to re-create the certificate chain (using new,
2866 random certificates) click <guilabel>Re-make
2867 certificates and key...</guilabel> and specify your organisation and common
2868 names in the dialogue box that opens.
2872 Underneath the certificate chain is the private key that corresponds
2873 to the leaf certificate in the chain. You can specify your own
2874 private key by clicking <guilabel>Import...</guilabel>. You must do
2875 this if you change the leaf certificate, so that the leaf private key
2876 corresponds to the public key held in the leaf certificate.
2880 At the top of the <guilabel>Advanced</guilabel> dialogue for decrypting DCPs is the chain and key which is used by
2881 DCP-o-matic when you import an encrypted DCP as a piece of content.
2882 The leaf certificate of this chain contains the public key that should
2883 be used when targeting a KDM at DCP-o-matic.
2887 Clicking <guilabel>Export chain...</guilabel> will
2888 export the whole certificate chain.
2893 <!-- ============================================================== -->
2894 <section xml:id="sec-prefs-tms">
2896 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2899 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2900 options for specifying details about your theatre management system
2901 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2902 you can upload DCPs directly from DCP-o-matic to the TMS using the
2903 <guilabel>Send DCP to TMS</guilabel> option in the
2904 <guilabel>Jobs</guilabel> menu.
2907 <figure id="fig-prefs-tms">
2908 <title>TMS preferences</title>
2911 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2917 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2918 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2919 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2920 FTP. Do let us know if you use any other type of TMS with the
2921 <guilabel>Send DCP to TMS</guilabel> feature.
2925 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2926 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2927 should be uploaded to (which will be relative to the home directory of
2928 the SSH or FTP user). Finally, the user name and password are the
2929 credentials required to log into the TMS via SSH or FTP.
2933 Note that for this to work on Doremi servers you will need to set the
2934 <code>PasswordAuthentication</code> option in your server's
2935 <code>sshd_config</code> to <code>yes</code>.
2941 <!-- ============================================================== -->
2943 <title>Email</title>
2946 The Email tab is shown in <xref linkend="fig-prefs-email"/>.
2949 <figure id="fig-prefs-email">
2950 <title>Email preferences</title>
2953 <imagedata fileref="screenshots/prefs-email&scs;"/>
2959 These settings are used when DCP-o-matic sends emails.
2963 <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.
2968 <!-- ============================================================== -->
2970 <title>KDM email</title>
2973 The KDM email tab is shown in <xref linkend="fig-prefs-kdm-email"/>.
2976 <figure id="fig-prefs-kdm-email">
2977 <title>KDM email preferences</title>
2980 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2986 This is a template for the email that is used to send KDMs out to
2987 cinemas. You can change it to say whatever you like. A few
2988 ‘magic’ strings will be replaced by information from the
2989 KDM that is being sent; these strings are shown in <xref linkend="tab-kdm-magic"/>.
2992 <table id="tab-kdm-magic">
2993 <title>‘Magic’ KDM strings</title>
2994 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2997 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
3000 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
3003 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
3006 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
3009 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
3016 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
3022 <!-- ============================================================== -->
3024 <title>Accounts</title>
3027 The Accounts tab is shown in <xref linkend="fig-prefs-accounts"/>.
3030 <figure id="fig-prefs-accounts">
3031 <title>Accounts preferences</title>
3034 <imagedata fileref="screenshots/prefs-accounts&scs;"/>
3040 DCP-o-matic can download projector certificates from the Barco,
3041 Christie and GDC websites if you have the appropriate credentials.
3042 Enter your usernames and passwords.
3048 <!-- ============================================================== -->
3050 <title>Notifications</title>
3053 The Notifications tab is shown in <xref linkend="fig-prefs-notifications"/>.
3056 <figure id="fig-prefs-notifications">
3057 <title>Notifications preferences</title>
3060 <imagedata fileref="screenshots/prefs-notifications&scs;"/>
3066 DCP-o-matic can notify the user when jobs have completed. These
3067 notifications can be either or both of a message box on-screen (if
3068 <guilabel>Message box</guilabel> is ticked) and email (if
3069 <guilabel>Email</guilabel> is ticked). If you enable email
3070 notifications you can fill in the details of the emails you want to
3075 The bottom box in the tab is the contents of the email that should
3076 be sent. DCP-o-matic will replace the ‘magic’ strings
3077 <code>$JOB_NAME</code> and <code>$JOB_STATUS</code> in the with the
3078 details of the job that has completed.
3084 <!-- ============================================================== -->
3086 <title>Cover sheet</title>
3089 The DCP cover sheet configuration is shown in <xref linkend="fig-prefs-cover-sheet"/>.
3092 <figure id="fig-prefs-cover-sheet">
3093 <title>DCP cover sheet preferences</title>
3096 <imagedata fileref="screenshots/prefs-cover-sheet&scs;"/>
3102 This is a template for the cover sheet that is written next to every DCP that DCP-o-matic creates. You can change it to say whatever you like. A few
3103 ‘magic’ strings will be replaced by information from the
3104 DCP that has been made:
3108 <title>‘Magic’ cover sheet strings</title>
3109 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
3112 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
3115 <entry><code>$TYPE</code></entry><entry>DCP content type (e.g. feature, trailer...)</entry>
3118 <entry><code>$CONTAINER</code></entry><entry>The container ratio (e.g. flat, scope...)</entry>
3121 <entry><code>$AUDIO</code></entry><entry>Details of the audio channels</entry>
3124 <entry><code>$AUDIO_LANGUAGE</code></entry><entry>Audio language</entry>
3127 <entry><code>$SUBTITLE_LANGUAGE</code></entry><entry>Subtitle language</entry>
3130 <entry><code>$LENGTH</code></entry><entry>DCP length in hours, minutes and seconds</entry>
3133 <entry><code>$SIZE</code></entry><entry>DCP size in gigabytes</entry>
3140 The <guilabel>Reset to default text</guilabel> will replace the current cover sheet with DCP-o-matic's default.
3146 <!-- ============================================================== -->
3147 <section xml:id="sec-prefs-advanced">
3148 <title>Advanced</title>
3149 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
3152 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
3155 <figure id="fig-prefs-advanced">
3156 <title>Advanced preferences</title>
3159 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
3165 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
3166 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
3167 are advised to leave this at 250Mbit/s in normal use for maximum DCP
3172 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
3173 the DCP video frame rates that DCP-o-matic will create. This may be
3174 useful for experimentation. Again, you are strongly advised to leave
3175 this unticked for normal use.
3179 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
3180 JPEG2000 data only on encoding servers and not on the host. We
3181 suggest you leave this unticked unless you have a good reason to do otherwise.
3185 With the filename format fields you can adjust the filenames that are
3186 used for metadata (CPL and PKL files) and assets (MXF and subtitle
3187 files). Below each field there is a list of the ‘magic’
3188 values that you can use in the format and an example of a filename
3189 that you might see with your current settings.
3193 The four checkboxes labelled <guilabel>Log</guilabel> control what
3194 sort of messages DCP-o-matic writes to its log file when creating a
3195 DCP. It is useful to leave <guilabel>General</guilabel>,
3196 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
3197 as this makes the log files useful for tracking down bugs.
3201 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
3202 to allow developers to investigate and optimise the speed of
3203 DCP-o-matic. It will significantly increase the size of the log files
3204 that are generated, so in normal use it is best to leave this
3211 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
3212 <title>Frame rates</title>
3215 In an ideal world, a DCP would be created using content at the same
3216 video frame and audio sampling rates as the DCP. This is not,
3217 however, always possible.
3221 <!-- ============================================================== -->
3223 <title>DCP frame rate limitations</title>
3226 There are some limitations to video and audio frame rates in DCPs. This is
3227 complicated by the fact that not all projectors will play DCPs at the
3228 same frame rates. It is possible to create a DCP which one projector will
3229 play fine, but another (of a different type) will refuse to play.
3233 <!-- ============================================================== -->
3235 <title>Guaranteed rates</title>
3238 The only rates that are guaranteed to work on all DCI projectors are
3239 24 frames per second (fps) for video and 48kHz for audio. If you are
3240 sending DCPs to unknown places it is wise to consider using these
3241 rates if at all possible.
3247 <!-- ============================================================== -->
3249 <title>Other often-supported rates</title>
3251 Many projectors now in the wild support additional video frame rates:
3252 25, 30, 48, 50 and 60 fps.
3257 <!-- ============================================================== -->
3259 <title>Adapting content to fit the DCP rate</title>
3262 DCP-o-matic has a few tricks to allow you to use content that is not
3263 in one of the ‘approved’ rates.
3267 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
3268 with minimal loss in quality.
3272 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
3273 with a non-supported content rate is to run it at the wrong speed, and
3274 to adjust the audio to keep it in sync.
3277 <para>Let us consider the example of a 25fps source for which you want
3278 to create a 24fps DCP. DCP-o-matic will put the frames from the
3279 source directly into the DCP without modification, but will tell the
3280 projector to play them back at 24fps. This means that the DCP's video
3281 will run slightly slower than the original.
3285 If DCP-o-matic did nothing else, the result of this would be that the
3286 audio would be running at the original speed with the video running
3287 slowly. Hence the audio would drift slowly out of sync. To avoid
3288 this, DCP-o-matic also resamples the audio such that the projector
3289 will play it too slow by the same amount. Hence it will sound
3290 slightly different but will remain in sync with the video.
3294 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
3301 <!-- ============================================================== -->
3303 <title>Setting up</title>
3306 The <guilabel>Frame Rate</guilabel> control in the
3307 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
3308 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
3309 what DCP-o-matic thinks is the best for your content. With this
3310 button, DCP-o-matic assumes that the most commonly-working frame rates (24,
3311 25 and 30fps) are allowed.
3315 After this, the <guilabel>Video</guilabel> tab for each piece of
3316 content will give a summary of what DCP-o-matic is doing with that
3321 If you want to experiment with other non-standard frame rates, you can
3322 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
3323 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
3324 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
3325 use this only on your own equipment, and only for experimentation
3334 <!-- ============================================================== -->
3335 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
3336 <title>Encoding servers</title>
3339 One way to increase the speed of DCP encoding is to use more
3340 than one machine at the same time. An instance of DCP-o-matic can
3341 offload some of the time-consuming JPEG2000 encoding to any number of
3342 other machines on a network. To do this, one ‘master’
3343 machine runs DCP-o-matic, and the ‘server’ machines run
3344 a small program called <code>dcpomatic_server</code>.
3348 The master and server machines do not need to be the same type, so you
3349 can mix Windows PCs, Macs and Linux machines as you wish.
3353 <!-- ============================================================== -->
3355 <title>Running the servers</title>
3358 There are two options for the encoding server;
3359 <code>dcpomatic_server_cli</code>, which runs on the command line, and
3360 <code>dcpomatic_server</code>, which has a simple GUI. The command line
3361 version is well-suited to headless servers, especially on Linux, and
3362 the GUI version works best on Windows where it will put an icon in the
3367 To run the command line version, simply enter:
3371 dcpomatic2_server_cli
3375 at a command prompt. If you are running the program on a machine with
3376 a multi-core processor, you can run multiple parallel encoding threads
3377 by doing something like:
3381 dcpomatic2_server_cli -t 4
3385 to run 4 threads in parallel.
3389 To run the GUI version on windows, run the ‘DCP-o-matic encode
3390 server’ from the start menu. An icon will appear in the system
3391 tray; right-click it to open a menu from whence you can quit the
3392 server or open a window to show its status.
3395 <para>If you would rather not bother installing DCP-o-matic on your
3396 server computers, the other option is to use the live-CD
3397 image that you can download from the <ulink
3398 url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
3400 <para>Either burn the image to CD, or write it to a USB stick (using
3401 something like <ulink
3402 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
3403 PC from the CD or USB stick and it becomes a DCP-o-matic server
3404 without touching your standard operating system install.
3409 <!-- ============================================================== -->
3411 <title>Setting up DCP-o-matic</title>
3414 DCP-o-matic periodically looks on the local network for servers. Any
3415 that it finds are given work to do during encodes. Selecting
3416 <guilabel>Encoding Servers</guilabel> from the
3417 <guilabel>Tools</guilabel> menu brings up a window which shows that
3418 servers that DCP-o-matic has found.
3423 <!-- ============================================================== -->
3425 <title>Some notes about encode servers</title>
3428 DCP-o-matic does not mind if servers come and go; if a server
3429 disappears, DCP-o-matic will stop sending work to it, and will check
3430 it every minute or so in case it has come back online.
3434 You will probably find that using a 1Gb/s or faster network will
3435 provide a significant speed-up compared to a 100Mb/s network.
3442 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3443 <title>Generated files</title>
3446 DCP-o-matic generates a number of files as it makes a DCP. <xref
3447 linkend="fig-file-structure"/> shows the files that might be generated
3448 after you have created a DCP for a film called ‘DCP Test’.
3451 <figure id="fig-file-structure">
3452 <title>Creating a new film</title>
3455 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
3461 The <code>DCP Test</code> folder is the one that you specify when you
3462 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
3463 menu. Everything is stored inside this folder.
3467 DCP-o-matic generates some working files as it goes along. These are as follows:
3470 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
3471 along. This can be useful for debugging purposes if something goes
3474 <listitem><code>metadata</code> stores the settings that you have made
3475 for this film: things like cropping, output format and so on.</listitem>
3477 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
3478 video data as it encodes it.</listitem>
3480 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
3482 <listitem><code>info</code> contains details of each video frame that
3483 DCP-o-matic has written so far. This is used when an encoding
3484 operation is interrupted and DCP-o-matic must resume it.</listitem>
3489 Following this is the DCP itself:
3490 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
3491 contains some small XML files, which describe the DCP, and two large
3492 MXF files, which contain the DCP's audio and video data. It may also
3493 contain subtitles in either XML or MXF format. This folder
3494 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
3495 to the cinema which is showing your DCP.
3502 <title>Command-line tools</title>
3505 DCP-o-matic includes some tools which allow DCP creation from the
3506 command line or from scripting languages. This chapter covers the
3511 There are three command-line tools in DCP-o-matic.
3512 <code>dcpomatic2_create</code> creates film directories, with the
3513 associated metadata, from a list of content files. Then
3514 <code>dcpomatic2_cli</code> runs the transcode process on these
3515 film directories. Finally, <code>dcpomatic2_kdm_cli</code> can be
3516 used to create KDMs.
3520 Some applications will benefit from setting up the films using the
3521 main DCP-o-matic GUI and then using <code>dcpomatic2_cli</code> to
3522 do the encode. This allows, for example, setup on a relatively
3523 low-powered machine before running the encode on a higher-powered
3528 <title><code>dcpomatic2_create</code></title>
3531 The syntax for <code>dcpomatic2_create</code> is:
3535 <code>dcpomatic2_create [OPTION] <CONTENT> [[OPTION] <CONTENT> ...]</code>
3539 <code>[CONTENT]</code> are the files or folders that you want to use in the
3542 <listitem>‘Movie’ files in almost any common format (e.g. MP4, MOV, MKV, etc.)</listitem>
3543 <listitem>A folder containing and image sequence in almost any common format (e.g. TIFF, DPX etc.)</listitem>
3544 <listitem>Sound files (e.g. WAV, MP3, AIFF)</listitem>
3545 <listitem>Subtitles files (e.g. <code>.srt</code>, DCP XML, <code>.ssa</code> etc.)</listitem>
3553 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_create.xml"/>
3556 For example, to setup a film using a MP4 file you might do:
3560 <code>dcpomatic2_create -o my_film --container-ratio 185 --content-ratio 185 -c FTR -n "My Film" Stuff.mp4</code>
3564 This will create a folder called <code>my_film</code> which is ready for a DCP to be made by <code>dcpomatic2_cli</code>.
3568 <code>dcpomatic2_create</code> will use any default settings that you have configured in the main DCP-o-matic preferences.
3573 <title><code>dcpomatic2_cli</code></title>
3576 The syntax for <code>dcpomatic2_cli</code> is:
3580 <code>dcpomatic2_cli [OPTION] [FILM]</code>
3583 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_cli.xml"/>
3586 For example, to encode a film called <code>my_film</code> you might do:
3590 <code>dcpomatic2_cli my_film</code>
3595 <title><code>dcpomatic2_kdm_cli</code></title>
3598 The syntax for <code>dcpomatic2_kdm_cli</code> is:
3602 <code>dcpomatic2_kdm_cli [OPTION] <FILM|CPL-ID></code>
3605 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_kdm_cli.xml"/>
3612 <!-- ============================================================== -->
3614 <title>Loose ends</title>
3617 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
3621 <!-- ============================================================== -->
3623 <title>Resuming encodes</title>
3626 If you cancel a DCP encoding run half-way through, or your computer
3627 crashes... fear not. DCP-o-matic takes care to ensure that, in most
3628 cases, it can resume encoding from where it left off. When you
3629 re-start a DCP creation, using the same settings are a previous run,
3630 DCP-o-matic will first check that the existing picture frames are
3631 correct, and then resume from where it left off. The checking of
3632 existing frames does take some time, but it is much faster than
3633 running a full re-encode.
3637 This resumption is achieved by writing a digest (hash) to disk for
3638 every image frame that is written. On resumption, the existing MXF
3639 file for image data is read and its contents checked against the
3647 <!-- ============================================================== -->
3648 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3649 <title>Common tasks</title>
3652 This chapter describes how to carry out some commonly-required tasks
3653 with DCP-o-matic. The full details are elsewhere in the manual: here
3654 we just discuss different approaches to these tasks and how to carry
3659 <title>Adding subtitles to an existing DCP</title>
3662 You have three options:
3666 <listitem>Make a “Version File” (VF) DCP.</listitem>
3667 <listitem>Make a complete DCP with projector-added subtitles.</listitem>
3668 <listitem>Make a complete DCP with burnt-in subtitles.</listitem>
3672 Making a VF DCP is usually the best option. This will be a very small
3673 DCP which contains only the subtitles: it refers to your existing DCP
3674 for the picture and sound. The projectionist will ingest both the
3675 existing and VF DCPs and play back the VF. The advantages of this
3676 approach are that the VF is very quick to generate, and small in size,
3677 making it easy to distribute. This is especially useful if you have
3678 to make VF DCPs in many different languages.
3682 Making a complete DCP with projector-added subtitles gives you a new,
3683 single DCP which the projectionist can ingest and play. It will be
3684 the same size as your existing DCP, and fairly quick to create. This
3685 approach relies on the projector (or server) to create the subtitles
3686 and overlay them on the image, which mostly works well but is not
3687 100% reliable.
3691 Making a complete DCP with burnt-in subtitles gives you a new, single DCP
3692 but with the subtitles rendered by DCP-o-matic and copied into your
3693 image. This is slower to create than a DCP with projector-added
3694 subtitles as every video frame with a subtitle must be re-encoded.
3695 The advantage of this approach is that it is less likely to go wrong,
3696 especially if you are using unusual subtitle positioning or character
3701 <title>Making a VF DCP</title>
3704 <listitem>Start a new DCP-o-matic film.</listitem>
3705 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3706 <listitem>Go to the <guilabel>DCP</guilabel> tab and choose <guilabel>Split by video content</guilabel> for <guilabel>Reel type</guilabel>.</listitem>
3707 <listitem>Go to the <guilabel>Video</guilabel> and
3708 <guilabel>Audio</guilabel> tabs in turn and tick the <guilabel>Use this DCP's audio as OV and make VF</guilabel> checkboxes.</listitem>
3709 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3710 <listitem>Check the subtitle appearance in the preview; it will be
3711 slow to respond as it is having to decompress images from the existing
3713 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3719 <title>Making a complete DCP with projector-added subtitles</title>
3722 <listitem>Start a new DCP-o-matic film.</listitem>
3723 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3724 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3725 <listitem>Check the subtitle appearance in the preview; it will be
3726 slow to respond as it is having to decompress images from the existing
3727 DCP. Adjust the appearance using controls in the
3728 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3729 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3735 <title>Making a complete DCP with burnt-in subtitles</title>
3738 <listitem>Start a new DCP-o-matic film.</listitem>
3739 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3740 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3741 <listitem>Go to the <guilabel>Subtitle</guilabel> tab and tick the <guilabel>Burn subtitles into image</guilabel> checkbox.</listitem>
3742 <listitem>Check the subtitle appearance in the preview; it will be
3743 slow to respond as it is having to decompress images from the existing
3744 DCP. Adjust the appearance using controls in the
3745 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3746 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3753 <title>Adding soundtracks or subtitles in different languages</title>
3756 If you have a film that is to be dubbed or subtitled in several
3757 languages, the best approach with DCP-o-matic is as follows:
3761 <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>
3762 <listitem>For each language, make a new Version File (VF) DCP which refers to the OV.</listitem>
3766 Once you have done this, you send the OV DCP to every cinema and then
3767 the appropriate VF to each cinema depending on what language they want
3768 to play the film in. The projectionist ingests both DCPs and then plays the VF.
3772 The advantage of this approach is that the VF DCPs are much smaller
3773 than the OV since they only have the language-specific parts. If you
3774 are just changing the subtitles you can often ship the OV by normal
3775 transport means (e.g. a hard drive or high-speed download) and send
3780 The full details of OV and VF files are discussed in <xref linkend="sec-overlay"/>. The steps can be summarised as follows:
3784 <listitem>Create a new DCP-o-matic project for the OV, as normal, adding video and perhaps sound. Make the DCP.</listitem>
3785 <listitem>Create a new DCP-o-matic project for the VF.</listitem>
3786 <listitem>Use <guilabel>Add folder...</guilabel> to add your OV DCP to the project.</listitem>
3787 <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>
3788 <listitem>Do the same in the <guilabel>Audio</guilabel> tab if your OV has audio.</listitem>
3789 <listitem>Add your language-specific audio and/or subtitles and Make DCP.</listitem>
3796 <chapter xml:id="ch-player" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3797 <title>Playing and verifying DCPs</title>
3799 <para>DCP-o-matic includes a DCP player, and although it requires a
3800 very high-speed CPU to play DCPs in full resolution, it can also
3801 play DCPs at reduced resolutions with slower CPUs.</para>
3803 <para>To use the player, start <guilabel>DCP-o-matic
3804 Player</guilabel>, and load a DCP using the
3805 <guilabel>Open</guilabel> option on the <guilabel>File</guilabel>
3808 <para>If you load a VF and/or encrypted DCP you can add your OV
3809 and/or KDM using the appropriate options on the
3810 <guilabel>File</guilabel> menu.</para>
3812 <para>During playback the <guilabel>Performance</guilabel> area at
3813 the bottom right of the window will give details of how many frames
3814 are being dropped; these are frames that were not decoded from the
3815 DCP quickly enough. If this number is high you can increase
3816 performance at the cost of rendering quality by choosing an option
3817 from the <guilabel>View</guilabel> menu. If you set the player to
3818 decode at less than full resolution the DCP's data will be decoded
3819 at this lower resolution, which is quicker than decoding at full
3824 The player also offers a simple DCP validator. To check a DCP,
3825 open it and then select <guilabel>Verify DCP</guilabel> from the
3826 <guilabel>Tools</guilabel> menu. This will run some basic checks to see if the DCP meets the required standards.
3831 <!-- ============================================================== -->
3832 <chapter xml:id="ch-config" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3833 <title>Configuration files</title>
3835 <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>
3838 <listitem>Windows: <code>c:\Users\your_user_name\AppData\Local\dcpomatic</code></listitem>
3839 <listitem>OS X: <code>/Users/your_user_Name/Library/Preferences/com.dcpomatic/2</code></listitem>
3840 <listitem>Linux: <code>~/.config/dcpomatic2</code></listitem>
3843 <para>Possible XML tags are as follows:</para>
3845 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="config.xml"/>
3851 <!-- LocalWords: dbcent DCP matic Hetherington DCPs KDMs GPL XP sid
3853 <!-- LocalWords: matic's jessie Tahr Xenial Xerus Centos Mageia GTK
3855 <!-- LocalWords: Karner FFmpeg libsndfile libsamplerate OpenSSL waf
3857 <!-- LocalWords: libopenjpeg libssh wxWidgets libxml xmlsec libzip
3859 <!-- LocalWords: asdcplib libdcp libsub libcxml sstream sudo Sintel
3861 <!-- LocalWords: dcpomatic TMS SCP timecode DCP's unencrypted OV Gb
3863 <!-- LocalWords: Decrypting KDM decrypt decrypted MOV VOB WAV AIFF
3865 <!-- LocalWords: PNG srt ssa xml wav Lfe XYZ colourspace sRGB RGB
3867 <!-- LocalWords: colourspaces pdf fader CP Doremi CaptiView SubRip
3869 <!-- LocalWords: SubStation BluRay
projects / dcpomatic.git / blob