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11 <book xmlns="http://docbook.org/ns/docbook" xmlns:mml="http://www.w3.org/1998/Math/MathML" version="5.0" xml:lang="en">
14 <title>DCP-o-matic users' manual</title>
15 <author><firstname>Carl</firstname><surname>Hetherington</surname></author>
18 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
19 <title>Introduction</title>
22 Hello, and welcome to DCP-o-matic!
25 <!-- ============================================================== -->
27 <title>What is DCP-o-matic?</title>
30 DCP-o-matic is a program to generate <ulink
31 url="http://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
32 Cinema Packages</ulink> (DCPs) from almost any video, audio and/or
33 subtitle source files. The resulting DCPs will play on modern digital
40 <!-- ============================================================== -->
42 <title>Licence</title>
45 DCP-o-matic is free and open-source and is licensed under the <ulink
46 url="http://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
53 <!-- ============================================================== -->
55 <title>Acknowledgements</title>
58 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
63 <!-- ============================================================== -->
65 <title>This manual</title>
68 This manual presents bits of DCP-o-matic's user interface (such as menu items or buttons) <guilabel>like this</guilabel>.
72 Notes of an advanced nature are presented like this. Ignore them unless you want to know the gory details.
79 <!-- ============================================================== -->
80 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
81 <title>Installation</title>
84 <!-- ============================================================== -->
86 <title>Windows</title>
89 To install DCP-o-matic on Windows, download the installer from
90 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
91 and double-click it. Click through the installer wizard, and
92 DCP-o-matic will be installed onto your machine.
96 If you are using a 32-bit version of Windows, you will need the 32-bit
97 installer. For 64-bit Windows, either installer will work, but I
98 suggest you used the 64-bit version as it will allow DCP-o-matic to
99 use more memory. You may find that DCP-o-matic crashes if you run
100 many parallel encoding threads (more than 4) on the 32-bit
105 If you are still using Windows XP, download the specific XP version as
106 it should be more stable on your machine than the ‘normal’
113 <!-- ============================================================== -->
115 <title>Mac OS X</title>
118 DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
119 higher. To install it, download the <code>.dmg</code> from <ulink
120 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink> and double
121 click to open it. Then drag the DCP-o-matics icon to your
122 <guilabel>Applications</guilabel> folder or wherever else you would
127 You do not have to install all the applications, but you must always
128 install <code>DCP-o-matic 2.app</code> as the other applications
134 <!-- ============================================================== -->
136 <title>Debian or Ubuntu Linux</title>
139 You can install DCP-o-matic on:
143 <listitem>Debian 7 (‘wheezy’)</listitem>
144 <listitem>Debian 8 (‘jessie’)</listitem>
145 <listitem>Debian unstable (‘sid’)</listitem>
146 <listitem>Ubuntu 12.04 (‘Precise Pangolin’)</listitem>
147 <listitem>Ubuntu 14.04 (‘Trusty Tahr’)</listitem>
148 <listitem>Ubuntu 16.04 (‘Xenial Xerus’)</listitem>
152 using <code>.deb</code> packages: download the appropriate package
153 from <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
154 and double-click it. Debian or Ubuntu will install the necessary bits and
155 pieces and set DCP-o-matic up for you.
158 <!-- ============================================================== -->
161 <!-- ============================================================== -->
163 <title>Fedora Linux</title>
165 <para>There are <code>.rpm</code> packages for Fedora 22 and 23 on
166 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
169 <!-- ============================================================== -->
172 <!-- ============================================================== -->
174 <title>Centos Linux</title>
175 <para>There are <code>.rpm</code> packages for Centos 5, 6.5 and 7 on
176 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
179 <!-- ============================================================== -->
182 <!-- ============================================================== -->
184 <title>Arch Linux</title>
186 Packages for Arch Linux are available from <ulink
187 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
188 thanks to Stefan Karner.
193 <!-- ============================================================== -->
195 <title>Other Linux distributions</title>
198 Installation on other Linux systems (for which no packages are
199 available) is quite hard as it must be compiled from source. If you
200 can't download packages for your distribution, do let me know by
201 <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I will look
202 into providing packages on the website.
206 The following dependencies are required:
208 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
209 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
210 <listitem><ulink url="http://www.mega-nerd.com/SRC/">libsamplerate</ulink></listitem>
211 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
212 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
213 <listitem><ulink url="http://www.imagemagick.org/script/index.php">ImageMagick</ulink></listitem>
214 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
215 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
216 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
217 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
218 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
219 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
220 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
221 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
222 <listitem><ulink url="http://carlh.net/libdcp/">libdcp</ulink></listitem>
223 <listitem><ulink url="http://carlh.net/libsub/">libsub</ulink></listitem>
224 <listitem><ulink url="http://carlh.net/libcxml/">libcxml</ulink></listitem>
225 <listitem><ulink url="http://site.icu-project.org">libicu</ulink></listitem>
230 Once you have installed the development packages for the dependencies,
231 download the source code from <ulink
232 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>,
233 unpack it and run the following commands from inside the source
244 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
259 <!-- ============================================================== -->
260 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
261 <title>Creating a DCP from a video</title>
264 In this chapter we will see how to create a DCP from a video file using
265 DCP-o-matic. We will gloss over the details and look at the basics.
269 <title>Creating a new film</title>
272 Let's make a very simple DCP to see how DCP-o-matic works. First, we
273 need some content. Download the low-resolution trailer for the open
274 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
275 url="http://ftp.nluug.nl/ftp/graphics/blender/apricot/trailer/Sintel_Trailer1.480p.DivX_Plus_HD.mkv">their
276 website</ulink>. Generally one would want to use the
277 highest-resolution material available, but for this test we will use
278 the low-resolution version to save everyone's bandwidth bills.
282 Now, start DCP-o-matic and its window will open. First, we will
283 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
284 some pieces of content, along with some settings, which we will make into
285 a DCP. DCP-o-matic stores its data in a folder on your disk while it
286 creates the DCP. You can create a new film by selecting
287 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
288 shown in <xref linkend="fig-file-new"/>.
291 <figure id="fig-file-new">
292 <title>Creating a new film</title>
295 <imagedata fileref="screenshots/file-new&scs;"/>
301 This will open a dialogue box for the new film, as shown in <xref
302 linkend="fig-video-new-film"/>.
305 <figure id="fig-video-new-film">
306 <title>Dialogue box for creating a new film</title>
309 <imagedata fileref="screenshots/video-new-film&scs;"/>
315 In this dialogue box you can choose a name for the film. This will be
316 used to name the folder to store its data in, and also as the initial
317 name for the DCP itself. You can also choose whereabouts you want to create
318 the film. In the example from the figure, DCP-o-matic will create a
319 folder called ‘DCP Test’ inside my home folder (carl) into which it
320 will write its working files.
326 <!-- ============================================================== -->
328 <title>Adding content</title>
331 The next step is to add the content that you want to use. DCP-o-matic
332 can make DCPs from multiple pieces of content, but in this simple
333 example we will just use a single piece. Click the <guilabel>Add
334 file(s)...</guilabel> button, as shown in <xref
335 linkend="fig-add-file"/>, and a file chooser will open for you to
336 select the content file to use, as shown in <xref
337 linkend="fig-video-select-content-file"/>.
340 <figure id="fig-add-file">
341 <title>Adding content files</title>
344 <imagedata fileref="screenshots/add-file&scs;"/>
349 <figure id="fig-video-select-content-file">
350 <title>Selecting a video content file</title>
353 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
359 Select your content file and click <guilabel>Open</guilabel>. In this
360 case we are using the Sintel trailer that we downloaded earlier.
364 When you do this, DCP-o-matic will take a look at your file. After a
365 short while (when the progress bar at the bottom right of the window
366 has finished), you can look through your content using the slider to
367 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
370 <figure id="fig-examine-content">
371 <title>Examining the content</title>
374 <imagedata fileref="screenshots/examine-content&scs;"/>
380 Dragging the slider will move through your video. You can also click
381 the <guilabel>Play</guilabel> button to play the content back. <emphasis>Note
382 that there will be no sound</emphasis>, and playback might not be entirely
383 accurate (it may be slightly slower or faster than it should be, for
384 example). This player is really only intended for brief inspection of
385 content; if you need to check it more thoroughly, use another player
387 url="http://projects.gnome.org/totem/index.html">Totem</ulink>, <ulink
388 url="http://www.mplayerhq.hu/design7/news.html">mplayer</ulink> or
389 <ulink url="http://www.videolan.org/vlc/index.html">VLC</ulink>.
397 <!-- ============================================================== -->
399 <title>Making the DCP</title>
401 <para>In most cases, some adjustments would be made to DCP-o-matic's
402 settings once the content has been added. For our simple test,
403 however, the default values will suffice, so we can go straight onto
404 making the DCP.</para>
407 Choose <guilabel>Make DCP</guilabel> from the
408 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
409 This may take some time (many hours in some cases). While the job is
410 in progress, DCP-o-matic will update you on how it is getting on with
411 the progress bar in the bottom of its window, as shown in <xref
412 linkend="fig-making-dcp"/>.
415 <figure id="fig-making-dcp">
416 <title>Making the DCP</title>
419 <imagedata scale="50" fileref="screenshots/making-dcp&scs;"/>
425 When it has finished, the DCP will end up on your disk inside the
426 film's folder. You can then copy this to a projector via a USB
427 stick, hard-drive or network connection. See <xref
428 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
432 Alternatively, if you have a projector or Theatre Management System
433 (TMS) that is accessible via SCP or FTP across your network, you can upload
434 the content directly from DCP-o-matic. See the <xref
435 linkend="sec-prefs-tms" endterm="sec-prefs-tms-short"/> in <xref linkend="sec-prefs-tms"/>.
442 <!-- ============================================================== -->
443 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
444 <title>Creating a DCP from a still image</title>
447 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
448 for an advertisement or an on-screen announcement. This chapter shows you
453 As with DCPs made from video files, the first step is to create a new
454 ‘Film’; select <guilabel>New</guilabel> from the
455 <guilabel>File</guilabel> menu and the new film dialogue will open as
456 shown in <xref linkend="fig-still-new-film"/>.
459 <figure id="fig-still-new-film">
460 <title>Dialogue box for creating a new film</title>
463 <imagedata fileref="screenshots/still-new-film&scs;"/>
469 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
470 the content. As before, click <guilabel>Add file(s)...</guilabel>.
471 For our example, we will add a single image file, as shown in <xref
472 linkend="fig-still-select-content-file"/>.
475 <figure id="fig-still-select-content-file">
476 <title>Selecting a still content file</title>
479 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
485 Most of the default settings will be fine for a simple test. The one
486 thing that you might wish to change is the length of the still.
487 Select the <guilabel>Timing</guilabel> tab and you will see a
488 <guilabel>Play length</guilabel> setting, as shown in <xref
489 linkend="fig-timing-tab"/>.
492 <figure id="fig-timing-tab">
493 <title>The timing tab</title>
496 <imagedata fileref="screenshots/timing-tab&scs;"/>
502 This length is a ‘timecode’: it consists of four numbers.
503 The first is hours, the second minutes, the third seconds, and the
504 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
508 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
509 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
510 be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
511 to encode a single frame which it can then repeat.
517 <!-- ============================================================== -->
518 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
519 <title>Manipulating existing DCPs</title>
522 Frequently DCP-o-matic is used to take content in formats such as MP4
523 and convert it to JPEG2000 for a DCP. It can also be used
524 to take existing DCPs and modify them in various ways.
528 <title>Importing a DCP into DCP-o-matic</title>
531 If you want to do something to an existing DCP the first step is to
532 import it. Click <guilabel>Add folder...</guilabel> and select your
533 DCP's folder. It will be added to the DCP-o-matic project. If the
534 DCP is unencrypted you can preview it in the normal way, though
535 playback will be very slow as decoding of DCPs is almost as
536 computationally intensive as encoding them.
540 If your DCP is a Version File (VF), in other words it refers to
541 another DCP's assets, you should import it as follows:
545 <listitem>Use <guilabel>Add folder...</guilabel> to import the VF DCP.
546 The VF DCP will be added to the content list and marked “NEEDS
547 OV”.</listitem>
548 <listitem>Right-click on the VF DCP in the content list and choose <guilabel>Add OV...</guilabel> from the menu.</listitem>
549 <listitem>Choose the folder that contains the OV DCP. The VF will now be playable as normal.</listitem>
556 <title>Decrypting encrypted DCPs</title>
559 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
560 details). If you import an encrypted DCP you will need a key, in the
561 form of a Key Delivery Message (KDM), to decrypt it.
565 KDMs must be prepared by the organisation which created the DCP. They
566 contain the keys to decrypt the DCP wrapped up in such a way that only
567 the intended recipient can read them. You will need to provide the
568 organisation with a certificate which identifies your copy of
569 DCP-o-matic and allows them to create a KDM for you.
573 To get DCP-o-matic's decryption certificate, open the Preferences
574 dialogue (see <xref linkend="ch-preferences"/>) and go to the
575 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
576 decryption certificate...</guilabel> button at the bottom of this tab
577 and save the certificate. Send this certificate to the DCP creators
578 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
582 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
583 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and (all
584 being well) the DCP will be decrypted and become available for preview.
591 <title>Making a DCP from a DCP</title>
594 In many ways, using DCPs as <emphasis>content</emphasis> in
595 DCP-o-matic is the same as using any other content. There are a few
596 things to note, though.
601 <title>Re-use of existing data</title>
604 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
605 data from DCP content without modification. This has the advantage
606 that creation of the new DCP will be quick, as the time-consuming
607 JPEG2000 encoding is not necessary.
611 DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
612 the following content settings:
616 <listitem>Crop</listitem>
617 <listitem>Scaling</listitem>
618 <listitem>Subtitle burn-in</listitem>
619 <listitem>Fades</listitem>
620 <listitem>Colour conversion</listitem>
624 If you do change any of these settings on a piece of DCP content
625 DCP-o-matic will decode and then re-encode the JPEG2000 data.
631 <section xml:id="sec-overlay">
632 <title>Making overlay files</title>
635 With its default settings, DCP-o-matic will take any data from DCP
636 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
639 <figure id="fig-dcp-copy">
640 <title>Creating a new DCP by copying an existing one</title>
641 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
645 This can be inefficient in some cases. Consider, for example, a film
646 which has ten different translations for which the subtitles are
647 different but video and audio are the same. If the video and audio
648 content takes up, say, 100Gb this means that the set of DCPs for every
649 translation would be about 1Tb with a lot of duplicated data.
653 The DCP format has a solution to this problem. One DCP can refer to
654 the ‘assets’ (picture, sound or subtitle) of another DCP.
655 For our translation example this means that we could have a
656 ‘base’ DCP (often called the OV or Original Version)
657 containing video, audio and one set of subtitles and then any number
658 of overlay DCPs (often called VF or Version Files) which refer to the
659 base version and replace the original subtitles with their own. <xref
660 linkend="fig-dcp-refer"/> shows this principle for one of our
661 translations. The DCP that we make refers to the original content
662 DCP's video and audio rather than containing a copy.
665 <figure id="fig-dcp-refer">
666 <title>Creating a new DCP by referring to an existing one</title>
667 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
671 To play back the subtitled DCP the projectionist ingests both the base
672 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
676 To make a DCP like this:
680 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
681 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
682 <listitem>Select the DCP in the content list</listitem>
683 <listitem>Tick the <guilabel>Refer to existing DCP</guilabel> checkbox
684 in the tabs for the parts of the DCP that you want to refer to in your
685 new DCP. For example, to refer to the Content DCP's video and audio you would select the <guilabel>Video</guilabel> tab, click <guilabel>Refer to existing DCP</guilabel> then select the <guilabel>Audio</guilabel> tab and do the same.</listitem>
686 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
696 <!-- ============================================================== -->
699 <!-- ============================================================== -->
700 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
701 <title>Content settings</title>
704 The previous chapters showed DCP generation using the default
705 settings. DCP-o-matic offers a range of features to adjust the
706 content that goes into your DCP, and this chapter describes those
711 <title>Adding and removing content</title>
714 At the top of the <guilabel>Content</guilabel> tab is a list of the
715 content that will go into our DCP. There can be as many pieces of
716 content as you like, and they can be of the following types:
720 <listitem>Movie — a file containing some video, probably some
721 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
724 <listitem>Sound — a file containing one or more channels of
725 audio; for example, a WAV or AIFF file.
728 <listitem>Still image — a file containing a single still image; for
729 example, a JPEG, PNG or TIFF file.
732 <listitem>Moving image — a directory containing many still
733 images which should be treated as the frames of a video.
736 <listitem>Subtitle — a file containing subtitle which will be
737 superimposed on the image of the DCP. These can be
738 <guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel>, <guilabel>.ass</guilabel> or <guilabel>.xml</guilabel>
741 <listitem>DCP — an existing DCP.</listitem>
745 To add one or more movie, sound, still-image or subtitle files, select
746 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
750 To add a directory (folder) of images or a DCP, choose <guilabel>Add
751 folder...</guilabel> and choose the directory from the selector. If
752 you select a folder of images DCP-o-matic will open a small dialogue
753 box where you can enter the frame rate that the image sequence should
758 You can remove a piece of content by clicking on its name and then
759 clicking the <guilabel>Remove</guilabel> button.
764 <!-- ============================================================== -->
766 <title>Adding existing DCPs</title>
768 <para>Adding existing DCPs to a DCP-o-matic film is a little different
769 to adding other types of content. Most content has to be converted to
770 JPEG2000, the compression scheme used by DCPs, which is a very
771 time-consuming process. Existing DCPs are already in JPEG2000 format
772 so do not require conversion. This means that, provided no settings
773 such as crop are used on the DCP content, picture and sound data will
774 be passed from existing to new DCP unaltered.
777 <para>Encrypted DCPs that are added as content will require a KDM
778 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
779 should ask the creator of the imported DCP to provide a KDM for
780 DCP-o-matic's decryption certificate, which can be obtained by
781 clicking <guilabel>Export DCP decryption certificate...</guilabel>
782 from the <guilabel>Keys</guilabel> tab of the
783 <guilabel>Preferences</guilabel> dialog (see <xref
784 linkend="sec-prefs-keys"/>).
789 <!-- ============================================================== -->
791 <title>Content Properties</title>
794 Below the content list are the controls to set content properties. To
795 adjust the properties for a piece of content, click its name in the
796 content list. The content property controls will then become active
797 for that piece of content.
801 If you want to change the properties for multiple pieces of content at
802 the same time, select the content in the list by clicking the first
803 piece then clicking the other pieces with <keycap>shift</keycap> key
804 held down. Note that not all settings can be changed in this way.
808 The content properties are split up into four sections:
809 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
810 <guilabel>Subtitles</guilabel> and <guilabel>Timing</guilabel>. Not
811 all of these sections will be active for all content types. The controls
812 in each section are described below.
818 <!-- ============================================================== -->
823 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
826 <figure id="fig-video-tab">
827 <title>Video settings tab</title>
830 <imagedata fileref="screenshots/video-tab&scs;"/>
836 <!-- ============================================================== -->
838 <title>Refer to existing DCP</title>
841 This option is only applicable if the selected content is an existing
842 DCP. It allows you to get the video content from the existing DCP by
843 referencing it (rather than copying). See <xref
844 linkend="sec-overlay"/>.
849 <!-- ============================================================== -->
851 <title>Image type</title>
854 The next option on this tab is the ‘type’ of the video.
855 This specifies how DCP-o-matic should interpret the video's image.
856 <guilabel>2D</guilabel> is the default; this just takes the video
857 image as a standard 2D frame. The <guilabel>3D
858 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
859 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
862 <figure id="fig-3d-left-right">
863 <title>3D left/right image type</title>
866 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
872 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
873 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
874 linkend="fig-3d-top-bottom"/>.
877 <figure id="fig-3d-top-bottom">
878 <title>3D top/bottom image type</title>
881 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
887 Another option is <guilabel>3D alternate</guilabel> which takes the
888 first frame of the content as for the left eye, the second for the
889 right eye, the third for the left, and so on. Finally, you can
890 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
891 only</guilabel> if this content contains only the the left or right
892 eye images. This is useful when you have the left and right eye image
893 sets in different files; you can specify one content as <guilabel>3D
894 left only</guilabel> and another as <guilabel>3D right only</guilabel>
895 and DCP-o-matic will pick up the appropriate frames from each.
901 <!-- ============================================================== -->
903 <title>Filtering</title>
906 The ‘filters’ settings allow you to apply various video
907 filters to the image. These may be useful to try to improve
908 poor-quality sources like DVDs. You can set up the filters by clicking the
909 <guilabel>Edit</guilabel> button next to the filters entry in the
910 setup area of the DCP-o-matic window; this opens the filters selector
911 as shown in <xref linkend="fig-filters"/>.
914 <figure id="fig-filters">
915 <title>Filters selector</title>
918 <imagedata fileref="screenshots/filters&scs;"/>
924 After changing the filters setup, you will need to regenerate the DCP
925 to see the effect on the cinema screen. The preview in DCP-o-matic
926 will update itself whenever filters are changed, though of course this
927 image is much smaller and of lower resolution than a projected image!
933 <!-- ============================================================== -->
935 <title>Colour conversion</title>
938 The <guilabel>Colour conversion</guilabel> setting specifies what
939 colour transforms and gamma correction DCP-o-matic will use when
940 converting the selected content into the XYZ colourspace for the DCP.
944 The easiest way to select the required conversion is to choose one of
945 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
946 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
947 know which preset you should use, refer to the suggestions in <xref
948 linkend="tab-colour-conversion"/>.
951 <table id="tab-colour-conversion">
952 <title>Suggested colour conversion settings</title>
953 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
954 <colspec colwidth='1*'/>
955 <colspec colwidth='5*'/>
958 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs</entry>.
961 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
964 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
967 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
974 For other required colour conversions, and if you know what you are
975 doing, you can choose <guilabel>Custom</guilabel> which will open the full
976 colour conversion editing dialogue box:
979 <figure id="fig-colour-conversion">
980 <title>Dialogue box for custom colour conversion</title>
983 <imagedata fileref="screenshots/colour-conversion&scs;"/>
989 Alternatively, choose <guilabel>None</guilabel> if your source files
990 are already in the XYZ colour space and require no conversion.
994 DCP-o-matic's colour conversion processes are discussed in much more
995 detail in a separate document <ulink
996 url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
1001 <!-- ============================================================== -->
1003 <title>Other settings</title>
1006 The <guilabel>crop</guilabel> settings can be used to crop your content,
1007 which can be used to remove black borders from round the edges of DVD
1008 images, for example. The specified number of pixels will be trimmed
1009 from each edge, and the content image in the right of the window will
1010 be updated to show the effect of the crop.
1014 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
1015 settings can be used to apply linear fades into and out of a piece of
1016 content. Specify the time for each, clicking <guilabel>Set</guilabel>
1017 after making any changes.
1021 The <guilabel>Scale to</guilabel> option governs the shape that
1022 DCP-o-matic will scale the content's image into. Select the aspect
1023 ratio that your content should be presented in.
1028 <!-- ============================================================== -->
1030 <title>Video description</title>
1033 At the bottom of the video tab is a short description of what will
1034 happen to your video with the current settings. In the example of
1035 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
1036 video file is 1920x1080 pixels and it has square pixels (a pixel
1037 aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since
1038 the controls specify ‘16.9’ for the ratio, DCP-o-matic
1039 does not scale the image but pads it to the DCP's container ratio of
1040 1.85:1. For a 2K DCP this is 1998x1080 pixels.
1044 This description also gives the frame rate of the content and what
1045 will happen to it when it is played at the DCP's frame rate. See
1046 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
1047 frame-rate conversion.
1055 <!-- ============================================================== -->
1057 <title>Audio</title>
1060 The <guilabel>Audio</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-audio-tab"/>.
1063 <figure id="fig-audio-tab">
1064 <title>Audio settings tab</title>
1067 <imagedata fileref="screenshots/audio-tab&scs;"/>
1072 <!-- ============================================================== -->
1074 <title>The audio map</title>
1077 The section at the bottom of the audio tab is the ‘audio
1078 map’. This governs how sound from the content will be arranged
1083 Down the left-hand side of the map is the list of audio channels in
1084 the currently-selected piece of content. These are labelled with two
1085 numbers; the first is the stream index within the content and the
1086 second is the channel number within that stream. Some content will
1087 have different streams for different languages or audio mixes. Along
1088 the top is each channel in the DCP. A green box means that the
1089 corresponding content channel will be copied into the corresponding
1094 When content channels are copied into DCP channels they can be done
1095 with variable gain. If, for example, you want to copy a channel
1096 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1097 two channels into one, you may want to use a gain of -6dB on each one
1098 to prevent clipping when the two channels are added.
1102 The green boxes of the audio mapping view tell you (very roughly) how
1103 much gain is applied to each channel. A full-height box means 0dB
1104 (i.e. unity) gain. Any less height indicates lower gain.
1108 To map one channel to another with 0dB gain, click in the empty box
1109 and it will turn green to reflect the mapping. A second click will
1110 turn the mapping back off. To set some other gain, right-click on the
1111 box to open the gain menu. This allows you to set
1112 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1113 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1114 <guilabel>Edit</guilabel> which allows you to set the required gain
1119 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1122 <figure id="fig-audio-map-eg1">
1123 <title>Audio map example 1</title>
1126 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1132 Here, we have two channels in the source which are mapped to left and
1133 right, respectively, in the DCP. The full green boxes show that the
1134 mapping is at unity gain (0dB) in each case. Imagine that we modify
1135 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1138 <figure id="fig-audio-map-eg2">
1139 <title>Audio map example 2</title>
1142 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1148 We now have the content's streams mapped to left and right and also
1149 mixed together and placed in the DCP's centre channel. The smaller
1150 green boxes on the centre mappings show that those channels are added
1151 with some non-unity gain; you can see by hovering the mouse pointer
1152 over those boxes that the gain for content channels 1 and 2 is -6dB
1153 when being sent to the centre channel and 0dB when being sent to left
1157 <figure id="fig-audio-map-eg3">
1158 <title>Audio map example 3</title>
1161 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1167 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1168 shows the mapping of a 5.1 source into a 5.1 DCP.
1174 <!-- ============================================================== -->
1176 <title>Other controls</title>
1179 The <guilabel>Refer to existing DCP</guilabel> checkbox isonly
1180 applicable if the selected content is an existing DCP. It allows you
1181 to get the audio content from the existing DCP by referencing it
1182 (rather than copying). See <xref linkend="sec-overlay"/>.
1186 <guilabel>Show graphs of audio levels</guilabel> will analyse the
1187 audio of the selected content and plot it on a graph. See <xref
1188 linkend="sec-show-audio"/> for more details.
1192 ‘Audio Gain’ is used to alter the volume of the
1193 soundtrack. The specified gain (in dB) will be applied to each sound
1194 channel of your content before it is written to the DCP.
1198 If you use a sound processor that DCP-o-matic knows about, it can help
1199 you calculate changes in gain that you should apply. Say, for
1200 example, that you make a test DCP and find that you have to run it at
1201 volume 5 instead of volume 7 to get a good sound level in the screen.
1202 If this is the case, click the <guilabel>Calculate...</guilabel>
1203 button next to the audio gain entry, and the dialogue box in <xref
1204 linkend="fig-calculate-audio-gain"/> will open.
1207 <figure id="fig-calculate-audio-gain">
1208 <title>Calculating audio gain</title>
1211 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1217 For our example, put 5 in the first box and 7 in the second and click
1218 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1219 that it should apply to make this happen. Then you can re-make the
1220 DCP (this will be reasonably fast, as the video data will already have
1221 been done) and it should play back at the correct volume with 7 on
1222 your sound-rack fader.
1226 Current versions of DCP-o-matic only know about the Dolby CP650 and
1227 CP750. If you use a different sound processor, and know the gain
1228 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1233 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1234 between audio and video. A positive delay will move the audio later
1235 with respect to the video, and a negative delay will move it earlier.
1242 <!-- ============================================================== -->
1244 <title>Subtitles</title>
1247 The subtitles tab contains settings related to subtitles in your
1248 content, as shown in <xref linkend="fig-subtitles-tab"/>.
1251 <figure id="fig-subtitles-tab">
1252 <title>Subtitle settings tab</title>
1255 <imagedata fileref="screenshots/subtitles-tab&scs;"/>
1261 DCP-o-matic can either:
1265 <listitem>Extract subtitles that are embedded in video files, or</listitem>
1266 <listitem>Use subtitles from SubRip (<code>.srt</code>), SubStation
1267 Alpha (<code>.ssa</code>) or DCP XML files. You may find the great
1269 url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
1270 for creating such files.</listitem>
1274 Embedded subtitles are usually represented using a set of bitmaps,
1275 especially on files that have come from DVD or BluRay. Such subtitles
1276 can (currently) only be ‘burnt’ into the DCP (that is,
1277 they are included in the image and not overlaid by the projector).
1281 With SubRip, SubStation Alpha or DCP subtitles you have the choice to
1282 either burn-in or include the subtitles as separate subtitle
1283 ‘asset’ within your DCP (in which case the projector
1284 overlays them onto the image on playback). The difference between
1285 burn-in and overlay is illustrated by <xref linkend="fig-burn-in"/>
1286 and <xref linkend="fig-discrete"/>.
1289 <figure id="fig-burn-in">
1290 <title>Burnt-in subtitles</title>
1293 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1298 <figure id="fig-discrete">
1299 <title>Separate subtitles</title>
1302 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1308 The advantage of separate subtitles is that the same video content can
1309 be used for DCPs in many different languages. This means that only a
1310 small text file needs to be changed for each target language, rather
1311 than a large video file. It also means that the time-consuming video
1312 encoding need only be done once for the project rather than once for
1317 Select the <guilabel>Use Subtitles</guilabel> check-box to enable
1318 the subtitles in the selected content.
1322 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1323 burn these subtitles into the image; if this is not ticked the
1324 subtitles will be included separately in the DCP to be rendered by the
1325 projector. This check-box will always be ticked if you are using
1326 embedded ‘image’ subtitles.
1330 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1331 controls move the subtitles around within the image. The offsets are
1332 expressed as a percentage of the video frame size; 100% X offset is
1333 the entire width of the frame, and 100% Y offset is the entire height.
1334 Hence, to move the subtitles down by half the frame height you would
1335 use a Y offset of 50%.
1339 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1340 controls scale the subtitles. Scale values of 1 make the subtitles
1341 the same size (relative to the size of the image) as they are on the
1342 original. Values lower than 1 make them smaller, and values higher
1343 make them larger. You can stretch the subtitles in either direction
1344 by specifying different values for X and Y scale. Subtitles from DVD
1345 and Blu Ray sources are frequently larger (relative to the video
1346 frame) than those typically used for DCP, so it is often useful to
1347 scale such subtitles down using these controls.
1351 The <guilabel>Line spacing</guilabel> control adjusts the line spacing
1352 of the subtitles. This only works for non-embedded (text) subtitles.
1356 The <guilabel>Stream</guilabel> control changes the subtitle stream
1357 that is used when the content has more than one.
1361 If you are using non-embedded (text) subtitles you can see the
1362 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1363 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1367 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1368 change how the subtitles look.
1374 <!-- ============================================================== -->
1376 <title>Timing</title>
1379 The timing tab contains settings related to the timing of your
1380 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1383 <figure id="fig-timing-tab-detail">
1384 <title>Timing settings tab</title>
1387 <imagedata fileref="screenshots/timing-tab&scs;"/>
1393 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1394 These are expressed as four numbers, as shown in <xref
1395 linkend="fig-timecode"/>.
1398 <figure id="fig-timecode">
1399 <title>Timecode</title>
1402 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1408 <guilabel>Position</guilabel> is the time at which this piece of
1409 content should start within the DCP. In most cases, this will be
1410 <code>0:0:0:0</code> to make the content start at the beginning of the
1415 <guilabel>Full length</guilabel> is the length of the piece of
1416 content. This can only be set for still-image content: for video or
1417 sound content, it is fixed by the nature of the content file. If
1418 still-image content is being used you can set the length for which it
1419 should be displayed using this control.
1423 <guilabel>Trim from start</guilabel> specifies the amount that should
1424 be trimmed from the start of the content. You can set this amount to
1425 trim up to the current preview position by clicking <guilabel>Trim up
1426 to current position</guilabel>.
1430 <guilabel>Trim from end</guilabel> specifies the amount that should be
1431 trimmed from the end of the content. You can set this amount to trim
1432 after the current preview position by clicking <guilabel>Trim after to
1433 current position</guilabel>.
1437 <guilabel>Play length</guilabel> indicates how long this piece of
1438 content will be once the trims have been applied. This will be equal
1439 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1443 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1444 still-image content. It can also be used to override the detected
1445 frame rate of other content if DCP-o-matic has got it wrong.
1449 Each timecode control has a <guilabel>Set</guilabel> which you should
1450 click when you have entered a new value for a timecode. The
1451 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1452 any changes to the corresponding timecode.
1458 <!-- ============================================================== -->
1460 <title>Video processing pipeline</title>
1463 This section gives a little more detail about how DCP-o-matic process
1464 video as it takes it from a source and puts it into a DCP.
1468 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1469 image which is letterboxed with 36 black pixels each at the top and
1470 bottom, and the video content within the letterbox should be presented
1471 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1472 happen with a trailer). The source image is shown in <xref
1473 linkend="fig-pipeline1"/>.
1476 <figure id="fig-pipeline1">
1477 <title>Example image to demonstrate video processing</title>
1480 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1486 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1490 <listitem>Crop</listitem>
1491 <listitem>Scale</listitem>
1492 <listitem>Place in container</listitem>
1496 First, some amount of the image can be cropped. This is almost always
1497 used to remove black borders (letterboxing and/or pillarboxing) around
1502 In our example image, we would use 36 pixels of crop from the top and
1503 bottom. This would give the new image shown in <xref
1504 linkend="fig-pipeline2"/>.
1507 <figure id="fig-pipeline2">
1508 <title>Example image after cropping</title>
1511 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1517 The next step is to scale the image. Since this content should be
1518 presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select
1519 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1520 option in the <guilabel>Video</guilabel> tab and
1521 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1522 option in the <guilabel>DCP</guilabel> tab.
1525 <para>The <guilabel>Scale to</guilabel> option should always be set to
1526 the aspect ratio at which the content should be seen. The
1527 <guilabel>Container</guilabel> option should be set to the preset that
1528 you want to use on the projector. Of course, these two settings will
1533 Given the scaling and container information, DCP-o-matic will look at
1534 the DCP's container size, and then scale the source image up until one
1535 or both of its dimensions (width, height or both) fits the size of the
1536 container, all the while preserving the desired aspect ratio.
1540 In our example here, the DCP's container is specified as 1.85:1 (so
1541 that the DCP will play back correctly using the projector's
1542 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1543 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1544 result in the image hitting the sides of the container first, at a
1545 size of 1998 x 836. This gives us a new version of the image as shown
1546 in <xref linkend="fig-pipeline3"/>.
1549 <figure id="fig-pipeline3">
1550 <title>Example image after cropping and scaling</title>
1553 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1559 The final step is to place the image into the DCP. In this case,
1560 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1561 we have set the <guilabel>container</guilabel> in the
1562 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1563 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1564 be some black bars at the top and bottom of the image. DCP-o-matic
1565 shares out this black equally, as shown in <xref
1566 linkend="fig-pipeline3"/>.
1569 <figure id="fig-pipeline4">
1570 <title>Example image in the DCP</title>
1573 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1582 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1583 <title>DCP settings</title>
1586 This chapter describes the settings that apply to the whole DCP. The
1587 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1588 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1591 <figure id="fig-dcp-tab">
1592 <title>DCP settings tab</title>
1595 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1601 The first thing here is the name. This is generally set to the title
1602 of the film that is being encoded. If <guilabel>Use ISDCF
1603 name</guilabel> is not ticked, the name that you specify will be used
1604 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1605 is ticked, the name that you enter will be used as part of a
1606 ISDCF-compliant name.
1610 Underneath the name field is a preview of the name that the DCP will
1611 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1612 name</guilabel> check-box. The ISDCF name will be composed using details
1613 of your content's soundtrack, the current date and other things that
1614 can be specified in the ISDCF name details dialogue box, which you can
1615 open by clicking on the <guilabel>Details</guilabel> button.
1619 If you want to take the ISDCF-compliant name that DCP-o-matic
1620 generates and modify it, click <guilabel>Copy as name</guilabel> and
1621 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1622 You can then edit it as you wish. The DCP name should not matter (in
1623 that it should not affect how the DCP ingests or plays) but
1624 projectionists will appreciate it if you use the standard naming
1625 scheme as it makes it easier to identify details of the content.
1629 The <guilabel>Content Type</guilabel> option can be
1630 ‘feature’, ‘trailer’ or whatever; select the
1631 required type from the drop-down list. On some projection systems
1632 this will affect where your content appears in the projector's server
1633 user interface, so take care to select an appropriate type.
1637 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1638 is signed. This is rarely important; if in doubt, tick it.
1642 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1643 should be encrypted or not. If this is ticked, the DCP will require a
1644 KDM to play back. Encryption is discussed in <xref
1645 linkend="ch-encryption"/>.
1649 If you use encryption DCP-o-matic will generate a random encryption
1650 key for you. To specify your own key, click the
1651 <guilabel>Edit..</guilabel> button next to the key.
1655 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1656 controls specify how the DCP will be split up into
1657 ‘reels’. See <xref linkend="sec-reels"/> below.
1661 The <guilabel>Standard</guilabel> option specifies which of the two
1662 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1663 more modern of the two).
1667 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1668 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1672 At the bottom of the DCP tab are a further two tabs, one each to
1673 contain the settings for the DCP's video and audio parts.
1677 The <guilabel>Container</guilabel> option sets the ratio of the image
1678 in the DCP. If this ratio is different to the ratio used for any
1679 content, DCP-o-matic will pad the content with black. In simple cases
1680 this should be set to the same ratio as that for the the primary piece
1681 of video content. Alternatively, you might want to pillarbox a small
1682 format into a Flat container: in this case, select the small format
1683 for the content's ratio and ‘Flat’ for the DCP.
1687 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1688 your DCP. This can be a little tricky to get right. Ideally, you
1689 want it to be the same as the video content that you are using. If it
1690 is not the same, DCP-o-matic must resort to some tricks to alter your
1691 content to fit the specified frame rate. Frame rates are discussed in
1692 more detail in <xref linkend="ch-frame-rates"/>.
1696 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1697 to what DCP-o-matic thinks is the best given the content that you have
1702 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1703 is checked. A 3D DCP will then be created, and any 2D content will be
1704 made 3D compatible by repeating the same frame for both left and right
1705 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1706 Real-D etc.) but not on a 2D system.
1710 The <guilabel>Resolution</guilabel> tab allows you to choose the
1711 resolution for your DCP. Use 2K unless you have content that is of
1712 high enough resolution to be worth presenting in 4K.
1716 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1717 the final image files used within the DCP will be. Larger numbers
1718 will give better quality, but correspondingly larger DCPs. The
1719 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1720 Most commercial DCPs use bit rates between 75 and 125 MBit/s.
1724 The <guilabel>Audio Channels</guilabel> control sets the number of
1725 audio channels that the DCP will have. If the DCP has any channels
1726 for which there is no content audio they will be replaced by silence.
1727 You can only set an even number of channels here, since that is
1728 required by the DCI standard. If you want an odd number of channels,
1729 set the DCP channel count to one greater than you need and the
1730 unused channel will be filled with silence.
1734 The <guilabel>Processor</guilabel> control allows you to select a
1735 process to apply to the audio before it goes into the DCP. Three processes are currently provided:
1739 <listitem>Mid-side decode — this will take a L/R
1740 stereo input and extract the common part (corresponding to the
1741 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1742 The remaining L/R parts will be kept in the L/R channels of the DCP.
1743 This may be useful to make near-field L/R mixes more compatible with
1744 cinema audio systems.</listitem>
1745 <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:
1747 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1748 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1749 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1750 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1751 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1752 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1755 This upmixing algorithm is due to Gérald Maruccia.
1758 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1760 <listitem>DCP L is input L.</listitem>
1761 <listitem>DCP R is input R.</listitem>
1762 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1763 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1764 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1769 <!-- ============================================================== -->
1770 <section xml:id="sec-reels">
1771 <title>Reels</title>
1774 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1775 way as a 35mm reel is a section of a film. A DCP can be split up into
1776 any number of reels and the joins (the equivalent to 35mm splices)
1777 between the reels are seamless.
1781 There is no reason why you can't just use a single reel for the whole
1782 of your DCP, as there is no limit on their length. Many people choose
1787 There are, however, some possible advantages of splitting things up
1793 The picture, sound and subtitle data of the DCP will be
1794 split up into more smaller files on disk, rather than fewer larger
1795 files. This can be useful if the DCP is to be transferred on storage
1796 that have file size limits. The FAT32 filesystem, for example, can
1797 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1798 not be transferred using a FAT32-formatted disk. If that DCP were
1799 split up into two 3Gb reels it could be transferred.
1802 It is easier to re-use DCP components if they are in reels. Consider,
1803 for example, a film company who wants to put a 5 second ident onto the
1804 beginning of DCPs that they distribute. If they receive a feature
1805 film DCP they can modify it to add their ident as a separate reel.
1806 This is easier than attaching the picture data in the DCP.
1811 DCP-o-matic offers three options for setting up the reels in your DCP:
1812 single reel, split by video content or custom.
1816 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1817 This is a perfectly good option if you have no particular reason to
1822 <guilabel>Split by video content</guilabel> puts each piece of source
1823 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1826 <figure id="fig-reels-by-video">
1827 <title>Making reels using split by video content</title>
1828 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1832 Here we have three video files (<code>ident.mp4</code>,
1833 <code>feature.ts</code> and <code>cred.mov</code>). With
1834 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1835 reel to hold each video file.
1839 <guilabel>Custom</guilabel> splits reels by the size of the files that
1840 will make up their video content. With <guilabel>Custom</guilabel>
1841 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1847 <!-- ============================================================== -->
1848 <section xml:id="sec-show-audio">
1849 <title>Show audio</title>
1852 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1853 to examine the audio in your content and plot a graph of its level
1854 over time. This can be useful for getting a rough idea of how loud
1855 the sound will be in the cinema auditorium. A typical plot is shown
1856 in <xref linkend="fig-audio-plot"/>
1859 <figure id="fig-audio-plot">
1860 <title>Audio plot</title>
1863 <imagedata fileref="screenshots/audio-plot&scs;"/>
1869 The plot gives the audio level (vertical axis, in dB) with time
1870 (horizontal axis). 0dB represents full scale, so if there is anything
1871 near this you are in danger of clipping the projector's audio outputs.
1875 There are two plot types: the peak level and the RMS, which can be
1876 shown or hidden using the check-boxes on the right hand side of the
1881 The channel check-boxes will show or hide the plot(s) for
1882 the corresponding channels in the DCP.
1886 The smoothing slider applies a variable degree of temporal smoothing
1887 to the plots, which can make them easier to read in some cases.
1891 Obviously the audio plot is no substitute for listening in an
1892 auditorium, but it can be useful to get levels in the right rough area.
1900 <!-- ============================================================== -->
1901 <chapter xml:id="ch-templates" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1902 <title>Templates</title>
1905 If you frequently make DCPs with similar settings you may find it
1906 useful to use templates.
1910 Say, for example, you often make 4K feature DCPs from video files in
1911 ’scope at 25fps. You can speed up this process by following
1916 <listitem>Create a film with any content and set it up how you like;
1917 in our example, set the content to scale to DCP, the DCP resolution
1918 to 4K, and so on.</listitem>
1919 <listitem>Choose <guilabel>Save as template...</guilabel> from the <guilabel>File</guilabel> menu.</listitem>
1920 <listitem>Enter a name for your template.</listitem>
1924 Then in the future you can create a new film, tick the
1925 <guilabel>Template</guilabel> box and choose your previously-saved
1926 template. The basic film's settings will come from your template, and
1927 when you add some content it will take on the settings of the
1928 first similarly-typed piece of content in your template.
1935 <!-- ============================================================== -->
1936 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1937 <title>Encryption</title>
1940 It is not required that DCPs be encrypted, but they can be. This
1941 chapter discusses the basic principles of DCP encryption, and how
1942 DCP-o-matic can create encrypted DCPs and KDMs for them.
1946 <!-- ============================================================== -->
1948 <title>Basics</title>
1951 DCPs can be encrypted. This means that the picture and sound data are
1952 encoded in such a way that only cinemas ‘approved’ by the
1953 DCP's creators can read them. In particular, this means copies of the
1954 DCP can be distributed by insecure means: if an ne'er-do-well called
1955 Mallory obtains a hard drive containing an encrypted DCP, there is no
1956 way that he can play it. Only those cinemas who receive a correct key
1957 delivery message (KDM) can play the DCP.
1961 <!-- ============================================================== -->
1963 <title>How it works (in a nutshell)</title>
1966 This section attempts to summarise how DCP encryption works. You can
1967 skip it if you like. You may need some knowledge of encryption
1968 methods to understand it.
1972 We suppose that we are trying to send a DCP to
1973 Alice's cinema without a troublemaker called Mallory being able to
1978 There are two main families of encryption techniques. The first,
1979 symmetric-key encryption, allows us to encode some data using some
1980 numeric key. After encoding, no-one can decode the data unless they
1985 The first step in a DCP encryption is to encode its data with some key
1986 using symmetric-key encryption. The encrypted DCP can then be sent
1987 anywhere, safe in the knowledge that even if Mallory got hold of a
1988 copy, he could not decrypt it.
1992 Alice, however, needs to know the key so she can play the DCP in her
1993 cinema. A simple approach might be for us to send Alice the key.
1994 However, if Mallory can intercept the DCP, he might also be able to
1995 intercept our communication of the key to Alice. Furthermore, if Alice
1996 happened to know Mallory, she could just send him a copy of the key.
2000 The clever bit in the process requires the use of public-key
2001 encryption. With this technique we can encrypt a block of data using
2002 some ‘public’ key. That data can then only be decrypted
2003 using a corresponding private key which is
2004 <emphasis>different</emphasis> to the public key. The private and
2005 public keys form a pair which are related mathematically, but it is
2006 extremely hard (or rather, virtually impossible) to derive the private
2007 key from the public key.
2011 Public-key encryption allows us to distribute the DCP's key to Alice
2012 securely. The manufacturer of Alice's projector generates a public
2013 and private key. They hide the private key deep inside the bowels of
2014 the projector (inside an integrated circuit) where no-one can read it.
2015 They then make the public key available to anyone who is interested.
2019 We take our DCP's symmetric key and encrypt it using the public key of
2020 Alice's projector. We send the result to Alice over email (using a
2021 format called a Key Delivery Message, or KDM). Her projector then
2022 decrypts our message using its private key, yielding the magic
2023 symmetric key which can decrypt the DCP.
2027 If is fine if Mallory intercepts our email to Alice, since the only
2028 key which can decrypt the message is the private key buried inside
2029 Alice's projector. The projector manufacturer is very careful that
2030 no-one ever finds out what this key is. Our DCP is secure: only Alice
2031 can play it back, since only her projector knows the key (even Alice
2039 <!-- ============================================================== -->
2041 <title>Encryption using DCP-o-matic</title>
2044 There are two steps to distributing an encrypted DCP. First, the
2045 DCP's data must be encrypted, and secondly KDMs must be generated for
2046 those cinemas that are allowed to play the DCP.
2050 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
2051 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
2052 encrypt the DCP that it makes using a random key that DCP-o-matic
2053 generates. The key will be written to the film's metadata file, which
2054 should be kept secure.
2058 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
2059 ticked will not play on any projector as-is (it will be marked as
2060 ‘locked’, or whatever the projector manufacturer's term
2065 The second part of distributions is to generate KDMs for the cinemas
2066 that you wish to allow to play your DCP. There are two approaches to
2067 this within DCP-o-matic: using the project, or using a DKDM. These
2068 approaches are now described in turn.
2072 <title>Creating KDMs from a DCP-o-matic project</title>
2075 You can create KDMs from inside a DCP-o-matic project using the
2076 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
2077 menu. This will open the KDM dialogue box, as shown in <xref
2078 linkend="fig-kdm"/>.
2081 <figure id="fig-kdm">
2082 <title>KDM dialog</title>
2085 <imagedata scale="40" fileref="screenshots/kdm&scs;"/>
2091 In order to generate KDMs for a particular projector, you need to know
2092 its <emphasis>certificate</emphasis>. These are usually made
2093 available by the projector manufacturers as text files with a
2094 <code>.pem</code> extension.
2098 DCP-o-matic can store these certificates along with details of their
2099 cinemas and screens within those cinemas. Each screen has a
2100 certificate for its projector (and optionally certificates for other
2101 trusted devices, such as the sound processor). DCP-o-matic can
2102 generate KDMs for any screens that it knows about.
2106 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
2107 a dialogue box into which you can enter the cinema's name, and
2108 optionally an email address. This email address can be used to
2109 get DCP-o-matic to deliver KDMs via email.
2113 Once you have added a cinema, select it by clicking on its name, then
2114 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2115 allows you to enter a name for the screen and load in its certificate
2116 from a file. The certificate should be in SHA256 PEM format.
2120 Alternatively, certificates for projection systems made by some
2121 manufacturers can be downloaded from databases provided by the
2122 manufacturer. Currently this is supported for Doremi and Dolby
2123 equipment. If you are targeting a screen with equipment by one of
2124 these manufacturers you can click <guilabel>Download</guilabel> then
2125 enter the serial number of the server in the screen and click
2126 <guilabel>Download</guilabel> again and, all being well, the certificate
2131 Using the download system you will need to know the serial number of
2132 the media server in use in the screen. Most cinema projection or
2133 technical departments will know these serial numbers.
2137 Note that the reliability of the manufacturers' certificate databases
2138 cannot be guaranteed. It is vital that KDMs are tested by the
2139 destination cinema will in advance of show time to identify any
2144 Once you have set up all the screens that you need KDMs for, select
2145 the CPL that you want to create the KDM for. You can use the
2146 drop-down list to select the CPLs in the current film project, or load
2147 a CPL from somewhere else. Select the cinemas and/or screens that you
2148 want KDMs for and fill in the start and end dates and times.
2152 You must also select the type of KDM that you want to generate. If in
2153 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2157 The differences between the three KDM types are fairly subtle.
2158 <guilabel>DCI Specific</guilabel> and <guilabel>DCI Any</guilabel> add
2159 a <code><ContentAuthenticator></code> tag to the KDM which
2160 allows the exhibitor to check that the DCP and KDM have come from a
2161 bona-fide source. In addition, <guilabel>DCI Specific</guilabel> adds
2162 information on trusted devices to the KDM. This allows the KDM
2163 creator to specify devices (such as sound processors) that are allowed
2164 to use keys delivered by the KDM. At present it is not clear how
2165 widely the <guilabel>DCI Specific</guilabel> and <guilabel>DCI
2166 Any</guilabel> features are supported (or even tolerated) by servers
2167 so you are advised to use <guilabel>Modified Transitional
2172 Finally, choose what you want to do with the KDMs. They can be
2173 written to disk, to a location that you can specify by clicking
2174 <guilabel>Browse</guilabel>. Alternatively, if you choose
2175 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2176 emailed to the appropriate cinema email addresses. Click
2177 <guilabel>Make KDMs</guilabel> to generate the KDMs.
2183 <title>Creating KDMs using a DKDM</title>
2187 It can be inconvenient to need a whole DCP-o-matic project just to
2188 create KDMs for its film. Perhaps you want to archive the project to
2189 save space, or create KDMs on a different machine. In such situations
2190 it is easier to use a DKDM. This is a normal KDM, but instead of
2191 being targeted at a projection system (to allow it to decrypt the
2192 content) it is targeted at a particular users's certificate. This
2193 means that the certificate owner can create new KDMs for other users.
2194 The DKDM holds everything that is required to create further KDMs.
2198 Sometimes it is useful to create DKDMs that can be used by
2199 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2200 any point in the future, use DCP-o-matic's standalone KDM creator to
2201 make KDMs for the DKDM's film for any cinema.
2205 In other cases a DKDM is sent to a 3rd party so that they can create
2206 KDMs for your films. This can be useful if, for example, you have a
2207 distributor who provides 24-hour KDM support to cinemas and can create
2208 KDMs for anybody that requires them at short notice.
2212 To create a DKDM for DCP-o-matic, open your encrypted project and
2213 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2214 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2215 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2216 be available in the KDM creator. This is a separate program which you
2217 can start from the same place that you start the ‘normal’
2218 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2221 <figure id="fig-kdm-creator">
2222 <title>The KDM creator</title>
2225 <imagedata scale="35" fileref="screenshots/kdm-creator&scs;"/>
2231 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2232 to be created for, the date range, the DCP that the KDMs are for and
2233 the destination for the KDMs and click <guilabel>Create
2238 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2239 which you have clicked <guilabel>Make DKDM for
2240 DCP-o-matic</guilabel>in the main DCP-o-matic program. If you have
2241 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2242 specifying the file containing the DKDM.
2246 If another organisation wants to send you a DKDM they will ask you for
2247 a target certificate. You can get DCP-o-matic's target certificate by
2248 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2249 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2257 <title>Encryption overview</title>
2259 <figure id="fig-encryption-overview">
2260 <title>Overview of encryption</title>
2263 <imagedata fileref="diagrams/crypt&dia;"/>
2273 <!-- ============================================================== -->
2274 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2275 <title>Preferences</title>
2278 DCP-o-matic provides a few preferences which can be used to modify its
2279 behaviour. This chapter explains those options.
2283 Preferences can be edited by choosing
2284 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2285 menu. This opens a dialogue which is split into seven tabs.
2288 <!-- ============================================================== -->
2290 <title>General</title>
2293 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2296 <figure id="fig-prefs-general">
2297 <title>General preferences</title>
2300 <imagedata fileref="screenshots/prefs-general&scs;"/>
2306 <!-- ============================================================== -->
2308 <title>Language</title>
2311 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2312 a language from the list, that language will be used for DCP-o-matic.
2313 You will need to restart DCP-o-matic to see the new language.
2317 The translations for DCP-o-matic have been contributed by helpful
2318 users. If your language is not on the last, head to <ulink
2319 url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2320 read about how to contribute a translation.
2325 <!-- ============================================================== -->
2327 <title>Threads</title>
2330 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2331 to speed things up. Set this value to the number of threads
2332 DCP-o-matic should use. This should normally be the number of
2333 processors (or processor cores) in your machine. DCP-o-matic will try
2334 to set this up correctly when you run it for the first time.
2339 <!-- ============================================================== -->
2341 <title>Cinema and screen database file</title>
2344 This option allows you to change the file that DCP-o-matic uses to
2345 store details of the cinemas and screens used to make KDMs.
2351 <title>Integrated loudness</title>
2354 If <guilabel>Find integrated loudness, true peak and loudness range
2355 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2356 work when analysing audio. Leave this ticked if the extra parameters
2357 are useful to you. If not, untick it and audio analysis will be
2363 <!-- ============================================================== -->
2365 <title>Updates</title>
2368 The <guilabel>Check for updates on startup</guilabel> option, if
2369 enabled, will tell DCP-o-matic to check on <ulink
2370 url="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2371 newer versions of DCP-o-matic then the one you are running. If so, a
2372 dialogue box will open with a link to download the new version.
2377 The <guilabel>Check for testing updates as well as stable
2378 ones</guilabel> option will also check for test updates as well as
2379 those that are formally ‘released’. This is useful if you
2380 like to live on the bleeding edge!
2384 <!-- ============================================================== -->
2386 <title>Issuer and creator</title>
2389 With these controls you can set the issuer and creator strings that
2390 will be put into the DCPs which you create.
2396 <!-- ============================================================== -->
2398 <title>Defaults</title>
2401 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2404 <figure id="fig-prefs-defaults">
2405 <title>Defaults preferences</title>
2408 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2414 The options in this tab simply allow you to set up default values for
2415 various properties of new films.
2420 <!-- ============================================================== -->
2422 <title>Servers</title>
2425 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2428 <figure id="fig-prefs-servers">
2429 <title>Servers preferences</title>
2432 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2438 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2439 locate encoding servers automatically (see <xref
2440 linkend="ch-servers"/>).
2444 Instead of this (or in addition) servers can be specified explicitly.
2445 To add a server, click <guilabel>Add...</guilabel> and enter the host
2446 name or IP address of the server to use.
2452 <!-- ============================================================== -->
2453 <section xml:id="sec-prefs-keys">
2457 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) holds options
2458 related to the keys and certificates used in some parts of DCP
2462 <figure id="fig-prefs-keys">
2463 <title>Keys preferences</title>
2466 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2472 At the top of the tab is the chain of certificates that will be used
2473 to sign DCPs and KDMs. DCP-o-matic creates a random chain when you
2474 first run it and if you are happy to use this chain you can ignore the
2475 preferences. Otherwise, you can add or remove certificates from the
2476 chain using the <guilabel>Add...</guilabel> and
2477 <guilabel>Remove</guilabel> buttons.
2481 If you want DCP-o-matic to re-create the certificate chain (using new,
2482 random certificates) click <guilabel>Re-make
2483 certificates...</guilabel> and specify your organisation and common
2484 names in the dialogue box that opens.
2488 Underneath the certificate chain is the private key that corresponds
2489 to the leaf certificate in the chain. You can specify your own
2490 private key by clicking <guilabel>Load...</guilabel>. You must do
2491 this if you change the leaf certificate, so that the leaf private key
2492 corresponds to the public key held in the leaf certificate.
2496 Underneath the details of the certificate chain and private key for
2497 signing of DCPs and KDMs is a second chain and key which is used by
2498 DCP-o-matic when you import an encrypted DCP as a piece of content.
2499 The leaf certificate of this chain contains the public key that should
2500 be used when targeting a KDM at DCP-o-matic.
2504 If you want to import an encrypted DCP you will need to give the
2505 decryption certificate to the distributor of the DCP so that they can
2506 generate a DKDM for you. You can save this certificate to disk by
2507 clicking <guilabel>Export DCP decryption certificate...</guilabel>.
2508 As with the signing chain, DCP-o-matic will create a certificate chain
2509 and private key for you. You can also choose to load your own
2510 certificates and key or re-make the chain and key with new, random
2515 Clicking <guilabel>Export DCP decryption chain...</guilabel> will
2516 export the whole certificate chain, rather than just the leaf
2522 <!-- ============================================================== -->
2523 <section xml:id="sec-prefs-tms">
2525 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2528 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2529 options for specifying details about your theatre management system
2530 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2531 you can upload DCPs directly from DCP-o-matic to the TMS using the
2532 <guilabel>Send DCP to TMS</guilabel> option in the
2533 <guilabel>Jobs</guilabel> menu.
2536 <figure id="fig-prefs-tms">
2537 <title>TMS preferences</title>
2540 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2546 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2547 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2548 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2549 FTP. Do let us know if you use any other type of TMS with the
2550 <guilabel>Send DCP to TMS</guilabel> feature.
2554 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2555 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2556 should be uploaded to (which will be relative to the home directory of
2557 the SSH or FTP user). Finally, the user name and password are the
2558 credentials required to log into the TMS via SSH or FTP.
2562 Note that for this to work on Doremi servers you will need to set the
2563 <code>PasswordAuthentication</code> option in your server's
2564 <code>sshd_config</code> to <code>yes</code>.
2570 <!-- ============================================================== -->
2572 <title>KDM email</title>
2575 The KDM email is shown in <xref linkend="fig-prefs-kdm-email"/>.
2578 <figure id="fig-prefs-kdm-email">
2579 <title>KDM email preferences</title>
2582 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2588 This is a template for the email that is used to send KDMs out to
2589 cinemas. You can change it to say whatever you like. A few
2590 ‘magic’ strings will be replaced by information from the
2591 KDM that is being sent:
2595 <title>‘Magic’ KDM strings</title>
2596 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2599 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2602 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2605 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2608 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2611 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2618 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2624 <!-- ============================================================== -->
2625 <section xml:id="sec-prefs-advanced">
2626 <title>Advanced</title>
2627 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
2630 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
2633 <figure id="fig-prefs-advanced">
2634 <title>Advanced preferences</title>
2637 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
2643 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
2644 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
2645 are advised to leave this at 250Mbit/s in normal use for maximum DCP
2650 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
2651 the DCP video frame rates that DCP-o-matic will create. This may be
2652 useful for experimentation. Again, you are strongly advised to leave
2653 this unticked for normal use.
2657 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
2658 JPEG2000 data only on encoding servers and not on the host. We
2659 suggest you leave this un-ticked unless you have a good reason to do otherwise.
2663 With the filename format fields you can adjust the filenames that are
2664 used for metadata (CPL and PKL files) and assets (MXF and subtitle
2665 files). Below each field there is a list of the ‘magic’
2666 values that you can use in the format and an example of a filename
2667 that you might see with your current settings.
2671 The four checkboxes labelled <guilabel>Log</guilabel> control what
2672 sort of messages DCP-o-matic writes to its log file when creating a
2673 DCP. It is useful to leave <guilabel>General</guilabel>,
2674 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
2675 as this makes the log files useful for tracking down bugs.
2679 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
2680 to allow developers to investigate and optimize the speed of
2681 DCP-o-matic. It will significantly increase the size of the log files
2682 that are generated, so in normal use it is best to leave this
2689 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
2690 <title>Frame rates</title>
2693 In an ideal world, a DCP would be created using content at the same
2694 video frame and audio sampling rates as the DCP. This is not,
2695 however, always possible.
2699 <!-- ============================================================== -->
2701 <title>DCP frame rate limitations</title>
2704 There are some limitations to video and audio frame rates in DCPs. This is
2705 complicated by the fact that not all projectors will play DCPs at the
2706 same frame rates. It is possible to create a DCP which one projector will
2707 play fine, but another (of a different type) will refuse to play, or
2708 even refuse to ingest.
2712 <!-- ============================================================== -->
2714 <title>Guaranteed rates</title>
2717 The only rates that are (pretty much) guaranteed to work on all DCI
2718 projectors are 24 frames per second (fps) for video and 48kHz or 96kHz
2719 for audio. If you are sending your DCPs to unknown places it wise to
2720 consider using these rates if at all possible.
2726 <!-- ============================================================== -->
2728 <title>Other often-supported rates</title>
2730 Many projectors now in the wild support additional video frame rates:
2736 <!-- ============================================================== -->
2738 <title>Adapting content to fit the DCP rate</title>
2741 DCP-o-matic has a few tricks to allow you to use content that is not
2742 in one of the ‘approved’ rates.
2746 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
2747 with minimal loss in quality.
2751 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
2752 with a non-supported content rate is to run it at the wrong speed, and
2753 to adjust the audio to keep it in sync.
2756 <para>Let us consider the example of a 25fps source for which you want
2757 to create a 24fps DCP. DCP-o-matic will put the frames from the
2758 source directly into the DCP without modification, but will tell the
2759 projector to play them back at 24fps. This means that the DCP's video
2760 will run slightly slower than the original.
2764 If DCP-o-matic did nothing else, the result of this would be that the
2765 audio would be running at the original speed with the video running
2766 slowly. Hence the audio would drift slowly out of sync. To avoid
2767 this, DCP-o-matic also resamples the audio such that the projector
2768 will play it too slow by the same amount. Hence it will sound
2769 slightly different but will remain in sync with the video.
2773 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
2780 <!-- ============================================================== -->
2782 <title>Setting up</title>
2785 The <guilabel>Frame Rate</guilabel> control in the
2786 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
2787 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
2788 what DCP-o-matic thinks is the best for your content. With this
2789 button, DCP-o-matic assumes that the whole range of frame rates (24,
2790 25, 30 and 48fps) are allowable.
2794 After this, the <guilabel>Video</guilabel> tab for each piece of
2795 content will give a summary of what DCP-o-matic is doing with that
2800 If you want to experiment with other non-standard frame rates, you can
2801 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
2802 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
2803 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
2804 use this only on your own equipment, and only for experimentation
2813 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
2814 <title>Encoding servers</title>
2817 One way to increase the speed of DCP encoding is to use more
2818 than one machine at the same time. An instance of DCP-o-matic can
2819 offload some of the time-consuming JPEG2000 encoding to any number of
2820 other machines on a network. To do this, one ‘master’
2821 machine runs DCP-o-matic, and the ‘server’ machines run
2822 a small program called <code>dcpomatic_server</code>.
2826 The master and server machines do not need to be the same type, so you
2827 can mix Windows PCs, Macs and Linux machines as you wish.
2831 <!-- ============================================================== -->
2833 <title>Running the servers</title>
2836 There are two options for the encoding server;
2837 <code>dcpomatic_server_cli</code>, which runs on the command line, and
2838 <code>dcpomatic_server</code>, which has a simple GUI. The command line
2839 version is well-suited to headless servers, especially on Linux, and
2840 the GUI version works best on Windows where it will put an icon in the
2845 To run the command line version, simply enter:
2849 dcpomatic2_server_cli
2853 at a command prompt. If you are running the program on a machine with
2854 a multi-core processor, you can run multiple parallel encoding threads
2855 by doing something like:
2859 dcpomatic2_server_cli -t 4
2863 to run 4 threads in parallel.
2867 To run the GUI version on windows, run the ‘DCP-o-matic encode
2868 server’ from the start menu. An icon will appear in the system
2869 tray; right-click it to open a menu from whence you can quit the
2870 server or open a window to show its status.
2873 <para>If you would rather not bother installing DCP-o-matic on your
2874 server computers, the other option is to use the live-CD
2875 image that you can download from the <ulink
2876 url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
2878 <para>Either burn the image to CD, or write it to a USB stick (using
2879 something like <ulink
2880 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
2881 PC from the CD or USB stick and it becomes a DCP-o-matic server
2882 without touching your standard operating system install.
2887 <!-- ============================================================== -->
2889 <title>Setting up DCP-o-matic</title>
2892 DCP-o-matic periodically looks on the local network for servers. Any
2893 that it finds are given work to do during encodes. Selecting
2894 <guilabel>Encoding Servers</guilabel> from the
2895 <guilabel>Tools</guilabel> menu brings up a window which shows that
2896 servers that DCP-o-matic has found.
2901 <!-- ============================================================== -->
2903 <title>Some notes about encode servers</title>
2906 DCP-o-matic does not mind if servers come and go; if a server
2907 disappears, DCP-o-matic will stop sending work to it, and will check
2908 it every minute or so in case it has come back online.
2912 You will probably find that using a 1Gb/s or faster network will
2913 provide a significant speed-up compared to a 100Mb/s network.
2920 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2921 <title>Generated files</title>
2924 DCP-o-matic generates a number of files as it makes a DCP. <xref
2925 linkend="fig-file-structure"/> shows the files that might be generated
2926 after you have created a DCP for a film called ‘DCP Test’.
2929 <figure id="fig-file-structure">
2930 <title>Creating a new film</title>
2933 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
2939 The <code>DCP Test</code> folder is the one that you specify when you
2940 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
2941 menu. Everything is stored inside this folder.
2945 DCP-o-matic generates some working files as it goes along. These are as follows:
2948 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
2949 along. This can be useful for debugging purposes if something goes
2952 <listitem><code>metadata</code> stores the settings that you have made
2953 for this film: things like cropping, output format and so on.</listitem>
2955 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
2956 video data as it encodes it.</listitem>
2958 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
2960 <listitem><code>info</code> contains details of each video frame that
2961 DCP-o-matic has written so far. This is used when an encoding
2962 operation is interrupted and DCP-o-matic must resume it.</listitem>
2967 Following this is the DCP itself:
2968 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
2969 contains some small XML files, which describe the DCP, and two large
2970 MXF files, which contain the DCP's audio and video data. It may also
2971 contain subtitles in either XML or MXF format. This folder
2972 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
2973 to the cinema which is showing your DCP.
2979 <title>Loose ends</title>
2982 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
2986 <!-- ============================================================== -->
2988 <title>Resuming encodes</title>
2991 If you cancel a DCP encoding run half-way through, or your computer
2992 crashes... fear not. DCP-o-matic takes care to ensure that, in most
2993 cases, it can resume encoding from where it left off. When you
2994 re-start a DCP creation, using the same settings are a previous run,
2995 DCP-o-matic will first check that the existing picture frames are
2996 correct, and then resume from where it left off. The checking of
2997 existing frames does take some time, but it is much faster than
2998 running a full re-encode.
3002 This resumption is achieved by writing a digest (hash) to disk for
3003 every image frame that is written. On resumption, the existing MXF
3004 file for image data is read and its contents checked against the
3012 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3013 <title>Common tasks</title>
3016 This chapter describes how to carry out some commonly-required tasks
3017 with DCP-o-matic. The full details are elsewhere in the manual: here
3018 we just discuss different approaches to these tasks and how to carry
3023 <title>Adding subtitles to an existing DCP</title>
3026 You have three options:
3030 <listitem>Make a “Version File” (VF) DCP.</listitem>
3031 <listitem>Make a complete DCP with projector-added subtitles.</listitem>
3032 <listitem>Make a complete DCP with burnt-in subtitles.</listitem>
3036 Making a VF DCP is usually the best option. This will be a very small
3037 DCP which contains only the subtitles: it refers to your existing DCP
3038 for the picture and sound. The projectionist will ingest both the
3039 existing and VF DCPs and play back the VF. The advantages of this
3040 approach are that the VF is very quick to generate, and small in size,
3041 making it easy to distribute. This is especially useful if you have
3042 to make VF DCPs in many different languages.
3046 Making a complete DCP with projector-added subtitles gives you a new,
3047 single DCP which the projectionist can ingest and play. It will be
3048 the same size as your existing DCP, and fairly quick to create. This
3049 approach relies on the projector (or server) to create the subtitles
3050 and overlay them on the image, which mostly works well but is not
3051 100% reliable.
3055 Making a complete DCP with burnt-in subtitles gives you a new, single DCP
3056 but with the subtitles rendered by DCP-o-matic and copied into your
3057 image. This is slower to create than a DCP with projector-added
3058 subtitles as every video frame with a subtitle must be re-encoded.
3059 The advantage of this approach is that it is less likely to go wrong,
3060 especially if you are using unusual subtitle positioning or character
3065 <title>Making a VF DCP</title>
3068 <listitem>Start a new DCP-o-matic film.</listitem>
3069 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3070 <listitem>Go to the <guilabel>DCP</guilabel> tab and choose <guilabel>Split by video content</guilabel> for <guilabel>Reel type</guilabel>.</listitem>
3071 <listitem>Go to the <guilabel>Video</guilabel> and
3072 <guilabel>Audio</guilabel> tabs in turn and tick the <guilabel>Refer to existing DCP</guilabel> checkboxes.</listitem>
3073 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3074 <listitem>Check the subtitle appearance in the preview; it will be
3075 slow to respond as it is having to decompress images from the existing
3077 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3083 <title>Making a complete DCP with projector-added subtitles</title>
3086 <listitem>Start a new DCP-o-matic film.</listitem>
3087 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3088 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3089 <listitem>Check the subtitle appearance in the preview; it will be
3090 slow to respond as it is having to decompress images from the existing
3091 DCP. Adjust the appearance using controls in the
3092 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3093 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3099 <title>Making a complete DCP with burnt-in subtitles</title>
3102 <listitem>Start a new DCP-o-matic film.</listitem>
3103 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3104 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3105 <listitem>Go to the <guilabel>Subtitle</guilabel> tab and tick the <guilabel>Burn subtitles into image</guilabel> checkbox.</listitem>
3106 <listitem>Check the subtitle appearance in the preview; it will be
3107 slow to respond as it is having to decompress images from the existing
3108 DCP. Adjust the appearance using controls in the
3109 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3110 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
projects / dcpomatic.git / blob