Some manual updates.

[dcpomatic.git] / doc / manual / dcpomatic.xml

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<bookinfo>
<title>DCP-o-matic users' manual</title>
<author><firstname>Carl</firstname><surname>Hetherington</surname></author>
</bookinfo>

<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Introduction</title>

<para>
Hello, and welcome to DCP-o-matic!
</para>

<!-- ============================================================== -->
<section>
<title>What is DCP-o-matic?</title>

<para>
DCP-o-matic is a program to generate <ulink
url="http://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
Cinema Packages</ulink> (DCPs) from DVDs, Blu-Rays, video files such as MP4
and AVI, or still images.  The resulting DCPs will play on modern digital
cinema projectors.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Licence</title>

<para>
DCP-o-matic is free and open-source and is licensed under the <ulink
url="http://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
GPL</ulink>.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Acknowledgements</title>

<para>
This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
</para>

</section>
</chapter>


<!-- ============================================================== -->
<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Installation</title>


<!-- ============================================================== -->
<section>
<title>Windows</title>

<para>
To install DCP-o-matic on Windows, download the installer from
<ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
and double-click it.  Click through the installer wizard, and
DCP-o-matic will be installed onto your machine.
</para>

<para>
If you are using a 32-bit version of Windows, you will need the 32-bit
installer.  For 64-bit Windows, either installer will work, but I
suggest you used the 64-bit version as it will allow DCP-o-matic to
use more memory.  You may find that DCP-o-matic crashes if you run
many parallel encoding threads (more than 4) on the 32-bit
version.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Mac OS X</title>

<para>
DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
higher.  To install it, download the <code>.dmg</code> from <ulink
url="http://dcpomatic.com/">http://dcpomatic.com/</ulink> and double
click to open it.  Then drag the DCP-o-matic icon to your
<guilabel>Applications</guilabel> folder or wherever else you would
like to install it.
</para>

</section>

<section>
<title>Ubuntu Linux</title>

<para>
You can install DCP-o-matic on Ubuntu 12.04 (&lsquo;Precise
Pangolin&rsquo;), 14.04 (&lsquo;Trusty Tahr&rsquo;) or 15.04
(&lsquo;Vivid Vervet&rsquo;) using <code>.deb</code> packages:
download the appropriate package from <ulink
url="http://dcpomatic.com/">http://dcpomatic.com/</ulink> and
double-click it.  Ubuntu will install the necessary bits and pieces
and set DCP-o-matic up for you.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Debian Linux</title>
<para>
Packages are available for Debian 7 (squeeze), 8 (jessie) and unstable (sid) from <ulink
url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>.
</para>
</section>


<!-- ============================================================== -->
<section>
<title>Centos Linux</title>
<para>
Packages are available for Centos 6.5 and 7 from <ulink
url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>.
</para>
</section>


<!-- ============================================================== -->
<section>
<title>Arch Linux</title>
<para>
Packages for Arch Linux are available from <ulink
url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
thanks to Stefan Karner.
</para>
</section>


<!-- ============================================================== -->
<section>
<title>Other Linux distributions</title>

<para>
Installation on other Linux systems (for which no packages are
available) is quite hard; you will have to compile it from source.  If
you are using distribution for which no packages are available, do let
me know by <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I
will look into providing packages on the website.
</para>

<para>
The following dependencies are required:
<itemizedlist>
<listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
<listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
<listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
<listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
<listitem><ulink url="http://www.imagemagick.org/script/index.php">ImageMagick</ulink></listitem>
<listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
<listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
<listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
<listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
<listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
<listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
<listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
<listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
<listitem><ulink url="http://carlh.net/software/libdcp/">libdcp</ulink></listitem>
<listitem><ulink url="http://carlh.net/software/libcxml/">libcxml</ulink></listitem>
</itemizedlist>
</para>

<para>
Once you have installed the development packages for the dependencies,
download the source code from <ulink
url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>,
unpack it and run the following commands from inside the source
directory:
</para>

<programlisting>
./waf configure
./waf build
sudo ./waf install
</programlisting>

<para>
With any luck, this will build and install DCP-o-matic on your system.  To run it, enter:
</para>

<programlisting>
dcpomatic2
</programlisting>

<para>
in a shell.
</para>

</section>
</chapter>


<!-- ============================================================== -->
<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Creating a video DCP</title>

<para>
In this chapter we will see how to create a video DCP using
DCP-o-matic.  We will gloss over the details and look at the basics.
</para>

<section>
<title>Creating a new film</title>

<para>
Let's make a very simple DCP to see how DCP-o-matic works.  First, we
need some content.  Download the low-resolution trailer for the open
movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
url="http://ftp.nluug.nl/ftp/graphics/blender/apricot/trailer/Sintel_Trailer1.480p.DivX_Plus_HD.mkv">their
website</ulink>.  Generally, of course, one would want to use the
highest-resolution material available, but for this test we will use
the low-resolution version to save everyone's bandwidth bills.
</para>

<para>
Now, start DCP-o-matic and its window will open.  First, we will
create a new &lsquo;film&rsquo;.  A &lsquo;film&rsquo; is how DCP-o-matic refers to
some pieces of content, along with some settings, which we will make into
a DCP.  DCP-o-matic stores its data in a folder on your disk while it
creates the DCP.  You can create a new film by selecting
<guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
shown in <xref linkend="fig-file-new"/>.
</para>

<figure id="fig-file-new">
  <title>Creating a new film</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/file-new&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
This will open a dialogue box for the new film, as shown in <xref
linkend="fig-video-new-film"/>.
</para>

<figure id="fig-video-new-film">
  <title>Dialogue box for creating a new film</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/video-new-film&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
In this dialogue box you can choose a name for the film.  This will be
used to name the folder to store its data in, and also as the initial
name for the DCP itself.  You can also choose whereabouts you want to create
the film.  In the example from the figure, DCP-o-matic will create a
folder called &lsquo;DCP Test&rsquo; inside my home folder (carl) into which it
will write its working files.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Adding content</title>

<para>
The next step is to add the content that you want to use.  DCP-o-matic
can make DCPs from multiple pieces of content, but in this simple
example we will just use a single piece.  Click the <guilabel>Add
file(s)...</guilabel> button, as shown in <xref
linkend="fig-add-file"/>, and a file chooser will open for you to
select the content file to use, as shown in <xref
linkend="fig-video-select-content-file"/>.
</para>

<figure id="fig-add-file"> 
  <title>Adding content files</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/add-file&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<figure id="fig-video-select-content-file"> 
  <title>Selecting a video content file</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/video-select-content-file&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
Select your content file and click <guilabel>Open</guilabel>.  In this
case we are using the Sintel trailer that we downloaded earlier.
</para>

<para>
When you do this, DCP-o-matic will take a look at your file.  After a
short while (when the progress bar at the bottom right of the window
has finished), you can look through your content using the slider to
the right of the window, as shown in <xref linkend="fig-examine-content"/>.
</para>

<figure id="fig-examine-content"> 
  <title>Examining the content</title>
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/examine-content&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
Dragging the slider will move through your video.  You can also click
the <guilabel>Play</guilabel> button to play the content back.  Note
that there will be no sound, and playback might not be entirely
accurate (it may be slightly slower or faster than it should be, for
example).  This player is really only intended for brief inspection of
content; if you need to check it more thoroughly, use another player
such as <ulink
url="http://projects.gnome.org/totem/index.html">Totem</ulink>, <ulink
url="http://www.mplayerhq.hu/design7/news.html">mplayer</ulink> or
<ulink url="http://www.videolan.org/vlc/index.html">VLC</ulink>.
</para>

</section>




<!-- ============================================================== -->
<section>
<title>Making the DCP</title>

<para>In most cases, some adjustments would be made to DCP-o-matic's
settings once the content has been added.  For our simple test,
however, the default values will suffice, so we can go straight onto
making the DCP.</para>

<para>
Choose <guilabel>Make DCP</guilabel> from the
<guilabel>Jobs</guilabel> menu.  DCP-o-matic will encode your DCP.
This may take some time (many hours in some cases).  While the job is
in progress, DCP-o-matic will update you on how it is getting on with
the progress bar in the bottom of its window, as shown in <xref
linkend="fig-making-dcp"/>.
</para>

<figure id="fig-making-dcp">
  <title>Making the DCP</title>
  <mediaobject>
    <imageobject> 
      <imagedata scale="30" fileref="screenshots/making-dcp&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
When it has finished, the DCP will end up on your disk inside the
film's folder.  You can then copy this to a projector via a USB
stick, hard-drive or network connection.  See <xref
linkend="ch-files"/> for details about the files that DCP-o-matic creates.
</para>

<para>
Alternatively, if  you have a  projector or Theatre  Management System
(TMS) that is accessible via SCP across your network, you can upload
the content directly from DCP-o-matic.  See the <xref
linkend="sec-prefs-tms" endterm="sec-prefs-tms-short"/> in <xref linkend="sec-prefs-tms"/>.
</para>

</section>
</chapter>


<!-- ============================================================== -->
<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Creating a still-image DCP</title>

<para>
DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
for an advertisement or an on-screen announcement.  This chapter shows you
how to do it.
</para>

<para>
As with video DCPs, the first step is to create a new
&lsquo;Film&rsquo;; select <guilabel>New</guilabel> from the
<guilabel>File</guilabel> menu and the new film dialogue will open as
shown in <xref linkend="fig-still-new-film"/>.
</para>

<figure id="fig-still-new-film"> 
  <title>Dialogue box for creating a new film</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/still-new-film&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
Enter a name and click <guilabel>OK</guilabel>.  Now we need to add
the content.  As before, click <guilabel>Add file(s)...</guilabel>.
For our example, we will add a single image file, as shown in <xref
linkend="fig-still-select-content-file"/>.
</para>

<figure id="fig-still-select-content-file"> 
  <title>Selecting a still content file</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/still-select-content-file&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
As with video DCPs, most of the default settings will be fine for a
simple test.  The one thing that you might wish to change is the
length of the still.  Select the <guilabel>Timing</guilabel> tab and
you will see a <guilabel>Length</guilabel> setting, as shown in <xref
linkend="fig-timing-tab"/>.
</para>

<figure id="fig-timing-tab"> 
  <title>The timing tab</title>
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/timing-tab&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
This length is a &lsquo;timecode&rsquo;: it consists of four numbers.
The first is hours, the second minutes, the third seconds, and the
fourth frames.  Enter the duration that you want and then click <guilabel>Set</guilabel>.
</para>

<para>
Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
from the <guilabel>Jobs</guilabel> menu to create your DCP.  This will
be much quicker than creating a video DCP, as DCP-o-matic only needs
to encode a single frame which it can then repeat.
</para>

</chapter>


<!-- ============================================================== -->
<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Content settings</title>

<para>
The previous chapters showed DCP generation using the default
settings.  DCP-o-matic offers a range of features to adjust the
content that goes into your DCP, and this chapter describes those features in
detail.
</para>

<section>
<title>Adding and removing content</title>

<para>
At the top of the <guilabel>Content</guilabel> tab is a list of the
content that will go into our DCP.  There can be as many pieces of
content as you like, and they can be of the following types:
</para>

<itemizedlist>
<listitem>Movie &mdash; a file containing some video, probably some
audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
</listitem>

<listitem>Sound &mdash; a file containing one or more channels of
audio; for example, a WAV or AIFF file.
</listitem>

<listitem>Still image &mdash; a file containing a single still image; for
example, a JPEG, PNG or TIFF file.
</listitem>

<listitem>Moving image &mdash; a directory containing many still
images which should be treated as the frames of a video.
</listitem>

<listitem>Subtitle &mdash; a file containing subtitle which will be
superimposed on the image of the DCP.  These can be
<guilabel>.srt</guilabel> or <guilabel>.xml</guilabel>
files.</listitem>
</itemizedlist>

<para>
To add one or more movie, sound, still-image or subtitle files, select
<guilabel>Add file(s)...</guilabel> and choose them from the selector.
</para>

<para>
To add a directory (folder) of images, choose <guilabel>Add
folder...</guilabel> and choose the directory from the selector.
DCP-o-matic will open a small dialogue box where you can enter the
frame rate that your image sequence should be run at.
</para>

<para>
You can remove a piece of content by clicking on its name and then
clicking the <guilabel>Remove</guilabel> button.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Content Properties</title>

<para>
Below the content list are the controls to set content properties.  To
adjust the properties for a piece of content, click its name in the
content list.  The content property controls will then become active
for that piece of content.
</para>

<para>
If you want to change the properties for multiple pieces of content at
the same time, select the content in the list by clicking the first
piece then clicking the other pieces with <keycap>shift</keycap> key
held down.  Note that not all settings can be changed in this way.
</para>

<para>
The content properties are split up into four sections:
<guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
<guilabel>Subtitles</guilabel> and <guilabel>Timing</guilabel>.  Not
all of these sections will be active for all content types.  The controls
in each section are described below.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Video</title>

<para>
The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
</para>

<figure id="fig-video-tab"> 
  <title>Video settings tab</title>
  <mediaobject>
    <imageobject> 
       <imagedata fileref="screenshots/video-tab&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>


<!-- ============================================================== -->
<section>
<title>Image type</title>

<para>
The first option on this tab is the &lsquo;type&rsquo; of the video.
This specifies how DCP-o-matic should interpret the video's image.
<guilabel>2D</guilabel> is the default; this just takes the video
image as a standard 2D frame.  The <guilabel>3D
left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
</para>

<figure id="fig-3d-left-right"> 
  <title>3D left/right image type</title>
  <mediaobject>
    <imageobject> 
       <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
Alternatively the <guilabel>3D top/bottom</guilabel> option tells
DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
linkend="fig-3d-top-bottom"/>.
</para>

<figure id="fig-3d-top-bottom"> 
  <title>3D top/bottom image type</title>
  <mediaobject>
    <imageobject> 
       <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
Another option is <guilabel>3D alternate</guilabel> which takes the
first frame of the content as for the left eye, the second for the
right eye, the third for the left, and so on.  Finally, you can
specify <guilabel>3D left only</guilabel> or <guilabel>3D right
only</guilabel> if this content contains only the the left or right
eye images.  This is useful when you have the left and right eye image
sets in different files; you can specify one content as <guilabel>3D
left only</guilabel> and another as <guilabel>3D right only</guilabel>
and DCP-o-matic will pick up the appropriate frames from each.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Filtering</title>

<para>
The &lsquo;filters&rsquo; settings allow you to apply various video
filters to the image.  These may be useful to try to improve
poor-quality sources like DVDs.  You can set up the filters by clicking the
<guilabel>Edit</guilabel> button next to the filters entry in the
setup area of the DCP-o-matic window; this opens the filters selector
as shown in <xref linkend="fig-filters"/>.
</para>

<figure id="fig-filters"> 
  <title>Filters selector</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/filters&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
After changing the filters setup, you will need to regenerate the DCP
to see the effect on the cinema screen.  The preview in DCP-o-matic
will update itself whenever filters are changed, though of course this
image is much smaller and of lower resolution than a projected image!
</para>
</section>



<!-- ============================================================== -->
<section>
<title>Colour conversion</title>

<para>
The <guilabel>Colour conversion</guilabel> setting specifies what
colour transforms and gamma correction DCP-o-matic will use when
converting the selected content into the XYZ colourspace for the DCP.
</para>

<para>
The easiest way to select the required conversion is to choose one of
DCP-o-matic's presets.  DCP-o-matic knows how to convert from four
common colourspaces: sRGB, Rec. 601, Rec. 709 and P3.  If you do not
know which preset you should use, refer to the suggestions in <xref
linkend="tab-colour-conversion"/>.
</para>

<table id="tab-colour-conversion">
<title>Suggested colour conversion settings</title>
<tgroup cols='2' align='left' colsep='1' rowsep='1'>
<colspec colwidth='1*'/>
<colspec colwidth='5*'/>
<tbody>
<row>
<entry>sRGB</entry><entry>Still images in RGB, e.g. photographs</entry>.
</row>
<row>
<entry>Rec. 601</entry><entry>Standard-definition content (lower than about 1000 pixels across) including DVD rips.</entry>
</row>
<row>
<entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
</row>
<row>
<entry>P3</entry><entry>Content explicitly graded to P3.</entry>
</row>
</tbody>
</tgroup>
</table>

<para>
For other required colour conversions, and if you know what you are
doing, you can choose <guilabel>Custom</guilabel> which will open the full
colour conversion editing dialogue box:
</para>

<figure id="fig-colour-conversion">
  <title>Dialogue box for custom colour conversion</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/colour-conversion&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
Alternatively, choose <guilabel>None</guilabel> if your source files
are already in the XYZ colour space and require no conversion.
</para>

<para>
DCP-o-matic's colour conversion processes are discussed in much more
detail in a separate document <ulink
url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Other settings</title>

<para>
The <guilabel>crop</guilabel> settings can be used to crop your content,
which can be used to remove black borders from round the edges of DVD
images, for example.  The specified number of pixels will be trimmed
from each edge, and the content image in the right of the window will
be updated to show the effect of the crop.
</para>

<para>
The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
settings can be used to apply linear fades into and out of a piece of
content.  Specify the time for each, clicking <guilabel>Set</guilabel>
after making any changes.
</para>

<para>
The <guilabel>Scale to</guilabel> option governs the shape that
DCP-o-matic will scale the content's image into.  Select the aspect
ratio that your content should be presented in.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Video description</title>

<para>
At the bottom of the video tab is a short description of what will
happen to your video with the current settings.  In the example of
<xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
video file is 1920x1080 pixels and it has square pixels (a pixel
aspect ratio of 1.00) hence its display aspect ratio is 1.78:1.  Since
the controls specify &lsquo;16.9&rsquo; for the ratio, DCP-o-matic
does not scale the image but pads it to the DCP's container ratio of
1.85:1.  For a 2K DCP this is 1998x1080 pixels.
</para>

<para>
This description also gives the frame rate of the content and what
will happen to it when it is played at the DCP's frame rate.
<!-- XXX: link to more detailed discussion of this -->
</para>

</section>

</section>


<!-- ============================================================== -->
<section>
<title>Audio</title>

<para>
The <guilabel>Audio</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-audio-tab"/>.
</para>

<figure id="fig-audio-tab"> 
  <title>Audio settings tab</title>
  <mediaobject>
    <imageobject> 
       <imagedata fileref="screenshots/audio-tab&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>


<!-- ============================================================== -->
<section>
<title>The audio map</title>

<para>
The section at the bottom of the audio tab is the &lsquo;audio
map&rsquo;.  This governs how sound from the content will be arranged
in the DCP.
</para>

<para>
Down the left-hand side of the map is the list of audio channels in
the currently-selected piece of content.  Along the top is each
channel in the DCP.  A green box means that the corresponding
content channel will be copied into the corresponding DCP channel.
</para>

<para>
When content channels are copied into DCP channels they can be done
with variable gain.  If, for example, you want to copy a channel
as-is, you can set a gain of 0dB.  Alternatively, if you want to mix
two channels into one, you may want to use a gain of -6dB on each one
to prevent clipping when the two channels are added.
</para>

<para>
The green boxes of the audio mapping view tell you (very roughly) how
much gain is applied to each channel.  A full-height box means 0dB
(i.e. unity) gain.  Any less height indicates lower gain.
</para>

<para>
To map one channel to another with 0dB gain, click in the empty box
and it will turn green to reflect the mapping.  A second click will
turn the mapping back off.  To set some other gain, right-click on the
box to open the gain menu.  This allows you to set
<guilabel>Off</guilabel> (no mapping or negative infinity gain),
<guilabel>Full</guilabel> (0dB gain), -6dB gain or
<guilabel>Edit</guilabel> which allows you to set the required gain
precisely.
</para>

<para>
Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
</para>

<figure id="fig-audio-map-eg1">
  <title>Audio map example 1</title>
  <mediaobject>
    <imageobject> 
       <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
Here, we have two channels in the source which are mapped to left and
right, respectively, in the DCP.  The full green boxes show that the
mapping is at unity gain (0dB) in each case.  Imagine that we modify
the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
</para>

<figure id="fig-audio-map-eg2">
  <title>Audio map example 2</title>
  <mediaobject>
    <imageobject> 
       <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
We now have the content's streams mapped to left and right and also
mixed together and placed in the DCP's centre channel.  The smaller
green boxes on the centre mappings show that those channels are added
with some non-unity gain; you can see by hovering the mouse pointer
over those boxes that the gain for content channels 1 and 2 is -6dB
when being sent to the centre channel and 0dB when being sent to left
and right.
</para>

<figure id="fig-audio-map-eg3">
  <title>Audio map example 3</title>
  <mediaobject>
    <imageobject> 
       <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
shows the mapping of a 5.1 source into a 5.1 DCP.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Other controls</title>

<para>
&lsquo;Audio Gain&rsquo; is used to alter the volume of the
soundtrack.  The specified gain (in dB) will be applied to each sound
channel of your content before it is written to the DCP.
</para>

<para>
If you use a sound processor that DCP-o-matic knows about, it can help
you calculate changes in gain that you should apply.  Say, for
example, that you make a test DCP and find that you have to run it at
volume 5 instead of volume 7 to get a good sound level in the screen.
If this is the case, click the <guilabel>Calculate...</guilabel>
button next to the audio gain entry, and the dialogue box in <xref
linkend="fig-calculate-audio-gain"/> will open.
</para>

<figure id="fig-calculate-audio-gain"> 
  <title>Calculating audio gain</title>
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
For our example, put 5 in the first box and 7 in the second and click
<guilabel>OK</guilabel>.  DCP-o-matic will calculate the audio gain
that it should apply to make this happen.  Then you can re-make the
DCP (this will be reasonably fast, as the video data will already have
been done) and it should play back at the correct volume with 7 on
your sound-rack fader.
</para>

<para>
Current versions of DCP-o-matic only know about the Dolby CP650 and
CP750.  If you use a different sound processor, and know the gain
curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
touch</ulink>.
</para>

<para>
<guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
between audio and video.  A positive delay will move the audio later
with respect to the video, and a negative delay will move it earlier.
</para>

<para>
The <guilabel>Audio Stream</guilabel> option allows you to select the
audio stream to use, if the content contains more than one.  There
might be different soundtrack languages, for example.
</para>

</section>
</section>


<!-- ============================================================== -->
<section>
<title>Subtitles</title>

<para>
The subtitles tab contains settings related to subtitles in your
content, as shown in <xref linkend="fig-subtitles-tab"/>.
</para>

<figure id="fig-subtitles-tab"> 
  <title>Subtitle settings tab</title>
  <mediaobject>
    <imageobject> 
       <imagedata fileref="screenshots/subtitles-tab&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
DCP-o-matic will extract subtitles from the content, if present, and
they can be &lsquo;burnt into&rsquo; the DCP (that is, they are
included in the image and not overlaid by the projector).
</para>

<para>
Select the <guilabel>With Subtitles</guilabel> check-box to enable
subtitles.
</para>

<para>
The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
controls move the subtitles around within the image.  The offsets are
expressed as a percentage of the video frame size; 100% X offset is
the entire width of the frame, and 100% Y offset is the entire height.
Hence, to move the subtitles down by half the frame height you would
use a Y offset of 50%.
</para>

<para>
The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
controls scale the subtitles.  Scale values of 1 make the subtitles
the same size (relative to the size of the image) as they are on the
original.  Values lower than 1 make them smaller, and values higher
make them larger.  You can stretch the subtitles in either direction
by specifying different values for X and Y scale.  Subtitles from DVD
and Blu Ray sources are frequently larger (relative to the video
frame) than those typically used for DCP, so it is often useful to
scale such subtitles down using these controls.
</para>

<para>
The <guilabel>Stream</guilabel> control changes the subtitle stream
that is used when the content has more than one.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Timing</title>

<para>
The timing tab contains settings related to the timing of your
content, as shown in <xref linkend="fig-timing-tab-detail"/>.
</para>

<figure id="fig-timing-tab-detail"> 
  <title>Timing settings tab</title>
  <mediaobject>
    <imageobject> 
       <imagedata fileref="screenshots/timing-tab&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
These are expressed as four numbers, as shown in <xref
linkend="fig-timecode"/>.
</para>

<figure id="fig-timecode"> 
  <title>Timecode</title>
  <mediaobject>
    <imageobject> 
       <imagedata fileref="diagrams/timecode&dia;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
<guilabel>Position</guilabel> is the time at which this piece of
content should start within the DCP.  In most cases, this will be
<code>0:0:0:0</code> to make the content start at the beginning of the
DCP.
</para>

<para>
<guilabel>Full length</guilabel> is the length of the piece of
content.  This can only be set for still-image content: for video or
sound content, it is fixed by the nature of the content file.  If
still-image content is being used you can set the length for which it
should be displayed using this control.
</para>

<para>
<guilabel>Trim from start</guilabel> specifies the amount that should be trimmed from the start of the content.
</para>

<para>
<guilabel>Trim from end</guilabel> specifies the amount that should be trimmed from the end of the content.
</para>

<para>
<guilabel>Play length</guilabel> indicates how long this piece of
content will be once the trims have been applied.  This will be equal
to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
</para>

<para>
<guilabel>Video frame rate</guilabel> specifies the frame rate for still-image content.
</para>

<para>
Each timecode control has a <guilabel>Set</guilabel> which you should
click when you have entered a new value for a timecode.  The
<guilabel>Set</guilabel> button will make DCP-o-matic take account of
any changes to the corresponding timecode.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Video processing pipeline</title>

<para>
This section gives a little more detail about how DCP-o-matic process
video as it takes it from a source and puts it into a DCP.
</para>

<para>
Consider, as a somewhat over-the-top example, that we have a 720 x 576
image which is letterboxed with 36 black pixels each at the top and
bottom, and the video content within the letterbox should be presented
in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
happen with a trailer).  The source image is shown in <xref
linkend="fig-pipeline1"/>.
</para>

<figure id="fig-pipeline1"> 
  <title>Example image to demonstrate video processing</title>
  <mediaobject>
    <imageobject> 
       <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
DCP-o-matic runs through the following steps when preparing an image for a DCP:
</para>

<itemizedlist>
<listitem>Crop</listitem>
<listitem>Scale</listitem>
<listitem>Place in container</listitem>
</itemizedlist>

<para>
First, some amount of the image can be cropped.  This is almost always
used to remove black borders (letterboxing and/or pillarboxing) around
images.
</para>

<para>
In our example image, we would use 36 pixels of crop from the top and
bottom.  This would give the new image shown in <xref
linkend="fig-pipeline2"/>.
</para>

<figure id="fig-pipeline2"> 
  <title>Example image after cropping</title>
  <mediaobject>
    <imageobject> 
       <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
The next step is to scale the image.  Since this content should be
presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select
<guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
option in the <guilabel>Video</guilabel> tab and
<guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
option in the <guilabel>DCP</guilabel> tab.
</para>

<para>The <guilabel>Scale to</guilabel> option should always be set to
the aspect ratio at which the content should be seen.  The
<guilabel>Container</guilabel> option should be set to the preset that
you want to use on the projector.  Of course, these two settings will
often be the same.
</para>

<para>
Given the scaling and container information, DCP-o-matic will look at
the DCP's container size, and then scale the source image up until one
or both of its dimensions (width, height or both) fits the size of the
container, all the while preserving the desired aspect ratio.
</para>

<para>
In our example here, the DCP's container is specified as 1.85:1 (so
that the DCP will play back correctly using the projector's
&lsquo;Flat&rsquo; preset).  At 2K, 1.85:1 is 1998 pixels by 1080.
Scaling the source up whilst preserving its 1.85:1 aspect ratio will
result in the image hitting the sides of the container first, at a
size of 1998 x 836.  This gives us a new version of the image as shown
in <xref linkend="fig-pipeline3"/>.
</para>

<figure id="fig-pipeline3"> 
  <title>Example image after cropping and scaling</title>
  <mediaobject>
    <imageobject> 
       <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
The final step is to place the image into the DCP.  In this case,
since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
we have set the <guilabel>container</guilabel> in the
<guilabel>DCP</guilabel> tab to be Scope.  Since the content has been
scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
be some black bars at the top and bottom of the image.  DCP-o-matic
shares out this black equally, as shown in <xref
linkend="fig-pipeline3"/>.
</para>

<figure id="fig-pipeline4"> 
  <title>Example image in the DCP</title>
  <mediaobject>
    <imageobject> 
       <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
    </imageobject> 
  </mediaobject>
</figure>

</section>

</chapter>

<chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>DCP settings</title>

<para>
This chapter describes the settings that apply to the whole DCP.  The
controls for these settings are in the <guilabel>DCP</guilabel> tab of
the main window, as shown in <xref linkend="fig-dcp-tab"/>.
</para>

<figure id="fig-dcp-tab"> 
  <title>DCP settings tab</title>
  <mediaobject>
    <imageobject> 
       <imagedata fileref="screenshots/dcp-tab&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
The first thing here is the name.  This is generally set to the title
of the film that is being encoded.  If <guilabel>Use ISDCF
name</guilabel> is not ticked, the name that you specify will be used
as-is for the name of the DCP.  If <guilabel>Use ISDCF name</guilabel>
is ticked, the name that you enter will be used as part of a
ISDCF-compliant name.  
</para>

<para>
Underneath the name field is a preview of the name that the DCP will
get.  To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
name</guilabel> check-box.  The ISDCF name will be composed using details
of your content's soundtrack, the current date and other things that
can be specified in the ISDCF name details dialogue box, which you can
open by clicking on the <guilabel>Details</guilabel> button.
</para>

<para>
If you want to take the ISDCF-compliant name that DCP-o-matic
generates and modify it, click <guilabel>Copy as name</guilabel> and
the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
You can then edit it as you wish.  The DCP name should not matter (in
that it should not affect how the DCP ingests or plays) but
projectionists will appreciate it if you use the standard naming
scheme as it makes it easier to identify details of the content.
</para>

<para>
If the DCP name is long, it may not all be visible.  You can see the
full name by hovering the mouse pointer over the partial name.
</para>

<para>
The <guilabel>Container</guilabel> option sets the ratio of the image
in the DCP.  If this ratio is different to the ratio used for any
content, DCP-o-matic will pad the content with black.  In simple cases
this should be set to the same ratio as that for the the primary piece
of video content.  Alternatively, you might want to pillarbox a small
format into a Flat container: in this case, select the small format
for the content's ratio and &lsquo;Flat&rsquo; for the DCP.
</para>

<para>
Next up is the content type.  This can be
&lsquo;feature&rsquo;, &lsquo;trailer&rsquo; or whatever; select the
required type from the drop-down list.
</para>

<para>
The <guilabel>Frame Rate</guilabel> control sets the frame rate of
your DCP.  This can be a little tricky to get right.  Ideally, you
want it to be the same as the video content that you are using.  If it
is not the same, DCP-o-matic must resort to some tricks to alter your
content to fit the specified frame rate.  Frame rates are discussed in
more detail in <xref linkend="ch-frame-rates"/>.
</para>

<para>
The <guilabel>Use best</guilabel> button sets the DCP video frame rate
to what DCP-o-matic thinks is the best given the content that you have
added.
</para>

<para>
The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
is signed.  This is rarely important; if in doubt, tick it.
</para>

<para>
The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
should be encrypted or not.  If this is ticked, the DCP will require a
KDM to play back.  Encryption is discussed in <xref
linkend="ch-encryption"/>.
</para>

<para>
If you use encryption DCP-o-matic will generate a random encryption
key for you.  To specify your own key, click the
<guilabel>Edit..</guilabel> button next to the key.
</para>

<para>
The <guilabel>Audio Channels</guilabel> control sets the number of
audio channels that the DCP will have.  If the DCP has any channels
for which there is no content audio they will be replaced by silence.
You can only set an even number of channels here, since that is
required by the DCI standard.  If you want an odd number of channels,
set the DCP channel count to one greater than you need and the
unused channel will be filled with silence.
</para>

<para>
The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
is checked.  A 3D DCP will then be created, and any 2D content will be
made 3D compatible by repeating the same frame for both left and right
eyes.  A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
Real-D etc.) but not on a 2D system.
</para>

<para>
The <guilabel>Resolution</guilabel> tab allows you to choose the
resolution for your DCP.  Use 2K unless you have content that is of
high enough resolution to be worth presenting in 4K.
</para>

<para>
The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
the final image files used within the DCP will be.  Larger numbers
will give better quality, but correspondingly larger DCPs.  The
bandwidth can be between 50 and 250 megabits per second (Mbit/s).
Most commercial DCPs use bit rates between 75 and 125 MBit/s.
</para>

<para>
The <guilabel>Standard</guilabel> option specifies which of the two
DCP standards DCP-o-matic should use.  If in doubt, use SMPTE (the
more modern of the two).
</para>

<para>
Finally, the <guilabel>Scaler</guilabel> is the method that will be used to scale up
your content for the DCP, if required.  Bicubic is a fine choice in
most situations.
</para>

<!-- ============================================================== -->
<section>
<title>Show audio</title>

<para>
The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
to examine the audio in your content and plot a graph of its level
over time.  This can be useful for getting a rough idea of how loud
the sound will be in the cinema auditorium.  A typical plot is shown
in <xref linkend="fig-audio-plot"/>
</para>

<figure id="fig-audio-plot"> 
  <title>Audio plot</title>
  <mediaobject>
    <imageobject> 
       <imagedata fileref="screenshots/audio-plot&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
The plot gives the audio level (vertical axis, in dB) with time
(horizontal axis).  0dB represents full scale, so if there is anything
near this you are in danger of clipping the projector's audio outputs.
</para>

<para>
There are two plot types: the peak level and the RMS, which can be
shown or hidden using the check-boxes on the right hand side of the
window.
</para>

<para>
The channel check-boxes will show or hide the plot(s) for
the corresponding channels in the DCP.
</para>

<para>
The smoothing slider applies a variable degree of temporal smoothing
to the plots, which can make them easier to read in some cases.
</para>

<para>
Obviously the audio plot is no substitute for listening in an
auditorium, but it can be useful to get levels in the right rough area.
</para>

</section>

</chapter>

<chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Encryption</title>

<para>
It is not required that DCPs be encrypted, but they can be.  This
chapter discusses the basic principles of DCP encryption, and how
DCP-o-matic can create encrypted DCPs and KDMs for them.
</para>


<!-- ============================================================== -->
<section>
<title>Basics</title>

<para>
DCPs can be encrypted.  This means that the picture and sound data are
encoded in such a way that only cinemas &lsquo;approved&rsquo; by the
DCP's creators can read them.  In particular, this means copies of the
DCP can be distributed by insecure means: if an ne'er-do-well called
Mallory obtains a hard drive containing an encrypted DCP, there is no
way that he can play it.  Only those cinemas who receive a correct key
delivery message (KDM) can play the DCP.
</para>


<!-- ============================================================== -->
<section>
<title>How it works (in a nutshell)</title>

<para>
This section attempts to summarise how DCP encryption works.  You can
skip it if you like.  You may need some knowledge of encryption
methods to understand it.
</para>

<para>
We suppose that we are trying to distribute a DCP, to
Alice's cinema, without a troublemaker called Mallory being able to
watch it himself.
</para>

<para>
There are two main families of encryption techniques.  The first,
symmetric-key encryption, allows us to encode some data using some
numeric key.  After encoding, no-one can decode the data unless they
know the key.
</para>

<para>
The first step in a DCP encryption is to encode its data with some key
using symmetric-key encryption.  The encrypted DCP can then be sent
anywhere, safe in the knowledge that even if Mallory got hold of a
copy, he could not decrypt it.
</para>

<para>
Alice, however, needs to know the key so she can play the DCP in her
cinema.  A simple approach might be for us to send Alice the key.
However, if Mallory can intercept the DCP, he might also be able to
intercept our communication of the key to Alice.  Furthermore, if Alice
happened to know Mallory, she could just send him a copy of the key.
</para>

<para>
The clever bit in DCP encryption requires the use of public-key
encryption.  With this technique we can encrypt a block of data using
some &lsquo;public&rsquo; key.  That data can then only be decrypted
using a <emphasis>different</emphasis> &lsquo;private&rsquo; key.  The
private and public keys are related mathematically, but it is
extremely hard (or rather, virtually impossible) to derive the private
key from the public key.
</para>

<para>
Public-key encryption allows us to distribute the DCP's key to Alice
securely.  The manufacturer of Alice's projector generates a public
and private key.  They hide the private key deep inside the bowels of
the projector (inside an integrated circuit) where no-one can read it.
They then make the public key available to anyone who is interested.
</para>

<para>
We take our DCP's symmetric key and encrypt it using the public key of
Alice's projector.  We send the result to Alice over email (using a
format called a Key Delivery Message, or KDM).  Her projector then
decrypts our message using its private key, yielding the magic
symmetric key which can decrypt the DCP.
</para>

<para>
If is fine if Mallory intercepts our email to Alice, since the only
key which can decrypt the message is the private key buried inside
Alice's projector.  The projector manufacturer is very careful that
no-one ever finds out what this key is.  Our DCP is secure: only Alice
can play it back, since only her projector knows the key (even Alice
does not).
</para>

</section>
</section>


<!-- ============================================================== -->
<section>
<title>Encryption using DCP-o-matic</title>

<para>
There are two steps to distributing an encrypted DCP.  First, the
DCP's data must be encrypted, and secondly KDMs must be generated for
those cinemas that are allowed to play the DCP.
</para>

<para>
The first part is simple: ticking the <guilabel>Encrypted</guilabel>
box in the <guilabel>DCP</guilabel> tab of DCP-o-matic will encrypt
the DCP using a random key that DCP-o-matic generates.  The key will
be written to the film's metadata file, which should be kept
secure.
</para>

<para>
A DCP that is generated with the <guilabel>Encrypted</guilabel> box
ticked will not play on any projector as-is (it will be marked as
&lsquo;locked&rsquo;, or whatever the projector manufacturer's term
is).
</para>

<para>
The second part is to generate KDMs for the cinemas that you wish to
allow to play your DCP.  This is done using the <guilabel>Make
KDMs</guilabel> option on the <guilabel>Jobs</guilabel> menu.  This
will open the KDM dialogue box, as shown in <xref linkend="fig-kdm"/>.
</para>

<figure id="fig-kdm">
  <title>KDM dialog</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/kdm&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
In order to generate KDMs for a particular projector, you need to know
its <emphasis>certificate</emphasis>.  These are usually made
available by the projector manufacturers as text files with a
<code>.pem</code> extension.
</para>

<para>
DCP-o-matic can store these certificates to make life easier.  It
stores details of cinemas and screens within those cinemas.  Each
screen has a certificate for its projector.  DCP-o-matic can generate
KDMs for any screens that it knows about.
</para>

<para>
To add a cinema, click <guilabel>Add Cinema...</guilabel>.  This opens
a dialogue box into which you can enter the cinema's name, and
optionally an email address.  This email address can be used to
get DCP-o-matic to deliver KDMs via email, but it is optional.
</para>

<para>
Once you have added a cinema, select it by clicking on its name, then
click <guilabel>Add Screen...</guilabel>.  The resulting dialogue
allows you to enter a name for the screen and load in its certificate
from a file.  The certificate should be in SHA256 PEM format.
</para>

<para>
Alternatively, certificates for projection systems made by some
manufacturers can be downloaded from databases provided by the
manufacturer.  Currently this is supported for Doremi and Dolby
equipment.  If you are targeting a screen with equipment by one of
these manufacturers you can select Doremi or Dolby from the
<guilabel>Server manufacturer</guilabel> selection and then click
<guilabel>Download</guilabel>.  In the next dialogue box, enter
details of the screen and click <guilabel>Download</guilabel> and, all
being well, the certificate will be fetched.
</para>

<para>
Using the download system you will need to know the serial number of
the media server in use in the screen.  Most cinema projection or
technical departments will know these serial numbers.
</para>

<para>
Note that the reliability of the manufacturers' certificate databases
cannot be guaranteed.  It is vital that KDMs are tested by the
destination cinema will in advance of show time to identify any
problems.
</para>

<para>
Once you have set up all the screens that you need KDMs for, select
the CPL that you want to create the KDM for.  You can use the
drop-down list to select the CPLs in the current film project, or load
a CPL from somewhere else.  Select the cinemas and/or screens that you
want KDMs for and fill in the start and end dates and times.
</para>

<para>
You must also select the type of KDM that you want to generate.  If in
doubt, use <guilabel>Modified Transitional 1</guilabel>.
</para>

<para>
Finally, choose what you want to do with the KDMs.  They can be
written to disk, to a location that you can specify by clicking
<guilabel>Browse</guilabel>.  Alternatively, if you choose
<guilabel>Send by email</guilabel> the KDMs will be zipped up and
emailed to the appropriate cinema email addresses.  Click OK to
generate the KDMs.
</para>

</section>

</chapter>



<!-- ============================================================== -->
<chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Preferences</title>

<para>
DCP-o-matic provides a few preferences which can be used to modify its
behaviour.  This chapter explains those options.
</para>


<!-- ============================================================== -->
<section>
<title>The preferences dialogue</title>

<para>
The preferences dialogue is opened by choosing
<guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
menu.  The dialogue is split into seven tabs.
</para>

<!-- ============================================================== -->
<section>
<title>General</title>

<para>
The general tab is shown in <xref linkend="fig-prefs-general"/>.
</para>

<figure id="fig-prefs-general"> 
  <title>General preferences</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/prefs-general&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>


<!-- ============================================================== -->
<section>
<title>Language</title>

<para>
If you tick the <guilabel>Set Language</guilabel> checkbox and choose
a language from the list, that language will be used for DCP-o-matic.
You will need to restart DCP-o-matic to see the new language.
</para>

<para>
The translations for DCP-o-matic have been contributed by helpful
users.  If your language is not on the last, head to <ulink
url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
read about how to contribute a translation.
</para>
</section>


<!-- ============================================================== -->
<section>
<title>Threads</title>

<para>
When DCP-o-matic is encoding DCPs it can use multiple parallel threads
to speed things up.  Set this value to the number of threads
DCP-o-matic should use.  This should normally be the number of
processors (or processor cores) in your machine.  DCP-o-matic will try
to set this up correctly when you run it for the first time.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Updates</title>

<para>
The <guilabel>Check for updates on startup</guilabel> option, if
enabled, will tell DCP-o-matic to check on <ulink
url="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
newer versions of DCP-o-matic then the one you are running.  If so, a
dialogue box will open with a link to download the new version.
available
</para>

<para>
The <guilabel>Check for testing updates as well as stable
ones</guilabel> option will also check for test updates as well as
those that are formally &lsquo;released&rsquo;. This is useful if you
like to live on the bleeding edge!
</para>
</section>

</section>

<!-- ============================================================== -->
<section>
<title>Defaults</title>

<para>
The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
</para>

<figure id="fig-prefs-defaults">
  <title>Defaults preferences</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/prefs-defaults&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
The options in this tab simply allow you to set up default values for
various properties of new films.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Servers</title>

<para>
The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
</para>

<figure id="fig-prefs-servers">
  <title>Servers preferences</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/prefs-servers&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
locate encoding servers automatically (see <xref
linkend="ch-servers"/>).
</para>

<para>
Instead of this (or in addition) servers can be specified explicitly.
To add a server, click <guilabel>Add...</guilabel> and enter the host
name or IP address of the server to use.
</para>

</section>

<!-- ============================================================== -->
<section xml:id="sec-prefs-colour">
<title>Colour conversions</title>

<para>
The colour conversions tab is shown in <xref linkend="fig-prefs-colour-conversions"/>.
</para>

<figure id="fig-prefs-colour-conversions">
  <title>Colour conversions preferences</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/prefs-colour-conversions&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
As part of the encoding process, DCP-o-matic has to convert the colour
space of the source files that you use into XYZ, the colour space used
by the DCI standard.
</para>

<para>
Colour conversion is discussed in more detail in a separate document
<ulink url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
</para>

<para>
These preferences control a list of presets which are suitable for
converting from common input colour spaces to XYZ.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Keys</title>

<para>
The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) holds options
related to the keys and certificates used in some parts of DCP
creation.
</para>

<figure id="fig-prefs-keys"> 
  <title>Keys preferences</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/prefs-keys&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
At the top of the tab is the chain of certificates that will be used
to sign DCPs and KDMs.  DCP-o-matic creates a random chain when you
first run it, so if you are happy to use a randomly-generated chain
you can ignore the preferences.  Otherwise, you can add or remove
certificates from the chain using the <guilabel>Add...</guilabel> and
<guilabel>Remove</guilabel> buttons.
</para>

<para>
If you want DCP-o-matic to re-create the certificate chain (using new,
random certificates) click <guilabel>Re-make
certificates...</guilabel> and specify your organisation and common
names in the dialogue box that opens.
</para>

<para>
Underneath the certificate chain is the private key that corresponds
to the leaf certificate in the chain.  You can specify your own
private key by clicking <guilabel>Load...</guilabel>.  You must do
this if you change the leaf certificate, so that the leaf private key
corresponds to the public key held in the leaf certificate.
</para>

<para>
The bottom of the tab specifies the certificate and private key that
is used to decrypt DCPs if they are imported as sources to
DCP-o-matic.  If you want to import an encrypted DCP you will need to
give the decryption certificate to the distributor of the DCP so that
they can generate a DKDM for you.  As with the certificate chain,
DCP-o-matic will create a certificate and private key for you.  You
can also choose to load your own certificate and key.
</para>

</section>

<!-- ============================================================== -->
<section xml:id="sec-prefs-tms">
<title>TMS</title>
<titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>

<para>
The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
options for specifying details about your theatre management system
(TMS).  If you do this, and your TMS accepts SSH connections, you can
upload DCPs directly from DCP-o-matic to the TMS using the
<guilabel>Send DCP to TMS</guilabel> option in the
<guilabel>Jobs</guilabel> menu.
</para>

<figure id="fig-prefs-tms"> 
  <title>TMS preferences</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/prefs-tms&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
<guilabel>TMS IP address</guilabel> should be set to the IP address of
your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
should be uploaded to (which will be relative to the home directory of
the SSH user).  Finally, the user name and password are the
credentials required to log into the TMS via SSH.
</para>
</section>


<!-- ============================================================== -->
<section>
<title>KDM email</title>

<para>
The KDM email is shown in <xref linkend="fig-prefs-kdm-email"/>.
</para>

<figure id="fig-prefs-kdm-email"> 
  <title>KDM email preferences</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
This is a template for the email that is used to send KDMs out to
cinemas.  You can change it to say whatever you like.  A few
&lsquo;magic&rsquo; strings will be replaced by information from the
KDM that is being sent:
</para>

<table>
<title>&lsquo;Magic&rsquo; KDM strings</title>
<tgroup cols='2' align='left' colsep='1' rowsep='1'>
<tbody>
<row>
<entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
</row>
<row>
<entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
</row>
<row>
<entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
</row>
<row>
<entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
</row>
<row>
<entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
</row>
</tbody>
</tgroup>
</table>

<para>
The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
</para>

</section>


<!-- ============================================================== -->
<section xml:id="sec-prefs-advanced">
<title>Advanced</title>
<titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>

<para>
The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
</para>

<figure id="fig-prefs-advanced"> 
  <title>Advanced preferences</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="screenshots/prefs-advanced&scs;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
<guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
bit-rate of JPEG2000 that DCP-o-matic will allow you to create.  You
are advised to leave this at 250Mbit/s in normal use for maximum DCP
compatibility.
</para>

<para>
<guilabel>Allow any DCP frame rate</guilabel> removes the limits on
the DCP video frame rates that DCP-o-matic will create.  This may be
useful for experimentation.  Again, you are strongly advised to leave
this unticked for normal use.
</para>

<para>
The four checkboxes labelled <guilabel>Log</guilabel> control what
sort of messages DCP-o-matic writes to its log file when creating a
DCP.  It is useful to leave <guilabel>General</guilabel>,
<guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
as this makes the log files useful for tracking down bugs.
</para>

<para>
The <guilabel>Timing</guilabel> checkbox will enable extra log entries
to allow developers to investigate and optimize the speed of
DCP-o-matic.  It will significantly increase the size of the log files
that are generated, so in normal use it is best to leave this
unticked.
</para>

</section>
</section>
</chapter>

<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
<title>Frame rates</title>

<para>
In an ideal world, a DCP would be created using content at the same
video frame and audio sampling rates as the DCP.  This is not,
however, always possible.
</para>


<!-- ============================================================== -->
<section>
<title>DCP frame rate limitations</title>

<para>
There are some limitations to video and audio frame rates in DCPs.  This is
complicated by the fact that not all projectors will play DCPs at the
same frame rates.  It is possible to create a DCP which one projector will
play fine, but another (of a different type) will refuse to play, or
even refuse to ingest.
</para>


<!-- ============================================================== -->
<section>
<title>Guaranteed rates</title>

<para>
The only rates that are (pretty much) guaranteed to work on all DCI
projectors are 24 frames per second (fps) for video and 48kHz or 96kHz
for audio.  If you are sending your DCPs to unknown places it wise to
consider using these rates if at all possible.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Other often-supported rates</title>
<para>
Many projectors now in the wild support additional video frame rates:
25, 30 and 48 fps.
</para>
</section>


<!-- ============================================================== -->
<section>
<title>Adapting content to fit the DCP rate</title>

<para>
DCP-o-matic has a few tricks to allow you to use content that is not
in one of the &lsquo;approved&rsquo; rates.
</para>

<para>
Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
with minimal loss in quality.
</para>

<para>
Video rate conversion is harder.  DCP-o-matic's basic strategy to deal
with a non-supported content rate is to run it at the wrong speed, and
to adjust the audio to keep it in sync.
</para>

<para>Let us consider the example of a 25fps source for which you want
to create a 24fps DCP.  DCP-o-matic will put the frames from the
source directly into the DCP without modification, but will tell the
projector to play them back at 24fps.  This means that the DCP's video
will run slightly slower than the original.
</para>

<para>
If DCP-o-matic did nothing else, the result of this would be that the
audio would be running at the original speed with the video running
slowly.  Hence the audio would drift slowly out of sync.  To avoid
this, DCP-o-matic also resamples the audio such that the projector
will play it too slow by the same amount.  Hence it will sound
slightly different but will remain in sync with the video.
</para>

<para>
For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
</para>

</section>
</section>


<!-- ============================================================== -->
<section>
<title>Setting up</title>

<para>
The <guilabel>Frame Rate</guilabel> control in the
<guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
will use.  Clicking <guilabel>Use best</guilabel> sets the rate to
what DCP-o-matic thinks is the best for your content.  With this
button, DCP-o-matic assumes that the whole range of frame rates (24,
25, 30 and 48fps) are allowable.
</para>

<para>
After this, the <guilabel>Video</guilabel> tab for each piece of
content will give a summary of what DCP-o-matic is doing with that
content.
</para>

<para>
If you want to experiment with other non-standard frame rates, you can
do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
<xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>).  You are strongly advised to
use this only on your own equipment, and only for experimentation
purposes.
</para>

</section>

</chapter>


<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
<title>Encoding servers</title>

<para>
One way to increase the speed of DCP encoding is to use more
than one machine at the same time.  An instance of DCP-o-matic can
offload some of the time-consuming JPEG2000 encoding to any number of
other machines on a network.  To do this, one &lsquo;master&rsquo;
machine runs DCP-o-matic, and the &lsquo;server&rsquo; machines run
a small program called <code>dcpomatic_server</code>.
</para>

<para>
The master and server machines do not need to be the same type, so you
can mix Windows PCs, Macs and Linux machines as you wish.
</para>


<!-- ============================================================== -->
<section>
<title>Running the servers</title>

<para>
There are two options for the encoding server;
<code>dcpomatic_server_cli</code>, which runs on the command line, and
<code>dcpomatic_server</code>, which has a simple GUI.  The command line
version is well-suited to headless servers, especially on Linux, and
the GUI version works best on Windows where it will put an icon in the
system tray.
</para>

<para>
To run the command line version, simply enter:
</para>

<programlisting>
dcpomatic2_server_cli
</programlisting>

<para>
at a command prompt.  If you are running the program on a machine with
a multi-core processor, you can run multiple parallel encoding threads
by doing something like:
</para>

<programlisting>
dcpomatic2_server_cli -t 4
</programlisting>

<para>
to run 4 threads in parallel.
</para>

<para>
To run the GUI version on windows, run the &lsquo;DCP-o-matic encode
server&rsquo; from the start menu.  An icon will appear in the system
tray; right-click it to open a menu from whence you can quit the
server or open a window to show its status.
</para>

<para>If you would rather not bother installing DCP-o-matic on your
server computers, the other option is to use the live-CD
image that you can download from the <ulink
url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>

<para>Either burn the image to CD, or write it to a USB stick (using
something like <ulink
url="http://unetbootin.sourceforge.net/">unetbootin</ulink>).  Boot a
PC from the CD or USB stick and it becomes a DCP-o-matic server
without touching your standard operating system install.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Setting up DCP-o-matic</title>

<para>
DCP-o-matic periodically looks on the local network for servers.  Any
that it finds are given work to do during encodes.  Selecting
<guilabel>Encoding Servers</guilabel> from the
<guilabel>Tools</guilabel> menu brings up a window which shows that
servers that DCP-o-matic has found.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Some notes about encode servers</title>

<para>
DCP-o-matic does not mind if servers come and go; if a server
disappears, DCP-o-matic will stop sending work to it, and will check
it every minute or so in case it has come back online.
</para>

<para>
You will probably find that using a 1Gb/s or faster network will
provide a significant speed-up compared to a 100Mb/s network.
</para>

</section>

</chapter>

<chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Generated files</title>

<para>
DCP-o-matic generates a number of files as it makes a DCP.  <xref
linkend="fig-file-structure"/> shows the files that might be generated
after you have created a DCP for a film called &lsquo;DCP Test&rsquo;.
</para>

<figure id="fig-file-structure"> 
  <title>Creating a new film</title> 
  <mediaobject>
    <imageobject> 
      <imagedata fileref="diagrams/file-structure&dia;"/>
    </imageobject> 
  </mediaobject>
</figure>

<para>
The <code>DCP Test</code> folder is the one that you specify when you
select the <guilabel>New Film</guilabel> option from DCP-o-matic's
menu.  Everything is stored inside this folder.
</para>

<para>
DCP-o-matic generates some working files as it goes along.  These are as follows:
<itemizedlist>

<listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
along.  This can be useful for debugging purposes if something goes
wrong.</listitem>

<listitem><code>metadata</code> stores the settings that you have made
for this film: things like cropping, output format and so on.</listitem>

<listitem><code>video</code> is where DCP-o-matic writes the DCP's
video data as it encodes it.</listitem>

<listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>

<listitem><code>info</code> contains details of each video frame that
DCP-o-matic has written so far.  This is used when an encoding
operation is interrupted and DCP-o-matic must resume it.</listitem>
</itemizedlist>
</para>

<para>
Following this is the DCP itself:
<code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>.  This
contains some small XML files, which describe the DCP, and two large
MXF files, which contain the DCP's audio and video data.  This folder
(<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
to the cinema which is showing your DCP.
</para>

</chapter>

<chapter>
<title>Loose ends</title>

<para>
This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
</para>


<!-- ============================================================== -->
<section>
<title>Resuming encodes</title>

<para>
If you cancel a DCP encoding run half-way through, or your computer
crashes... fear not.  DCP-o-matic takes care to ensure that, in most
cases, it can resume encoding from where it left off.  When you
re-start a DCP creation, using the same settings are a previous run,
DCP-o-matic will first check that the existing picture frames are
correct, and then resume from where it left off.  The checking of
existing frames does take some time, but it is much faster than
running a full re-encode.
</para>

<para>
This resumption is achieved by writing a digest (hash) to disk for
every image frame that is written.  On resumption, the existing MXF
file for image data is read and its contents checked against the
hashes.
</para>

</section>

</chapter>

</book>