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11 <book xmlns="http://docbook.org/ns/docbook" xmlns:mml="http://www.w3.org/1998/Math/MathML" version="5.0" xml:lang="en">
14 <title>DCP-o-matic users' manual</title>
15 <author><firstname>Carl</firstname><surname>Hetherington</surname></author>
18 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
19 <title>Introduction</title>
22 Hello, and welcome to DCP-o-matic!
25 <!-- ============================================================== -->
27 <title>What is DCP-o-matic?</title>
29 <para>DCP-o-matic is a set of programs to allow you to:</para>
32 <listitem>Create <ulink
33 url="https://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
34 Cinema Packages</ulink> (DCPs) from video, audio, subtitle and closed-caption files.</listitem>
35 <listitem>Play and verify DCPs.</listitem>
36 <listitem>Create KDMs for DCPs.</listitem>
37 <listitem>Write cinema-format drives containing DCPs.</listitem>
43 <!-- ============================================================== -->
45 <title>Licence</title>
48 DCP-o-matic is free and open-source and is licensed under the <ulink
49 url="https://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
56 <!-- ============================================================== -->
58 <title>Acknowledgements</title>
61 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
66 <!-- ============================================================== -->
68 <title>This manual</title>
71 This manual presents bits of DCP-o-matic's user interface (such as menu items or buttons) <guilabel>like this</guilabel>.
75 Notes of an advanced nature are presented like this. Ignore them unless you want to know the details.
82 <!-- ============================================================== -->
83 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
84 <title>Installation</title>
87 <!-- ============================================================== -->
89 <title>Windows</title>
92 To install DCP-o-matic on Windows, download the installer from
93 <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
94 and double-click it. Click through the installer wizard, and
95 DCP-o-matic will be installed onto your machine.
99 If you are using a 32-bit version of Windows, you will need the 32-bit
100 installer. For 64-bit Windows, either installer will work, but I
101 suggest you use the 64-bit version as it will allow DCP-o-matic to
102 use more memory. You may find that DCP-o-matic crashes if you run
103 many parallel encoding threads (more than 4) on the 32-bit
110 <!-- ============================================================== -->
115 DCP-o-matic will run on macOS version 10.10 (Yosemite) and
116 higher. DCP-o-matic is split into seven separate applications, each of
117 which can be installed by downloading the <code>.dmg</code>,
118 double-clicking to open and then dragging the icon to your
119 <guilabel>Applications</guilabel> folder.
123 If you don't know which parts of DCP-o-matic to install, start
124 with the first (main) part.
129 <!-- ============================================================== -->
131 <title>Debian, Ubuntu and Mint Linux</title>
133 <para>There are <code>.deb</code> packages for Debian, Ubuntu and Mint on
134 <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
137 <!-- ============================================================== -->
140 <!-- ============================================================== -->
142 <title>Fedora, Centos and Mageia Linux</title>
144 <para>There are <code>.rpm</code> packages for Fedora, Centos and Mageia on
145 <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
148 <!-- ============================================================== -->
150 <!-- ============================================================== -->
152 <title>Arch Linux</title>
154 Packages for Arch Linux are available from <ulink
155 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
156 thanks to Stefan Karner.
165 Since DCP-o-matic is open-source you can also build it yourself, though this can be quite a difficult process (especially on Windows and macOS). There are instructions for how to do it on
166 <ulink url="https://dcpomatic.com/development">
167 https://dcpomatic.com/
176 <!-- ============================================================== -->
177 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
178 <title>Creating a DCP from a video</title>
181 In this chapter we will see how to create a DCP from a video file using
182 DCP-o-matic. We will gloss over the details and look at the basics.
186 <title>Creating a new film</title>
189 Let's make a very simple DCP to see how DCP-o-matic works. First, we
190 need some content. Download the low-resolution trailer for the open
191 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
192 url="https://download.blender.org/durian/trailer/Sintel_Trailer.480p.DivX_Plus_HD.mkv">their
193 website</ulink>. Generally one would want to use the
194 highest-resolution material available, but for this test we will use
195 the low-resolution version to save everyone's bandwidth bills.
199 Now, start DCP-o-matic and its window will open. First, we will
200 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
201 some pieces of content, along with some settings, which we will make into
202 a DCP. DCP-o-matic stores its ‘film’ data in a folder on your disk while it
207 You can create a new film by selecting
208 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
209 shown in <xref linkend="fig-file-new"/>.
212 <figure id="fig-file-new">
213 <title>Creating a new film</title>
216 <imagedata fileref="screenshots/file-new&scs;"/>
222 This will open a dialogue box for the new film, as shown in <xref
223 linkend="fig-video-new-film"/>.
226 <figure id="fig-video-new-film">
227 <title>Dialogue box for creating a new film</title>
230 <imagedata fileref="screenshots/new-film&scs;"/>
236 In this dialogue box you can choose a name for the film. This will be
237 used to name the folder to store its data in, and also as the initial
238 name for the DCP itself. You can also choose where you want to create
239 the film. In the example from the figure, DCP-o-matic will create a
240 folder called ‘DCP Test’ inside my existing folder <code>DCP</code> into which it
241 will write its working files.
247 <!-- ============================================================== -->
249 <title>Adding content</title>
252 The next step is to add the content that you want to use. DCP-o-matic
253 can make DCPs from multiple pieces of content, but in this example we
254 will use a single piece. Click the <guilabel>Add
255 file(s)...</guilabel> button, as shown in <xref
256 linkend="fig-add-file"/>, and a file chooser will open for you to
257 select the content file to use, as shown in <xref
258 linkend="fig-video-select-content-file"/>.
261 <figure id="fig-add-file">
262 <title>Adding content files</title>
265 <imagedata fileref="screenshots/add-file&scs;"/>
270 <figure id="fig-video-select-content-file">
271 <title>Selecting a video content file</title>
274 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
280 Select your content file and click <guilabel>Open</guilabel>. In this
281 case we are using the Sintel trailer that we downloaded earlier.
285 When you do this, DCP-o-matic will take a look at your file. After a
286 short while (when the progress bar at the bottom right of the window
287 has finished), you can look through your content using the slider to
288 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
291 <figure id="fig-examine-content">
292 <title>Examining the content</title>
295 <imagedata fileref="screenshots/examine-content&scs;"/>
301 Dragging the slider will move through your video. You can also click
302 the <guilabel>Play</guilabel> button to play the content back.
310 <!-- ============================================================== -->
312 <title>Making the DCP</title>
314 <para>In most cases, some adjustments would be made to DCP-o-matic's
315 settings once the content has been added. For our simple test,
316 however, the default values will suffice, so we can go straight onto
317 making the DCP.</para>
320 Choose <guilabel>Make DCP</guilabel> from the
321 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
322 This may take some time (many hours in some cases). While the job is
323 in progress, DCP-o-matic will update you on how it is getting on with
324 the progress bar in the bottom of its window, as shown in <xref
325 linkend="fig-making-dcp"/>.
328 <figure id="fig-making-dcp">
329 <title>Making the DCP</title>
332 <imagedata fileref="screenshots/making-dcp&scs;"/>
338 When it has finished, the DCP will be written into its own folder inside the film's folder.
339 You can copy this to a projector via a USB stick, hard-drive or network connection. See <xref
340 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
344 Alternatively, DCP-o-matic can upload your DCP directly to a projector
345 or Theatre Management System (TMS) that is accessible via SCP or FTP
346 across your network. See <xref linkend="sec-prefs-tms"/>.
353 <!-- ============================================================== -->
354 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
355 <title>Creating a DCP from a still image</title>
358 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
359 for an advertisement or an on-screen announcement. This chapter shows you
364 As with DCPs made from video files, the first step is to create a new
365 ‘Film’; select <guilabel>New</guilabel> from the
366 <guilabel>File</guilabel> menu and the new film dialogue will open as
367 shown in <xref linkend="fig-still-new-film"/>.
370 <figure id="fig-still-new-film">
371 <title>Dialogue box for creating a new film</title>
374 <imagedata fileref="screenshots/new-film&scs;"/>
380 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
381 the content. As before, click <guilabel>Add file(s)...</guilabel>.
382 For our example, we will add a single image file, as shown in <xref
383 linkend="fig-still-select-content-file"/>.
386 <figure id="fig-still-select-content-file">
387 <title>Selecting a still content file</title>
390 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
396 Most of the default settings will be fine for a simple test. The one
397 thing that you might wish to change is the length of the still.
398 Select the <guilabel>Timing</guilabel> tab and you will see a
399 <guilabel>Full length</guilabel> setting, as shown in <xref
400 linkend="fig-timing-tab"/>.
403 <figure id="fig-timing-tab">
404 <title>The timing tab</title>
407 <imagedata fileref="screenshots/timing-tab&scs;"/>
413 This length is a ‘timecode’: it consists of four numbers.
414 The first is hours, the second minutes, the third seconds, and the
415 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
419 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
420 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
421 be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
422 to encode a single frame which it can then repeat.
428 <!-- ============================================================== -->
429 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" id="ch-manipulating-existing-dcps">
430 <title>Manipulating existing DCPs</title>
433 DCP-o-matic is often used to take content in formats such as MP4 and
434 make it into a DCP. It can also be used to take existing DCPs and
435 modify them in various ways.
439 <title>Importing a DCP into DCP-o-matic</title>
442 The first step in manipulating an existing DCP is to import it. Click
443 <guilabel>Add DCP...</guilabel> and select your DCP's folder. It will
444 be added to the DCP-o-matic project. If the DCP is unencrypted you
445 can preview it in the normal way, though playback may be slow as
446 decoding of DCPs is almost as computationally intensive as encoding
451 If your DCP is a Version File (VF) (i.e. it refers to
452 another DCP's assets) you should import it as follows:
456 <listitem>Use <guilabel>Add DCP...</guilabel> to import the VF DCP.
457 The VF DCP will be added to the content list and marked “NEEDS
458 OV”.</listitem>
459 <listitem>Right-click on the VF DCP in the content list and choose <guilabel>Add OV...</guilabel> from the menu.</listitem>
460 <listitem>Choose the folder that contains the OV DCP. The VF will now be playable as normal.</listitem>
466 <section xml:id="sec-decrypting">
467 <title>Decrypting encrypted DCPs</title>
470 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
471 details). If you import an encrypted DCP you will need a key, in the
472 form of a Key Delivery Message (KDM), to decrypt it.
476 KDMs must be prepared by the organisation which created the DCP. They
477 contain the keys to decrypt the DCP wrapped up in such a way that only
478 the intended recipient can read them. You will need to provide the
479 organisation with a certificate which identifies your copy of
480 DCP-o-matic and allows them to create a KDM for you.
484 To get DCP-o-matic's decryption certificate, open the Preferences
485 dialogue (see <xref linkend="ch-preferences"/>) and go to the
486 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
487 decryption certificate...</guilabel> button at the bottom of this tab
488 and save the certificate. Send this certificate to the DCP creators
489 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
493 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
494 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and the DCP
495 will be decrypted and become available for preview.
502 <title>Making a DCP from a DCP</title>
505 In many ways, using DCPs as <emphasis>content</emphasis> in
506 DCP-o-matic is the same as using any other content. There are a few
507 things to note, though.
512 <title>Re-use of existing data</title>
515 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
516 data from DCP content without modification. This has the advantage
517 that creation of the new DCP will be quick, as the time-consuming
518 JPEG2000 encoding is not necessary.
522 DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
523 the following content settings:
527 <listitem>Crop</listitem>
528 <listitem>Scaling</listitem>
529 <listitem>Subtitle burn-in</listitem>
530 <listitem>Fades</listitem>
531 <listitem>Colour conversion</listitem>
535 DCP-o-matic will be forced to decode and re-encode your JPEG2000 data
536 if you change any of these settings on a piece of DCP content.
542 <section xml:id="sec-overlay">
543 <title>Making overlay files</title>
546 With its default settings, DCP-o-matic will take any data from DCP
547 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
550 <figure id="fig-dcp-copy">
551 <title>Creating a new DCP by copying an existing one</title>
552 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
556 This can be inefficient in some cases. Consider, for example, a film
557 which has ten different translations for which the subtitles are
558 different but video and audio are the same. If the video and audio
559 content takes up, say, 100Gb this means that the set of DCPs for every
560 translation would be about 1Tb with a lot of duplicated data.
564 The DCP format has a solution to this problem. One DCP can refer to
565 the ‘assets’ (picture, sound or subtitle) of another DCP.
566 For our translation example this means that we could have a
567 ‘base’ DCP (often called the OV or Original Version)
568 containing video, audio and one set of subtitles and then any number
569 of overlay DCPs (often called VF or Version Files) which refer to the
570 base version and replace the original subtitles with their own. <xref
571 linkend="fig-dcp-refer"/> shows this principle for one of our
572 translations. The DCP that we make refers to the original content
573 DCP's video and audio rather than containing a copy.
576 <figure id="fig-dcp-refer">
577 <title>Creating a new DCP by referring to an existing one</title>
578 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
582 To play back the subtitled DCP the projectionist ingests both the base
583 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
587 To make a DCP like this:
591 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
592 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
593 <listitem>Select the DCP in the content list</listitem>
594 <listitem>Tick the <guilabel>Use's this DCP's ... as OV and make VF</guilabel> checkbox
595 in the tabs for the parts of the DCP that you want to refer to in your
596 new DCP. For example, to refer to the Content DCP's video and audio you would select the <guilabel>Video</guilabel> tab, click <guilabel>Use this DCP's video as OV and make VF</guilabel> then select the <guilabel>Audio</guilabel> tab and click <guilabel>Use this DCP's audio as OV and make VF</guilabel>.</listitem>
597 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
607 <!-- ============================================================== -->
610 <!-- ============================================================== -->
611 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
612 <title>Content settings</title>
615 The previous chapters showed DCP generation using the default
616 settings. DCP-o-matic offers a range of features to adjust the
617 content that goes into your DCP, and this chapter describes those
622 <title>Adding and removing content</title>
625 At the top of the <guilabel>Content</guilabel> tab is a list of the
626 content that will go into our DCP. There can be as many pieces of
627 content as you like, and they can be of the following types:
631 <listitem>Movie — a file containing some video, probably some
632 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
635 <listitem>Sound — a file containing one or more channels of
636 audio; for example, a WAV or AIFF file.
639 <listitem>Still image — a file containing a single still image; for
640 example, a JPEG, PNG or TIFF file.
643 <listitem>Moving image — a directory containing many still
644 images which should be treated as the frames of a video.
647 <listitem>Subtitle — a file containing subtitles which will be
648 superimposed on the image of the DCP. These can be
649 <guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel>, <guilabel>.ass</guilabel> or <guilabel>.xml</guilabel>
650 files. Subtitle files can also be used to make closed captions.</listitem>
652 <listitem>DCP — an existing DCP.</listitem>
654 <listitem>ATMOS MXFs — if you have Dolby ATMOS content in MXF format (created using Dolby's tools) you can add it to a DCP just like any other content.</listitem>
658 To add one or more movie, sound, still-image or subtitle files, select
659 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
663 DCP-o-matic will automatically map a set of audio files to the correct channels if you include appropriate ‘tags’ in your filenames, as shown in <xref linkend="tab-audio-file-naming"/>.
666 <table id="tab-audio-file-naming">
667 <title>Audio file naming</title>
668 <tgroup cols='3' align='left' colsep='1' rowsep='1'>
672 <entry>Examples</entry>
673 <entry>Channel</entry>
678 <entry><code>L</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
679 <entry>film-L.wav my_movie_L_final.wav</entry>
683 <entry><code>R</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
684 <entry>film-R.wav my_movie_R_final.wav</entry>
688 <entry><code>C</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
689 <entry>film-C.wav my_movie_C_final.wav</entry>
690 <entry>Centre</entry>
693 <entry><code>Lfe</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
694 <entry>film-Lfe.wav my_movie_Lfe_final.wav</entry>
695 <entry>LFE (sub)</entry>
698 <entry><code>Ls</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
699 <entry>film-Ls.wav my_movie_Ls_final.wav</entry>
700 <entry>Left surround</entry>
703 <entry><code>Rs</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
704 <entry>film-Rs.wav my_movie_Rs_final.wav</entry>
705 <entry>Right surround</entry>
712 To add a directory (folder) of images, choose <guilabel>Add
713 folder...</guilabel> and choose the directory from the selector.
714 DCP-o-matic will open a small dialogue box where you can enter the
715 frame rate that the image sequence should be run at.
719 To add a DCP, choose <guilabel>Add DCP...</guilabel> and choose the
720 DCP's directory from the selector.
724 You can remove a piece of content by clicking on its name and then
725 clicking the <guilabel>Remove</guilabel> button.
730 <!-- ============================================================== -->
732 <title>Adding existing DCPs</title>
734 <para>Adding existing DCPs to a DCP-o-matic film is a little different
735 to adding other types of content. Most content has to be converted to
736 JPEG2000, the compression scheme used by DCPs, which is a very
737 time-consuming process. Existing DCPs are already in JPEG2000 format
738 so do not require conversion. This means that, provided no settings
739 such as crop are used on the DCP content, picture and sound data will
740 be passed from existing to new DCP unaltered.
743 <para>Encrypted DCPs that are added as content will require a KDM
744 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
745 should ask the creator of the imported DCP to provide a KDM for
746 DCP-o-matic's decryption certificate, which can be obtained by
747 clicking <guilabel>Export DCP decryption certificate...</guilabel>
748 from the <guilabel>Keys</guilabel> tab of the
749 <guilabel>Preferences</guilabel> dialog (see <xref
750 linkend="sec-prefs-keys"/>).
755 <!-- ============================================================== -->
757 <title>Content Properties</title>
760 Below the content list are the controls to set content properties. To
761 adjust the properties for a piece of content, click its name in the
762 content list. The content property controls will then become active
763 for that piece of content.
767 If you want to change the properties for multiple pieces of content at
768 the same time, select the content in the list by clicking the first
769 piece then clicking the other pieces with <keycap>shift</keycap> key
770 held down. Note that not all settings can be changed in this way.
774 The content properties are split up into four sections:
775 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
776 <guilabel>Timed text</guilabel> and <guilabel>Timing</guilabel>. Not
777 all of these sections will be active for all content types. The controls
778 in each section are described below.
784 <!-- ============================================================== -->
789 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
792 <figure id="fig-video-tab">
793 <title>Video settings tab</title>
796 <imagedata fileref="screenshots/video-tab&scs;"/>
802 <!-- ============================================================== -->
804 <title>Use this DCP's video as OV and make VF</title>
807 This option is only applicable if the selected content is an existing
808 DCP. It allows you make a VF DCP, using the video content from the
809 existing DCP by referencing it (rather than copying). See <xref
810 linkend="sec-overlay"/>.
815 <!-- ============================================================== -->
817 <title>Image type</title>
820 The next option on this tab is the ‘type’ of the video.
821 This specifies how DCP-o-matic should interpret the video's image.
822 <guilabel>2D</guilabel> is the default; this just takes the video
823 image as a standard 2D frame. The <guilabel>3D
824 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
825 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
828 <figure id="fig-3d-left-right">
829 <title>3D left/right image type</title>
832 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
838 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
839 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
840 linkend="fig-3d-top-bottom"/>.
843 <figure id="fig-3d-top-bottom">
844 <title>3D top/bottom image type</title>
847 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
853 Another option is <guilabel>3D alternate</guilabel> which takes the
854 first frame of the content as for the left eye, the second for the
855 right eye, the third for the left, and so on. Finally, you can
856 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
857 only</guilabel> if this content contains only the the left or right
858 eye images. This is useful when you have the left and right eye image
859 sets in different files; you can specify one content as <guilabel>3D
860 left only</guilabel> and another as <guilabel>3D right only</guilabel>
861 and DCP-o-matic will pick up the appropriate frames from each.
867 <!-- ============================================================== -->
869 <title>Colour conversion</title>
872 The <guilabel>Colour conversion</guilabel> setting specifies what
873 colour transforms and gamma correction DCP-o-matic will use when
874 converting the selected content into the XYZ colourspace for the DCP.
878 The easiest way to select the required conversion is to choose one of
879 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
880 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
881 know which preset you should use, refer to the suggestions in <xref
882 linkend="tab-colour-conversion"/>.
885 <table id="tab-colour-conversion">
886 <title>Suggested colour conversion settings</title>
887 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
888 <colspec colwidth='1*'/>
889 <colspec colwidth='5*'/>
892 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs.</entry>
895 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
898 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
901 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
908 For other required colour conversions, and if you know what you are
909 doing, you can choose <guilabel>Custom</guilabel> which will open the full
910 colour conversion editing dialogue box:
913 <figure id="fig-colour-conversion">
914 <title>Dialogue box for custom colour conversion</title>
917 <imagedata fileref="screenshots/colour-conversion&scs;"/>
923 Alternatively, choose <guilabel>None</guilabel> if your source files
924 are already in the XYZ colour space and require no conversion.
928 DCP-o-matic's colour conversion processes are discussed in much more
929 detail in a separate document <ulink
930 url="https://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
935 <!-- ============================================================== -->
937 <title>Other settings</title>
940 The <guilabel>crop</guilabel> settings can be used to crop your
941 content, which is often used to remove black borders from the edges of
942 the image. The specified number of pixels will be trimmed from each
943 edge, and the content image in the right of the window will be updated
944 to show the effect of the crop.
948 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
949 settings can be used to apply linear fades into and out of a piece of
950 content. Specify the time for each, clicking <guilabel>Set</guilabel>
951 after making any changes.
955 The <guilabel>Scale to</guilabel> option governs the shape that
956 DCP-o-matic will scale the content's image into. Select the aspect
957 ratio that your content should be presented in.
962 <!-- ============================================================== -->
964 <title>Video description</title>
967 At the bottom of the video tab is a short description of what will
968 happen to your video with the current settings. In the example of
969 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
970 video file is 2048x872 pixels and it has square pixels (a pixel
971 aspect ratio of 1.00) hence its display aspect ratio is 2.35:1. Since
972 the controls specify ‘2.35’ for the ratio, DCP-o-matic
973 does not scale the image but pads it to the DCP's container ratio of
974 1.85:1. For a 2K DCP this is 1998x1080 pixels.
978 This description also gives the frame rate of the content and what
979 will happen to it when it is played at the DCP's frame rate. See
980 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
981 frame-rate conversion.
989 <!-- ============================================================== -->
994 The <guilabel>Audio</guilabel> tab controls properties of the sound, as shown in <xref linkend="fig-audio-tab"/>.
997 <figure id="fig-audio-tab">
998 <title>Audio settings tab</title>
1001 <imagedata fileref="screenshots/audio-tab&scs;"/>
1006 <!-- ============================================================== -->
1008 <title>The audio map</title>
1011 The section at the bottom of the audio tab is the ‘audio
1012 map’. This governs how sound from the content will be arranged
1017 Down the left-hand side of the map is the list of audio channels in
1018 the currently-selected piece of content. These are labelled with two
1019 numbers; the first is the stream index within the content and the
1020 second is the channel number within that stream. Some content will
1021 have different streams for different languages or audio mixes. Along
1022 the top is each channel in the DCP. A green box means that the
1023 corresponding content channel will be copied into the corresponding
1028 When content channels are copied into DCP channels they can be done
1029 with variable gain. If, for example, you want to copy a channel
1030 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1031 two channels into one, you may want to use a gain of -6dB on each one
1032 to prevent clipping when the two channels are added.
1036 The green boxes of the audio mapping view tell you (very roughly) how
1037 much gain is applied to each channel. A full-height box means 0dB
1038 (i.e. unity) gain. Any less height indicates lower gain.
1042 To map one channel to another with 0dB gain, click in the empty box
1043 and it will turn green to reflect the mapping. A second click will
1044 turn the mapping back off. To set some other gain, right-click on the
1045 box to open the gain menu. This allows you to set
1046 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1047 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1048 <guilabel>Edit</guilabel> which allows you to set the required gain
1053 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1056 <figure id="fig-audio-map-eg1">
1057 <title>Audio map example 1</title>
1060 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1066 Here, we have two channels in the source which are mapped to left and
1067 right, respectively, in the DCP. The full green boxes show that the
1068 mapping is at unity gain (0dB) in each case. Imagine that we modify
1069 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1072 <figure id="fig-audio-map-eg2">
1073 <title>Audio map example 2</title>
1076 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1082 We now have the content's streams mapped to left and right and also
1083 mixed together and placed in the DCP's centre channel. The smaller
1084 green boxes on the centre mappings show that those channels are added
1085 with some non-unity gain; you can see by hovering the mouse pointer
1086 over those boxes that the gain for content channels 1 and 2 is -6dB
1087 when being sent to the centre channel and 0dB when being sent to left
1091 <figure id="fig-audio-map-eg3">
1092 <title>Audio map example 3</title>
1095 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1101 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1102 shows the mapping of a 5.1 source into a 5.1 DCP.
1108 <!-- ============================================================== -->
1110 <title>Other controls</title>
1113 The <guilabel>Use this DCP's audio as OV and make VF</guilabel>
1114 checkbox is only applicable if the selected content is an existing
1115 DCP. It allows you to make a VF DCP, using the audio content from the
1116 existing DCP by referencing it (rather than copying). See <xref
1117 linkend="sec-overlay"/>.
1121 <guilabel>Show graphs of audio levels</guilabel> will analyse the
1122 audio of the selected content and plot it on a graph. See <xref
1123 linkend="sec-show-audio"/> for more details.
1127 ‘Audio Gain’ is used to alter the volume of the
1128 soundtrack. The specified gain (in dB) will be applied to each sound
1129 channel of your content before it is written to the DCP.
1133 If you use a sound processor that DCP-o-matic knows about, it can help
1134 you calculate changes in gain that you should apply. Say, for
1135 example, that you make a test DCP and find that you have to run it at
1136 volume 5 instead of volume 7 to get a good sound level in the screen.
1137 If this is the case, click the <guilabel>Calculate...</guilabel>
1138 button next to the audio gain entry, and the dialogue box in <xref
1139 linkend="fig-calculate-audio-gain"/> will open.
1142 <figure id="fig-calculate-audio-gain">
1143 <title>Calculating audio gain</title>
1146 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1152 For our example, put 5 in the first box and 7 in the second and click
1153 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1154 that it should apply to make this happen. Then you can re-make the
1155 DCP (this will be reasonably fast, as the video data will already have
1156 been done) and it should play back at the correct volume with 7 on
1157 your sound-rack fader.
1161 Current versions of DCP-o-matic only know about the Dolby CP650 and
1162 CP750. If you use a different sound processor, and know the gain
1163 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1168 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1169 between audio and video. A positive delay will move the audio later
1170 with respect to the video, and a negative delay will move it earlier.
1177 <!-- ============================================================== -->
1179 <title>Timed text (subtitles and closed captions)</title>
1182 The timed text tab contains settings related to subtitles and closed captions in your
1183 content, as shown in <xref linkend="fig-timed-text-tab"/>.
1186 <figure id="fig-timed-text-tab">
1187 <title>Timed text settings tab</title>
1190 <imagedata fileref="screenshots/timed-text-tab&scs;"/>
1196 Depending on where timed text comes from it can sometimes be used as
1197 either an open subtitle (to be overlaid onto the cinema screen and
1198 seen by everybody) or as a closed caption (to be displayed to
1199 individual viewers using a special system such as the Doremi
1204 DCP-o-matic can either:
1208 <listitem>Extract timed text that is embedded in video files, or</listitem>
1209 <listitem>Use timed text from SubRip (<code>.srt</code>), SubStation
1210 Alpha (<code>.ssa</code> or <code>.ass</code>) or DCP XML files. You may find the great
1212 url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
1213 for creating such files.</listitem>
1217 Embedded timed text is usually represented using a set of bitmaps,
1218 especially on files that have come from DVD or BluRay. Such text can
1219 be used as a subtitle, but not a closed caption (since the closed
1220 captioning system requires the text to be delivered as
1221 character codes rather than an image).
1224 <para>In contrast, SubRip, SubStation Alpha or DCP text can be used as either a subtitle or a closed caption.</para>
1227 With subtitles you have the further choice of whether to burn the
1228 subtitles into the image or include them as a separate subtitle
1229 ‘asset’ within your DCP (in which case the projector
1230 overlays them onto the image on playback). The difference between
1231 burn-in and overlay is illustrated by <xref linkend="fig-burn-in"/>
1232 and <xref linkend="fig-discrete"/>.
1235 <figure id="fig-burn-in">
1236 <title>Burnt-in subtitles</title>
1239 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1244 <figure id="fig-discrete">
1245 <title>Separate subtitles</title>
1248 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1254 The advantage of separate subtitles is that the same video content can
1255 be used for DCPs in many different languages. This means that only a
1256 small text file needs to be changed for each target language, rather
1257 than a large video file. It also means that the time-consuming video
1258 encoding need only be done once for the project rather than once for
1263 Select the <guilabel>Use as</guilabel> check-box to enable the timed
1264 text in the selected content, then choose what you want to use the
1265 text for: open subtitles or closed captions.
1269 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1270 burn subtitles into the image; if this is not ticked the
1271 subtitles will be included separately in the DCP to be rendered by the
1276 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1277 controls move subtitles around within the image. These controls have
1278 no effect for closed captions. The offsets are expressed as a
1279 percentage of the video frame size; 100% X offset is the entire width
1280 of the frame, and 100% Y offset is the entire height. Hence, to move
1281 the subtitles down by half the frame height you would use a Y offset
1286 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1287 controls scale subtitles. These controls have no effect for closed
1288 captions. Scale values of 1 make the subtitles the same size
1289 (relative to the size of the image) as they are on the original.
1290 Values lower than 1 make them smaller, and values higher make them
1291 larger. You can stretch the subtitles in either direction by
1292 specifying different values for X and Y scale. Subtitles from DVD and
1293 Blu Ray sources are frequently larger (relative to the video frame)
1294 than those typically used for DCP, so it is often useful to scale such
1295 subtitles down using these controls.
1299 The <guilabel>Line spacing</guilabel> control adjusts the line spacing
1300 of the subtitles. This only works for subtitles that did not come from bitmaps.
1304 The <guilabel>Stream</guilabel> control changes the subtitle stream
1305 that is used when the content has more than one.
1309 If you are using non-image (text) subtitles or closed captions you can see the
1310 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1311 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1315 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1316 change how the subtitles look. Some of the controls in the
1317 <guilabel>Appearance</guilabel> only apply to burnt-in subtitles, as
1318 only limited control is available for subtitles rendered by the
1325 <!-- ============================================================== -->
1327 <title>Timing</title>
1330 The timing tab contains settings related to the timing of your
1331 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1334 <figure id="fig-timing-tab-detail">
1335 <title>Timing settings tab</title>
1338 <imagedata fileref="screenshots/timing-tab&scs;"/>
1344 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1345 These are expressed as four numbers, as shown in <xref
1346 linkend="fig-timecode"/>.
1349 <figure id="fig-timecode">
1350 <title>Timecode</title>
1353 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1359 <guilabel>Position</guilabel> is the time at which this piece of
1360 content should start within the DCP. In most cases, this will be
1361 <code>0:0:0:0</code> to make the content start at the beginning of the
1366 <guilabel>Full length</guilabel> is the length of the piece of
1367 content. This can only be set for still-image content: for video or
1368 sound content, it is fixed by the nature of the content file. If
1369 still-image content is being used you can set the length for which it
1370 should be displayed using this control.
1374 <guilabel>Trim from start</guilabel> specifies the amount that should
1375 be trimmed from the start of the content. You can set this amount to
1376 trim up to the current preview position by clicking <guilabel>Trim up
1377 to current position</guilabel>.
1381 <guilabel>Trim from end</guilabel> specifies the amount that should be
1382 trimmed from the end of the content. You can set this amount to trim
1383 after the current preview position by clicking <guilabel>Trim after to
1384 current position</guilabel>.
1388 <guilabel>Play length</guilabel> indicates how long this piece of
1389 content will be once the trims have been applied. This will be equal
1390 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1394 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1395 still-image content. It can also be used to override the detected
1396 frame rate of other content if DCP-o-matic has got it wrong.
1400 Each timecode control has a <guilabel>Set</guilabel> which you should
1401 click when you have entered a new value for a timecode. The
1402 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1403 any changes to the corresponding timecode.
1409 <!-- ============================================================== -->
1411 <title>Timeline</title>
1414 The timeline window gives an overview of all the pieces of content
1415 in your film, and how they are arranged. You can open the
1416 timeline by clicking the <guilabel>Timeline...</guilabel> button
1417 next to the content list. This will open a window like the one in <xref linkend="fig-timeline1"/>.
1420 <figure id="fig-timeline1">
1421 <title>Timeline</title>
1424 <imagedata fileref="screenshots/timeline1&scs;"/>
1430 The horizontal axis represents time, and you can see the time codes (in
1431 hours:minutes:seconds) along the bottom of the window. Pieces of
1432 content are represented with rectangles in the main part of the
1433 window. Content containing different types of data (e.g. a MP4
1434 file with video, audio and subtitles) have a rectangle for each
1439 Within the timeline you can select content by clicking, and drag
1440 it to change its position. Right-clicking a piece of content will
1441 open the content menu.
1445 The toolbar at the top of the window offers the following tools:
1449 <listitem>Select — to select and move content.</listitem>
1450 <listitem>Zoom in — to drag out an area that you want to see more closely.</listitem>
1451 <listitem>Zoom out — to zoom out so that the window shows the whole film.</listitem>
1452 <listitem>Snap — when enabled, content will snap to other content when you drag it close.</listitem>
1453 <listitem>Sequence — when enabled, content will be kept in sequence, without gaps, even if some content is removed.</listitem>
1457 <!-- ============================================================== -->
1459 <title>Video processing pipeline</title>
1462 This section gives a little more detail about how DCP-o-matic process
1463 video as it takes it from a source and puts it into a DCP.
1467 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1468 image which is letterboxed with 36 black pixels each at the top and
1469 bottom, and the video content within the letterbox should be presented
1470 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1471 happen with a trailer). The source image is shown in <xref
1472 linkend="fig-pipeline1"/>.
1475 <figure id="fig-pipeline1">
1476 <title>Example image to demonstrate video processing</title>
1479 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1485 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1489 <listitem>Crop</listitem>
1490 <listitem>Scale</listitem>
1491 <listitem>Place in container</listitem>
1495 First, some amount of the image can be cropped. This is almost always
1496 used to remove black borders (letterboxing and/or pillarboxing) around
1501 In our example image, we would use 36 pixels of crop from the top and
1502 bottom. This would give the new image shown in <xref
1503 linkend="fig-pipeline2"/>.
1506 <figure id="fig-pipeline2">
1507 <title>Example image after cropping</title>
1510 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1516 The next step is to scale the image. Since this content should be
1517 presented in a 2.39:1 (scope) aspect ratio inside a 1.85:1 (flat) DCP we would select
1518 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1519 option in the <guilabel>Video</guilabel> tab and
1520 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1521 option in the <guilabel>DCP</guilabel> tab.
1524 <para>The <guilabel>Scale to</guilabel> option should always be set to
1525 the aspect ratio at which the content should be seen. The
1526 <guilabel>Container</guilabel> option should be set to the preset that
1527 you want to use on the projector. Of course, these two settings will
1532 Given the scaling and container information, DCP-o-matic will look at
1533 the DCP's container size, and then scale the source image up until one
1534 or both of its dimensions (width, height or both) fits the size of the
1535 container, all the while preserving the desired aspect ratio.
1539 In our example here, the DCP's container is specified as 1.85:1 (so
1540 that the DCP will play back correctly using the projector's
1541 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1542 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1543 result in the image hitting the sides of the container first, at a
1544 size of 1998 x 836. This gives us a new version of the image as shown
1545 in <xref linkend="fig-pipeline3"/>.
1548 <figure id="fig-pipeline3">
1549 <title>Example image after cropping and scaling</title>
1552 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1558 The final step is to place the image into the DCP. In this case,
1559 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1560 we have set the <guilabel>container</guilabel> in the
1561 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1562 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1563 be some black bars at the top and bottom of the image. DCP-o-matic
1564 shares out this black equally, as shown in <xref
1565 linkend="fig-pipeline3"/>.
1568 <figure id="fig-pipeline4">
1569 <title>Example image in the DCP</title>
1572 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1581 <title>Copy and paste settings</title>
1584 Once you have set up a piece of content it is possible to copy the
1585 settings you have applied to another piece of content. To do this,
1586 select the content to copy from and choose <guilabel>Copy</guilabel>
1587 from the <guilabel>Edit</guilabel> menu. Then select the content to
1588 copy to and choose <guilabel>Paste</guilabel>. A dialogue box will
1589 open to allow you to choose which settings you want to copy. Clicking
1590 <guilabel>OK</guilabel> will apply the copied settings.
1597 <title>Advanced content settings</title>
1600 There are a few more content settings that you can change by right-clicking a piece of content in the list and choosing <guilabel>Advanced settings...</guilabel>
1601 This opens the dialogue box shown in <xref linkend="fig-advanced-content"/>.
1604 <figure id="fig-advanced-content">
1605 <title>Advanced content dialogue</title>
1608 <imagedata fileref="screenshots/advanced-content&scs;"/>
1614 <!-- ============================================================== -->
1616 <title>Video filters</title>
1619 The <guilabel>Video filters</guilabel> setting allows you to apply various
1620 filters to the image. These may be useful to try to improve
1621 poor-quality sources like DVDs. You can set up the filters by clicking the
1622 <guilabel>Edit</guilabel> button next to the filters entry; this opens the filters selector
1623 as shown in <xref linkend="fig-filters"/>.
1626 <figure id="fig-filters">
1627 <title>Filters selector</title>
1630 <imagedata fileref="screenshots/filters&scs;"/>
1639 <title>Override frame rate</title>
1642 The <guilabel>Override detected video frame rate</guilabel> setting has some different effects depending on the type of content
1647 For video content, it sets the frame rate that DCP-o-matic will run the video at. This is useful if DCP-o-matic has mis-detected
1648 the video frame rate. For example, if DCP-o-matic says your content is 24fps when you know for a fact it's 25fps, you can set the
1649 override value to 25 to force DCP-o-matic to do the right thing.
1653 On audio, subtitle and caption content this setting behaves slightly differently. It sets the video frame rate that the content
1654 in question was intended to work with. As an example, consider a project with a 23.976fps video source and some separate audio files.
1655 Perhaps those audio files have been mastered alongside a 24fps version of your video. By default, DCP-o-matic will see the 23.976fps
1656 video file and decide to run it slightly fast at 24fps to fit the DCP standard. It will then also run the audio slightly fast so that
1657 it stays in sync with the video.
1661 In this case, though, that is not what you want, since the audio is already ‘fixed’ to work alongside 24fps video. If you
1662 override the video frame rate of the <emphasis>audio</emphasis> content to 24fps this will stop DCP-o-matic altering it.
1666 A similar situation can occur if you have video at one rate and a subtitle file that was prepared with its timing at a different rate.
1667 In that case, you should override the video frame rate of the <emphasis>subtitle</emphasis> content to the one that it was prepared for.
1668 This will mean that DCP-o-matic can get the relative timing right.
1672 Do <emphasis>not</emphasis> use this setting to change the DCP frame rate. Doing so will result in strange effects and sync problems.
1678 <title>Video has burnt-in subtitles</title>
1680 Details about subtitle language are stored in various places within the DCP metadata. If a piece of video content already has subtitles
1681 burnt into the image you can tell DCP-o-matic the language that they are in by clicking the <guilabel>Edit...</guilabel> button.
1687 <title>Ignore this content's video</title>
1689 Tick this if you have some content which includes video along with other things (such as audio or subtitles) and you do
1690 <emphasis>not</emphasis> want the video to appear in the DCP.
1700 <!-- ============================================================== -->
1701 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1702 <title>DCP settings</title>
1705 This chapter describes the settings that apply to the whole DCP. The
1706 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1707 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1710 <figure id="fig-dcp-tab">
1711 <title>DCP settings tab</title>
1714 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1720 The first thing here is the name. This is generally set to the title
1721 of the film that is being encoded. If <guilabel>Use ISDCF
1722 name</guilabel> is not ticked, the name that you specify will be used
1723 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1724 is ticked, the name that you enter will be used as part of a
1725 ISDCF-compliant name.
1729 Underneath the name field is a preview of the name that the DCP will
1730 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1731 name</guilabel> check-box. The ISDCF name will be composed using details
1732 of your content's soundtrack, the current date and other things that
1733 can be specified in the ISDCF name details dialogue box, which you can
1734 open by clicking on the <guilabel>Details</guilabel> button.
1738 If you want to take the ISDCF-compliant name that DCP-o-matic
1739 generates and modify it, click <guilabel>Copy as name</guilabel> and
1740 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1741 You can then edit it as you wish. The DCP name should not matter (in
1742 that it should not affect how the DCP ingests or plays) but
1743 projectionists will appreciate it if you use the standard naming
1744 scheme as it makes it easier to identify details of the content.
1748 The <guilabel>Content Type</guilabel> option can be
1749 ‘feature’, ‘trailer’ or whatever; select the
1750 required type from the drop-down list. On some projection systems
1751 this will affect where your content appears in the projector's server
1752 user interface, so take care to select an appropriate type.
1756 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1757 is signed. This is rarely important; if in doubt, tick it.
1761 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1762 should be encrypted or not. If this is ticked, the DCP will require a
1763 KDM to play back. Encryption is discussed in <xref
1764 linkend="ch-encryption"/>.
1768 If you use encryption DCP-o-matic will generate a random encryption
1769 key for you. To specify your own key, click the
1770 <guilabel>Edit..</guilabel> button next to the key.
1774 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1775 controls specify how the DCP will be split up into
1776 ‘reels’. See <xref linkend="sec-reels"/>.
1780 The <guilabel>Standard</guilabel> option specifies which of the two
1781 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1782 more modern of the two).
1786 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1787 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1791 At the bottom of the DCP tab are a further two tabs, one each to
1792 contain the settings for the DCP's video and audio parts.
1796 The <guilabel>Container</guilabel> option sets the ratio of the image
1797 in the DCP. If this ratio is different to the ratio used for any
1798 content, DCP-o-matic will pad the content with black. In simple cases
1799 this should be set to the same ratio as that for the the primary piece
1800 of video content. Alternatively, you might want to pillarbox a small
1801 format into a Flat container: in this case, select the small format
1802 for the content's ratio and ‘Flat’ for the DCP.
1806 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1807 your DCP. This can be a little tricky to get right. Ideally, you
1808 want it to be the same as the video content that you are using. If it
1809 is not the same, DCP-o-matic must resort to some tricks to alter your
1810 content to fit the specified frame rate. Frame rates are discussed in
1811 more detail in <xref linkend="ch-frame-rates"/>.
1815 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1816 to what DCP-o-matic thinks is the best given the content that you have
1821 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1822 is checked. A 3D DCP will then be created, and any 2D content will be
1823 made 3D compatible by repeating the same frame for both left and right
1824 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1825 Real-D etc.) but not on a 2D system.
1829 The <guilabel>Resolution</guilabel> tab allows you to choose the
1830 resolution for your DCP. Use 2K unless you have content that is of
1831 high enough resolution to be worth presenting in 4K.
1835 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1836 the final image files used within the DCP will be. Larger numbers
1837 will give better quality, but correspondingly larger DCPs. The
1838 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1839 Most commercial DCPs use bit rates between 75 and 125 Mbit/s.
1843 <guilabel>Re-encode JPEG2000 data from input</guilabel> governs
1844 whether or not JPEG2000-encoded data from a piece of content (usually
1845 a DCP) will be re-used in the output data as-is or whether it will be
1846 decoded and re-encoded by DCP-o-matic. If the option is enabled
1847 DCP-o-matic will decompress any JPEG2000 data it finds and re-encode
1848 it. This is useful if you want to reduce the bitrate of a DCP.
1849 Usually you will achieve better quality and quicker results by leaving
1850 this option switched off.
1854 The <guilabel>Audio Channels</guilabel> control sets the number of
1855 audio channels that the DCP will have. If the DCP has any channels
1856 for which there is no content audio they will be replaced by silence.
1857 You can only set an even number of channels here, since that is
1858 required by the DCI standard. If you want an odd number of channels,
1859 set the DCP channel count to one greater than you need and the
1860 unused channel will be filled with silence.
1864 The <guilabel>Processor</guilabel> control allows you to select a
1865 process to apply to the audio before it goes into the DCP. Three processes are currently provided:
1869 <listitem>Mid-side decode — this will take a L/R
1870 stereo input and extract the common part (corresponding to the
1871 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1872 The remaining L/R parts will be kept in the L/R channels of the DCP.
1873 This may be useful to make near-field L/R mixes more compatible with
1874 cinema audio systems.</listitem>
1875 <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:
1877 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1878 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1879 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1880 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1881 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1882 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1885 This upmixing algorithm is due to Gérald Maruccia.
1888 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1890 <listitem>DCP L is input L.</listitem>
1891 <listitem>DCP R is input R.</listitem>
1892 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1893 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1894 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1899 The up-mixers are not particularly advanced and should be used with care. You are strongly advised to check how the DCPs sound in a cinema if you have used one of DCP-o-matic's upmixers.
1901 <!-- ============================================================== -->
1902 <section xml:id="sec-reels">
1903 <title>Reels</title>
1906 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1907 way as a 35mm reel is a section of a film. A DCP can be split up into
1908 any number of reels and the joins (the equivalent to 35mm splices or changeovers)
1909 between the reels are seamless.
1913 There is no reason why you can't just use a single reel for the whole
1914 of your DCP, as there is no limit to their length. Many people choose
1919 There are, however, some possible advantages of splitting things up
1925 The picture, sound and subtitle data of the DCP will be
1926 split up into more smaller files on disk, rather than fewer larger
1927 files. This can be useful if the DCP is to be transferred on storage
1928 that have file size limits. The FAT32 filesystem, for example, can
1929 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1930 not be transferred using a FAT32-formatted disk. If that DCP were
1931 split up into two 3Gb reels it could be transferred.
1934 It is easier to re-use DCP components if they are in reels. Consider,
1935 for example, a film company who wants to put a 5 second ident onto the
1936 beginning of DCPs that they distribute. If they receive a feature
1937 film DCP they can modify it to add their ident as a separate reel.
1938 This is easier than attaching the picture data to the feature's existing data.
1943 DCP-o-matic offers three options for setting up the reels in your DCP:
1944 <guilabel>single reel</guilabel>, <guilabel>split by video content</guilabel> or <guilabel>custom</guilabel>.
1948 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1949 This is a perfectly good option if you have no particular reason to
1954 <guilabel>Split by video content</guilabel> puts each piece of source
1955 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1958 <figure id="fig-reels-by-video">
1959 <title>Making reels using split by video content</title>
1960 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1964 Here we have three video files (<code>ident.mp4</code>,
1965 <code>feature.ts</code> and <code>cred.mov</code>). With
1966 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1967 reel to hold each video file.
1971 <guilabel>Custom</guilabel> splits reels by the size of the files that
1972 will make up their video content. With <guilabel>Custom</guilabel>
1973 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1979 <!-- ============================================================== -->
1980 <section xml:id="sec-show-audio">
1981 <title>Show audio</title>
1984 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1985 to examine the audio in your content and plot a graph of its level
1986 over time. This can be useful for getting a rough idea of how loud
1987 the sound will be in the cinema auditorium. A typical plot is shown
1988 in <xref linkend="fig-audio-plot"/>
1991 <figure id="fig-audio-plot">
1992 <title>Audio plot</title>
1995 <imagedata fileref="screenshots/audio-plot&scs;"/>
2001 The plot gives the audio level (vertical axis, in dB) with time
2002 (horizontal axis). 0dB represents full scale, so if there is anything
2003 near this you are in danger of clipping the projector's audio outputs.
2007 There are two plot types: the peak level and the RMS, which can be
2008 shown or hidden using the check-boxes on the right hand side of the
2013 The channel check-boxes will show or hide the plot(s) for
2014 the corresponding channels in the DCP.
2018 The smoothing slider applies a variable degree of temporal smoothing
2019 to the plots, which can make them easier to read in some cases.
2023 Obviously the audio plot is no substitute for listening in an
2024 auditorium, but it can be useful to get levels in the right rough area.
2032 <!-- ============================================================== -->
2033 <chapter xml:id="ch-templates" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2034 <title>Templates</title>
2037 If you frequently make DCPs with similar settings you may find it
2038 useful to use templates.
2042 Say, for example, you often make 4K feature DCPs from video files in
2043 ’scope at 25fps. You can speed up this process by following
2048 <listitem>Create a film with any content and set it up how you like;
2049 in our example, set the content to scale to DCP, the DCP resolution
2050 to 4K, and so on.</listitem>
2051 <listitem>Choose <guilabel>Save as template...</guilabel> from the <guilabel>File</guilabel> menu.</listitem>
2052 <listitem>Enter a name for your template.</listitem>
2056 Then in the future you can create a new film, tick the
2057 <guilabel>Template</guilabel> box and choose your previously-saved
2058 template. The basic film's settings will come from your template, and
2059 when you add some content it will take on the settings of the
2060 first similarly-typed piece of content in your template.
2064 For example, if the template has a piece of video content and some
2065 subtitles, any video that you add to the new film will take on the
2066 settings of the video in the template. Similarly, any subtitles that
2067 you add will take on the settings of the subtitles from the template.
2071 The following settings from the <guilabel>DCP</guilabel> tab are saved
2076 <listitem>“Use ISDCF name” checkbox</listitem>
2077 <listitem>Content type (FTR, TLR etc.)</listitem>
2078 <listitem>Container</listitem>
2079 <listitem>Resolution</listitem>
2080 <listitem>JPEG200 bandwidth</listitem>
2081 <listitem>Video frame rate</listitem>
2082 <listitem>Signed and encrypted checkboxes</listitem>
2083 <listitem>Audio channels</listitem>
2084 <listitem>Standard (Interop / SMPTE)</listitem>
2085 <listitem>Audio processor</listitem>
2086 <listitem>Reel type and length</listitem>
2087 <listitem>Upload after make DCP checkbox</listitem>
2091 In addition to this, the settings (but not the filenames) of any
2092 content in the template are stored, as discussed above. The status of
2093 the <guilabel>Keep video and subtitles in sequence</guilabel> checkbox
2094 from the timeline is also preserved.
2100 <!-- ============================================================== -->
2101 <chapter xml:id="ch-export" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2102 <title>Export</title>
2105 As well as creating DCPs from the content you specify, DCP-o-matic
2106 can also export projects to ProRes and MP4 files. This is most
2107 often useful to convert DCPs to a file that is smaller and easier to play back.
2111 To convert a DCP to ProRes or MP4, the first step is start a new
2112 project and import the DCP (see <xref
2113 linkend="ch-manipulating-existing-dcps"/>). Then, choose
2114 <guilabel>Export...</guilabel> from the <guilabel>Jobs</guilabel>
2115 menu to open the export dialogue, as shown in <xref linkend="fig-export"/>.
2118 <figure id="fig-export">
2119 <title>Export dialogue</title>
2122 <imagedata fileref="screenshots/export&scs;"/>
2128 From this dialogue you can select the required output format,
2129 output file and, in the case of MP4, the quality of the output
2130 file. Higher quality files will, of course, be larger.
2134 You can also choose whether to mix down multichannel sources to stereo and whether you want to write separate reels to separate files.
2138 <!-- ============================================================== -->
2139 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2140 <title>Encryption</title>
2143 DCP's do not have to be encrypted, but they can be. This
2144 chapter discusses the basic principles of DCP encryption, and how
2145 DCP-o-matic can create encrypted DCPs and KDMs for them.
2149 <!-- ============================================================== -->
2151 <title>Basics</title>
2154 DCPs can be encrypted. This means that the picture and sound data are
2155 encoded in such a way that only cinemas ‘approved’ by the
2156 DCP's creators can read them. In particular, this means copies of the
2157 DCP can be distributed by insecure means: if a bad person called
2158 Mallory obtains a hard drive containing an encrypted DCP, there is no
2159 way that he can play it. Only those cinemas who receive a correct key
2160 delivery message (KDM) can play the DCP.
2164 <!-- ============================================================== -->
2166 <title>How it works</title>
2169 This section attempts to summarise how DCP encryption works. You can
2170 skip it if you like. You may need some knowledge of encryption
2171 methods to understand it.
2175 We suppose that we are trying to send a DCP to
2176 Alice's cinema without an attacker called Mallory being able to
2181 There are two main families of encryption techniques. The first,
2182 symmetric-key encryption, allows us to encode some data using some
2183 numeric key. After encoding, no-one can decode the data unless they
2188 The first step in a DCP encryption is to encode its data with a random key
2189 using symmetric-key encryption. The encrypted DCP can then be sent
2190 anywhere, safe in the knowledge that even if Mallory got hold of a
2191 copy, he could not decrypt it.
2195 Alice, however, needs to know the key so she can play the DCP in her
2196 cinema. A simple approach might be for us to send Alice the key.
2197 However, if Mallory can intercept the DCP, he might also be able to
2198 intercept our communication of the key to Alice. Furthermore, if Alice
2199 happened to know Mallory, she could just send him a copy of the key.
2203 The clever bit in the process requires the use of public-key
2204 encryption. With this technique we can encrypt a block of data using
2205 some ‘public’ key. That data can then only be decrypted
2206 using a corresponding private key which is
2207 <emphasis>different</emphasis> to the public key. The private and
2208 public keys form a pair which are related mathematically, but it is
2209 extremely hard (or rather, virtually impossible) to derive the private
2210 key from the public key.
2214 Public-key encryption allows us to distribute the DCP's key to Alice
2215 securely. The manufacturer of Alice's projector generates a public
2216 and private key. They hide the private key inside the projector where
2217 no-one can read it. They then make the public key available to anyone
2222 DCP-o-matic has a similar arrangement except that it stores its
2223 private keys in the user's configuration file. See <xref
2224 linkend="sec-decrypting"/> for details of how to share DCP-o-matic's
2225 certificate so that others can make encrypted DCPs for DCP-o-matic.
2229 We take our DCP's symmetric key and encrypt it using the public key of
2230 Alice's projector. We send the result to Alice over email (using a
2231 format called a Key Delivery Message, or KDM). Her projector then
2232 decrypts our message using its private key, yielding the magic
2233 symmetric key which can decrypt the DCP.
2237 If is fine if Mallory intercepts our email to Alice, since the only
2238 key which can decrypt the message is the private key buried inside
2239 Alice's projector. The projector manufacturer is very careful that
2240 no-one ever finds out what this key is. Our DCP is secure: only Alice
2241 can play it back, since only her projector knows the key (even Alice
2249 <!-- ============================================================== -->
2251 <title>Encryption using DCP-o-matic</title>
2254 There are two steps to distributing an encrypted DCP. First, the
2255 DCP's data must be encrypted, and secondly KDMs must be generated for
2256 those cinemas that are allowed to play the DCP.
2260 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
2261 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
2262 encrypt the DCP that it makes using a random key that DCP-o-matic
2263 generates. The key will be written to the film's metadata file, which
2264 should be kept secure.
2268 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
2269 ticked will not play on any projector as-is (it will be marked as
2270 ‘locked’, or whatever the projector manufacturer's term
2275 The second part of distributions is to generate KDMs for the cinemas
2276 that you wish to allow to play your DCP. There are two approaches to
2277 this within DCP-o-matic: using the project, or using a DKDM. These
2278 approaches are now described in turn.
2282 <title>Creating KDMs from a DCP-o-matic project</title>
2285 You can create KDMs from inside a DCP-o-matic project using the
2286 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
2287 menu. This will open the KDM dialogue box, as shown in <xref
2288 linkend="fig-kdm"/>.
2291 <figure id="fig-kdm">
2292 <title>KDM dialog</title>
2295 <imagedata scale="35" fileref="screenshots/kdm&scs;"/>
2301 In order to generate KDMs for a particular projector, you need to know
2302 its <emphasis>certificate</emphasis>. These are usually made
2303 available by the projector manufacturers as text files with a
2304 <code>.pem</code> extension.
2308 DCP-o-matic can store these certificates along with details of their
2309 cinemas and screens within those cinemas. Each screen has a
2310 certificate for its projector (and optionally certificates for other
2311 trusted devices, such as the sound processor). DCP-o-matic can
2312 generate KDMs for any screens that it knows about.
2316 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
2317 a dialogue box into which you can enter the cinema's name, and
2318 optionally an email address. This email address can be used to
2319 get DCP-o-matic to deliver KDMs via email.
2323 Once you have added a cinema, select it by clicking on its name, then
2324 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2325 allows you to enter a name for the screen and load in its certificate
2326 from a file. The certificate should be in SHA256 PEM format.
2330 Alternatively, certificates for projection systems made by some
2331 manufacturers can be downloaded from databases provided by the
2332 manufacturer. Currently this is supported for Doremi, Dolby, Barco,
2333 Christie and GDC equipment (through downloading Barco, Christie or GDC
2334 certificates requires you to have an appropriate account set up in
2335 DCP-o-matic's preferences). If you are targeting a screen with
2336 equipment by one of these manufacturers you can click
2337 <guilabel>Download</guilabel> then enter the serial number of the
2338 server in the screen and click <guilabel>Download</guilabel> again
2339 and, all being well, the certificate will be fetched. Most cinema
2340 projection or technical departments will know these serial numbers.
2344 Note that the reliability of the manufacturers' certificate databases
2345 cannot be guaranteed. It is vital that KDMs are tested by the
2346 destination cinema will in advance of show time to identify any
2351 Once you have set up all the screens that you need KDMs for, select
2352 the CPL that you want to create the KDM for. You can use the
2353 drop-down list to select the CPLs in the current film project, or load
2354 a CPL from somewhere else. Select the cinemas and/or screens that you
2355 want KDMs for and fill in the start and end dates and times.
2359 You must also select the type of KDM that you want to generate. If in
2360 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2364 The differences between the three KDM types are fairly subtle.
2365 <guilabel>DCI Specific</guilabel> and <guilabel>DCI Any</guilabel> add
2366 a <code><ContentAuthenticator></code> tag to the KDM which
2367 allows the exhibitor to check that the DCP and KDM have come from a
2368 bona-fide source. In addition, <guilabel>DCI Specific</guilabel> adds
2369 information on trusted devices to the KDM. This allows the KDM
2370 creator to specify devices (such as sound processors) that are allowed
2371 to use keys delivered by the KDM. At present it is not clear how
2372 widely the <guilabel>DCI Specific</guilabel> and <guilabel>DCI
2373 Any</guilabel> features are supported (or even tolerated) by servers
2374 so you are advised to use <guilabel>Modified Transitional
2379 Finally, choose what you want to do with the KDMs. They can be
2380 written to disk, to a location that you can specify by clicking
2381 <guilabel>Browse</guilabel>. Alternatively, if you choose
2382 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2383 emailed to the appropriate cinema email addresses. Click
2384 <guilabel>Make KDMs</guilabel> to generate the KDMs.
2390 <title>Creating KDMs using a DKDM</title>
2394 It can be inconvenient to need a whole DCP-o-matic project just to
2395 create KDMs for its film. Perhaps you want to archive the project to
2396 save space, or create KDMs on a different machine. In such situations
2397 it is easier to use a DKDM. This is a normal KDM, but instead of
2398 being targeted at a projection system (to allow it to decrypt the
2399 content) it is targeted at a particular user's certificate. This
2400 means that the certificate owner can create new KDMs for other users.
2401 The DKDM holds everything that is required to create further KDMs.
2405 Sometimes it is useful to create DKDMs that can be used by
2406 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2407 any point in the future, use DCP-o-matic's standalone KDM creator to
2408 make KDMs for the DKDM's film for any cinema.
2412 In other cases a DKDM is sent to a 3rd party so that they can create
2413 KDMs for your films. This can be useful if, for example, you have a
2414 distributor who provides 24-hour KDM support to cinemas and can create
2415 KDMs for anybody that requires them at short notice.
2419 To create a DKDM for DCP-o-matic, open your encrypted project and
2420 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2421 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2422 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2423 be available in the KDM creator. This is a separate program which you
2424 can start from the same place that you start the ‘normal’
2425 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2428 <figure id="fig-kdm-creator">
2429 <title>The KDM creator</title>
2432 <imagedata scale="30" fileref="screenshots/kdm-creator&scs;"/>
2438 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2439 to be created for, the date range, the DCP that the KDMs are for and
2440 the destination for the KDMs and click <guilabel>Create
2445 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2446 which you have clicked <guilabel>Make DKDM for
2447 DCP-o-matic</guilabel> in the main DCP-o-matic program. If you have
2448 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2449 specifying the file containing the DKDM.
2453 If another organisation wants to send you a DKDM they will ask you for
2454 a target certificate. You can get DCP-o-matic's target certificate by
2455 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2456 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2464 <title>Encryption keys</title>
2467 You must be careful when using encryption not to lose important keys.
2471 If you are making KDMs from a DCP-o-matic film you
2472 <emphasis>must</emphasis> ensure that you have a backup of the
2473 <code>metadata.xml</code> file from the project, as well as the DCP
2478 If you are using a DKDM you <emphasis>must</emphasis> ensure that you
2479 have a backup of DCP-o-matic's <code>config.xml</code> file, since it
2480 contains the only key which can decrypt the DKDM. The
2481 <code>config.xml</code> file location depends on your operating
2482 system; possible locations are listed in <xref linkend="ch-config"/>.
2488 <title>Should I encrypt?</title>
2491 The question of whether encryption is appropriate for a given
2492 project is a tricky one.
2496 On the one hand, if you distribute an unencrypted DCP it is easy for
2497 anybody to take it and do whatever they want with its contents.
2498 They could use DCP-o-matic to convert it to a MP4, show it in
2499 their cinema, or even edit and redistribute it in ways that you
2504 Encryption prevents this, but brings its own problems. It will be
2505 impossible for a cinema to screen your DCP unless they have the
2506 correct KDM. This is easy enough if things work as they should,
2507 but problems can occur. For example, cinemas may substitute
2508 broken playout servers with new ones without telling you: then the
2509 KDM that you sent them will be invalid, and a new one required.
2510 If the cinema can't get in touch with you, or somebody else who
2511 can create a new KDM, they can't screen your DCP. Often these
2512 problems are only discovered very close to showtime, with little
2517 If you are distributing encrypted DCPs widely it is worth thinking
2518 about who will make the KDMs, and who will provide quick-response
2519 technical support. It may be a good idea to engage a company who can
2520 provide such services.
2527 <title>Encryption overview</title>
2529 <figure id="fig-encryption-overview">
2530 <title>Overview of encryption</title>
2533 <imagedata fileref="diagrams/crypt&dia;"/>
2543 <!-- ============================================================== -->
2544 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2545 <title>Preferences</title>
2548 DCP-o-matic provides preferences which can be used to modify its
2549 behaviour. They are described in this chapter.
2553 Preferences can be edited by choosing
2554 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2555 menu. This opens a dialogue which is split into eleven tabs.
2558 <!-- ============================================================== -->
2560 <title>General</title>
2563 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2566 <figure id="fig-prefs-general">
2567 <title>General preferences</title>
2570 <imagedata fileref="screenshots/prefs-general&scs;"/>
2576 <!-- ============================================================== -->
2578 <title>Language</title>
2581 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2582 a language from the list, that language will be used for DCP-o-matic.
2583 You will need to restart DCP-o-matic to see the new language.
2587 The translations for DCP-o-matic have been contributed by helpful
2588 users. If your language is not on the last, head to <ulink
2589 url="https://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2590 find out how to contribute a translation.
2595 <!-- ============================================================== -->
2597 <title>Interface complexity</title>
2600 Choose <guilabel>Simple</guilabel> to see a cut-down, simplified
2601 interface or <guilabel>Full</guilabel> to see DCP-o-matic's full
2607 <!-- ============================================================== -->
2609 <title>Number of threads DCP-o-matic should use</title>
2612 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2613 to speed things up. Set this value to the number of threads
2614 DCP-o-matic should use. This should normally be the number of
2615 processors (or processor cores) in your machine. DCP-o-matic will try
2616 to set this up correctly when you run it for the first time.
2622 <!-- ============================================================== -->
2624 <title>Number of threads DCP-o-matic encode server should use</title>
2627 This is the number of threads that the encode server should use when
2628 it is running and helping another copy of DCP-o-matic to speed up its
2635 <!-- ============================================================== -->
2637 <title>Configuration file</title>
2640 This is the location of DCP-o-matic's configuration file on disk. You
2641 can use this to share configuration between several copies of
2642 DCP-o-matic, across a network share, for instance.
2646 <!-- ============================================================== -->
2648 <title>Cinema and screen database file</title>
2651 This option allows you to change the file that DCP-o-matic uses to
2652 store details of the cinemas and screens used to make KDMs.
2657 <!-- ============================================================== -->
2659 <title>Play sound via</title>
2662 The checkbox to the left of <guilabel>Play sound</guilabel> enables or
2663 disables DCP-o-matic use of sound. On some machines there will be
2664 multiple options in the drop-down menu to decide how the sound should
2669 <!-- ============================================================== -->
2671 <title>Integrated loudness</title>
2674 If <guilabel>Find integrated loudness, true peak and loudness range
2675 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2676 work when analysing audio. Leave this ticked if the extra parameters
2677 are useful to you. If not, untick it and audio analysis will be
2683 <!-- ============================================================== -->
2685 <title>Automatically analyse content audio</title>
2688 If this checkbox is ticked an audio analysis will be run whenever content is added that contains sound.
2692 <!-- ============================================================== -->
2694 <title>Updates</title>
2697 The <guilabel>Check for updates on startup</guilabel> option, if
2698 enabled, will tell DCP-o-matic to check on <ulink
2699 url="https://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2700 newer versions of DCP-o-matic then the one you are running. If so, a
2701 dialogue box will open with a link to download the new version.
2705 The <guilabel>Check for testing updates as well as stable
2706 ones</guilabel> option will also check for test updates as well as
2707 those that are formally ‘released’. This is useful if you
2708 like to live on the bleeding edge!
2712 <!-- ============================================================== -->
2714 <title>Issuer and creator</title>
2717 With these controls you can set the issuer and creator strings that
2718 will be put into the DCPs which you create. The issuer is typically your name
2719 (or your organisation's name) and the creator is typically the name of the tool
2720 used to make the DCP (e.g. DCP-o-matic).
2726 <!-- ============================================================== -->
2728 <title>Defaults</title>
2731 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2734 <figure id="fig-prefs-defaults">
2735 <title>Defaults preferences</title>
2738 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2744 The options in this tab simply allow you to set up default values for
2745 various properties of new films.
2750 <!-- ============================================================== -->
2752 <title>Servers</title>
2755 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2758 <figure id="fig-prefs-servers">
2759 <title>Servers preferences</title>
2762 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2768 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2769 locate encoding servers automatically (see <xref
2770 linkend="ch-servers"/>).
2774 Instead of this (or in addition) servers can be specified explicitly.
2775 To add a server, click <guilabel>Add...</guilabel> and enter the host
2776 name or IP address of the server to use.
2782 <!-- ============================================================== -->
2783 <section xml:id="sec-prefs-keys">
2787 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) has controls
2788 related to the keys and certificates used in some parts of DCP
2792 <figure id="fig-prefs-keys">
2793 <title>Keys preferences</title>
2796 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2802 <guilabel>Export KDM decryption certificate...</guilabel> allows you
2803 to save the certificate that DCP-o-matic uses when decrypting KDMs
2804 that you give it. Use this option if somebody wants to make a KDM for
2805 you and asks for your certificate.
2809 <guilabel>Export all KDM decryption settings...</guilabel> exports a
2810 file which contains all the DCP-o-matic settings related to the use of
2811 KDMs supplied by other people. Use this button and <guilabel>Import
2812 all KDM decryption settings...</guilabel> to transfer settings between
2813 different copies of DCP-o-matic so that they can both use the same
2818 The two <guilabel>Advanced...</guilabel> buttons open advanced
2819 dialogue boxes for detailed manipulation of DCP-o-matic's certificate
2826 <title>Advanced keys settings</title>
2829 At the top of the <guilabel>Advanced</guilabel> dialogue for signing
2830 DCPs and KDMs is the chain of certificates that will be used to sign
2831 DCPs and KDMs. DCP-o-matic creates a random chain when you first run
2832 it and if you are happy to use this chain you can ignore the
2833 preferences. Otherwise, you can add or remove certificates from the
2834 chain using the <guilabel>Add...</guilabel> and
2835 <guilabel>Remove</guilabel> buttons.
2839 If you want DCP-o-matic to re-create the certificate chain (using new,
2840 random certificates) click <guilabel>Re-make
2841 certificates and key...</guilabel> and specify your organisation and common
2842 names in the dialogue box that opens.
2846 Underneath the certificate chain is the private key that corresponds
2847 to the leaf certificate in the chain. You can specify your own
2848 private key by clicking <guilabel>Import...</guilabel>. You must do
2849 this if you change the leaf certificate, so that the leaf private key
2850 corresponds to the public key held in the leaf certificate.
2854 At the top of the <guilabel>Advanced</guilabel> dialogue for decrypting DCPs is the chain and key which is used by
2855 DCP-o-matic when you import an encrypted DCP as a piece of content.
2856 The leaf certificate of this chain contains the public key that should
2857 be used when targeting a KDM at DCP-o-matic.
2861 Clicking <guilabel>Export chain...</guilabel> will
2862 export the whole certificate chain.
2867 <!-- ============================================================== -->
2868 <section xml:id="sec-prefs-tms">
2870 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2873 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2874 options for specifying details about your theatre management system
2875 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2876 you can upload DCPs directly from DCP-o-matic to the TMS using the
2877 <guilabel>Send DCP to TMS</guilabel> option in the
2878 <guilabel>Jobs</guilabel> menu.
2881 <figure id="fig-prefs-tms">
2882 <title>TMS preferences</title>
2885 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2891 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2892 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2893 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2894 FTP. Do let us know if you use any other type of TMS with the
2895 <guilabel>Send DCP to TMS</guilabel> feature.
2899 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2900 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2901 should be uploaded to (which will be relative to the home directory of
2902 the SSH or FTP user). Finally, the user name and password are the
2903 credentials required to log into the TMS via SSH or FTP.
2907 Note that for this to work on Doremi servers you will need to set the
2908 <code>PasswordAuthentication</code> option in your server's
2909 <code>sshd_config</code> to <code>yes</code>.
2915 <!-- ============================================================== -->
2917 <title>Email</title>
2920 The Email tab is shown in <xref linkend="fig-prefs-email"/>.
2923 <figure id="fig-prefs-email">
2924 <title>Email preferences</title>
2927 <imagedata fileref="screenshots/prefs-email&scs;"/>
2933 These settings are used when DCP-o-matic sends emails.
2937 <guilabel>Outgoing mail server</guilabel> should be the host name of a mail (SMTP) server that DCP-o-matic can use. You can also specify the port that DCP-o-matic should use. <guilabel>User name</guilabel> and <guilabel>Password</guilabel> are the credentials that are required to send email through the server you have specified.
2942 <!-- ============================================================== -->
2944 <title>KDM email</title>
2947 The KDM email tab is shown in <xref linkend="fig-prefs-kdm-email"/>.
2950 <figure id="fig-prefs-kdm-email">
2951 <title>KDM email preferences</title>
2954 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2960 This is a template for the email that is used to send KDMs out to
2961 cinemas. You can change it to say whatever you like. A few
2962 ‘magic’ strings will be replaced by information from the
2963 KDM that is being sent; these strings are shown in <xref linkend="tab-kdm-magic"/>.
2966 <table id="tab-kdm-magic">
2967 <title>‘Magic’ KDM strings</title>
2968 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2971 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2974 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2977 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2980 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2983 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2990 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2995 <!-- ============================================================== -->
2997 <title>Notifications</title>
3000 The Notifications tab is shown in <xref linkend="fig-prefs-notifications"/>.
3003 <figure id="fig-prefs-notifications">
3004 <title>Notifications preferences</title>
3007 <imagedata fileref="screenshots/prefs-notifications&scs;"/>
3013 DCP-o-matic can notify the user when jobs have completed. These
3014 notifications can be either or both of a message box on-screen (if
3015 <guilabel>Message box</guilabel> is ticked) and email (if
3016 <guilabel>Email</guilabel> is ticked). If you enable email
3017 notifications you can fill in the details of the emails you want to
3022 The bottom box in the tab is the contents of the email that should
3023 be sent. DCP-o-matic will replace the ‘magic’ strings
3024 <code>$JOB_NAME</code> and <code>$JOB_STATUS</code> in the with the
3025 details of the job that has completed.
3031 <!-- ============================================================== -->
3033 <title>Cover sheet</title>
3036 The DCP cover sheet configuration is shown in <xref linkend="fig-prefs-cover-sheet"/>.
3039 <figure id="fig-prefs-cover-sheet">
3040 <title>DCP cover sheet preferences</title>
3043 <imagedata fileref="screenshots/prefs-cover-sheet&scs;"/>
3049 This is a template for the cover sheet that is written next to every DCP that DCP-o-matic creates. You can change it to say whatever you like. A few
3050 ‘magic’ strings will be replaced by information from the
3051 DCP that has been made:
3055 <title>‘Magic’ cover sheet strings</title>
3056 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
3059 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
3062 <entry><code>$TYPE</code></entry><entry>DCP content type (e.g. feature, trailer...)</entry>
3065 <entry><code>$CONTAINER</code></entry><entry>The container ratio (e.g. flat, scope...)</entry>
3068 <entry><code>$AUDIO</code></entry><entry>Details of the audio channels</entry>
3071 <entry><code>$AUDIO_LANGUAGE</code></entry><entry>Audio language</entry>
3074 <entry><code>$SUBTITLE_LANGUAGE</code></entry><entry>Subtitle language</entry>
3077 <entry><code>$LENGTH</code></entry><entry>DCP length in hours, minutes and seconds</entry>
3080 <entry><code>$SIZE</code></entry><entry>DCP size in gigabytes</entry>
3087 The <guilabel>Reset to default text</guilabel> will replace the current cover sheet with DCP-o-matic's default.
3093 <!-- ============================================================== -->
3094 <section xml:id="sec-prefs-advanced">
3095 <title>Advanced</title>
3096 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
3099 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
3102 <figure id="fig-prefs-advanced">
3103 <title>Advanced preferences</title>
3106 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
3112 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
3113 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
3114 are advised to leave this at 250Mbit/s in normal use for maximum DCP
3119 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
3120 the DCP video frame rates that DCP-o-matic will create. This may be
3121 useful for experimentation. Again, you are strongly advised to leave
3122 this unticked for normal use.
3126 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
3127 JPEG2000 data only on encoding servers and not on the host. We
3128 suggest you leave this unticked unless you have a good reason to do otherwise.
3132 With the filename format fields you can adjust the filenames that are
3133 used for metadata (CPL and PKL files) and assets (MXF and subtitle
3134 files). Below each field there is a list of the ‘magic’
3135 values that you can use in the format and an example of a filename
3136 that you might see with your current settings.
3140 The four checkboxes labelled <guilabel>Log</guilabel> control what
3141 sort of messages DCP-o-matic writes to its log file when creating a
3142 DCP. It is useful to leave <guilabel>General</guilabel>,
3143 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
3144 as this makes the log files useful for tracking down bugs.
3148 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
3149 to allow developers to investigate and optimise the speed of
3150 DCP-o-matic. It will significantly increase the size of the log files
3151 that are generated, so in normal use it is best to leave this
3158 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
3159 <title>Frame rates</title>
3162 In an ideal world, a DCP would be created using content at the same
3163 video frame and audio sampling rates as the DCP. This is not,
3164 however, always possible.
3168 <!-- ============================================================== -->
3170 <title>DCP frame rate limitations</title>
3173 There are some limitations to video and audio frame rates in DCPs. This is
3174 complicated by the fact that not all projectors will play DCPs at the
3175 same frame rates. It is possible to create a DCP which one projector will
3176 play fine, but another (of a different type) will refuse to play.
3180 <!-- ============================================================== -->
3182 <title>Guaranteed rates</title>
3185 The only rates that are guaranteed to work on all DCI projectors are
3186 24 frames per second (fps) for video and 48kHz for audio. If you are
3187 sending DCPs to unknown places it is wise to consider using these
3188 rates if at all possible.
3194 <!-- ============================================================== -->
3196 <title>Other often-supported rates</title>
3198 Many projectors now in the wild support additional video frame rates:
3199 25, 30, 48, 50 and 60 fps.
3204 <!-- ============================================================== -->
3206 <title>Adapting content to fit the DCP rate</title>
3209 DCP-o-matic has a few tricks to allow you to use content that is not
3210 in one of the ‘approved’ rates.
3214 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
3215 with minimal loss in quality.
3219 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
3220 with a non-supported content rate is to run it at the wrong speed, and
3221 to adjust the audio to keep it in sync.
3224 <para>Let us consider the example of a 25fps source for which you want
3225 to create a 24fps DCP. DCP-o-matic will put the frames from the
3226 source directly into the DCP without modification, but will tell the
3227 projector to play them back at 24fps. This means that the DCP's video
3228 will run slightly slower than the original.
3232 If DCP-o-matic did nothing else, the result of this would be that the
3233 audio would be running at the original speed with the video running
3234 slowly. Hence the audio would drift slowly out of sync. To avoid
3235 this, DCP-o-matic also resamples the audio such that the projector
3236 will play it too slow by the same amount. Hence it will sound
3237 slightly different but will remain in sync with the video.
3241 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
3248 <!-- ============================================================== -->
3250 <title>Setting up</title>
3253 The <guilabel>Frame Rate</guilabel> control in the
3254 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
3255 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
3256 what DCP-o-matic thinks is the best for your content. With this
3257 button, DCP-o-matic assumes that the most commonly-working frame rates (24,
3258 25 and 30fps) are allowed.
3262 After this, the <guilabel>Video</guilabel> tab for each piece of
3263 content will give a summary of what DCP-o-matic is doing with that
3268 If you want to experiment with other non-standard frame rates, you can
3269 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
3270 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
3271 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
3272 use this only on your own equipment, and only for experimentation
3281 <!-- ============================================================== -->
3282 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
3283 <title>Encoding servers</title>
3286 One way to increase the speed of DCP encoding is to use more
3287 than one machine at the same time. An instance of DCP-o-matic can
3288 offload some of the time-consuming JPEG2000 encoding to any number of
3289 other machines on a network. To do this, one ‘master’
3290 machine runs DCP-o-matic, and the ‘server’ machines run
3291 a small program called <code>dcpomatic_server</code>.
3295 The master and server machines do not need to be the same type, so you
3296 can mix Windows PCs, Macs and Linux machines as you wish.
3300 <!-- ============================================================== -->
3302 <title>Running the servers</title>
3305 There are two options for the encoding server;
3306 <code>dcpomatic_server_cli</code>, which runs on the command line, and
3307 <code>dcpomatic_server</code>, which has a simple GUI. The command line
3308 version is well-suited to headless servers, especially on Linux, and
3309 the GUI version works best on Windows where it will put an icon in the
3314 To run the command line version, simply enter:
3318 dcpomatic2_server_cli
3322 at a command prompt. If you are running the program on a machine with
3323 a multi-core processor, you can run multiple parallel encoding threads
3324 by doing something like:
3328 dcpomatic2_server_cli -t 4
3332 to run 4 threads in parallel.
3336 To run the GUI version on windows, run the ‘DCP-o-matic encode
3337 server’ from the start menu. An icon will appear in the system
3338 tray; right-click it to open a menu from whence you can quit the
3339 server or open a window to show its status.
3342 <para>If you would rather not bother installing DCP-o-matic on your
3343 server computers, the other option is to use the live-CD
3344 image that you can download from the <ulink
3345 url="https://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
3347 <para>Either burn the image to CD, or write it to a USB stick (using
3348 something like <ulink
3349 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
3350 PC from the CD or USB stick and it becomes a DCP-o-matic server
3351 without touching your standard operating system install.
3356 <!-- ============================================================== -->
3358 <title>Setting up DCP-o-matic</title>
3361 DCP-o-matic periodically looks on the local network for servers. Any
3362 that it finds are given work to do during encodes. Selecting
3363 <guilabel>Encoding Servers</guilabel> from the
3364 <guilabel>Tools</guilabel> menu brings up a window which shows that
3365 servers that DCP-o-matic has found.
3370 <!-- ============================================================== -->
3372 <title>Some notes about encode servers</title>
3375 DCP-o-matic does not mind if servers come and go; if a server
3376 disappears, DCP-o-matic will stop sending work to it, and will check
3377 it every minute or so in case it has come back online.
3381 You will probably find that using a 1Gb/s or faster network will
3382 provide a significant speed-up compared to a 100Mb/s network.
3389 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3390 <title>Generated files</title>
3393 DCP-o-matic generates a number of files as it makes a DCP. <xref
3394 linkend="fig-file-structure"/> shows the files that might be generated
3395 after you have created a DCP for a film called ‘DCP Test’.
3398 <figure id="fig-file-structure">
3399 <title>Creating a new film</title>
3402 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
3408 The <code>DCP Test</code> folder is the one that you specify when you
3409 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
3410 menu. Everything is stored inside this folder.
3414 DCP-o-matic generates some working files as it goes along. These are as follows:
3417 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
3418 along. This can be useful for debugging purposes if something goes
3421 <listitem><code>metadata</code> stores the settings that you have made
3422 for this film: things like cropping, output format and so on.</listitem>
3424 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
3425 video data as it encodes it.</listitem>
3427 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
3429 <listitem><code>info</code> contains details of each video frame that
3430 DCP-o-matic has written so far. This is used when an encoding
3431 operation is interrupted and DCP-o-matic must resume it.</listitem>
3436 Following this is the DCP itself:
3437 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
3438 contains some small XML files, which describe the DCP, and two large
3439 MXF files, which contain the DCP's audio and video data. It may also
3440 contain subtitles in either XML or MXF format. This folder
3441 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
3442 to the cinema which is showing your DCP.
3449 <title>Command-line tools</title>
3452 DCP-o-matic includes some tools which allow DCP creation from the
3453 command line or from scripting languages. This chapter covers the
3458 There are three command-line tools in DCP-o-matic.
3459 <code>dcpomatic2_create</code> creates film directories, with the
3460 associated metadata, from a list of content files. Then
3461 <code>dcpomatic2_cli</code> runs the transcode process on these
3462 film directories. Finally, <code>dcpomatic2_kdm_cli</code> can be
3463 used to create KDMs.
3467 Some applications will benefit from setting up the films using the
3468 main DCP-o-matic GUI and then using <code>dcpomatic2_cli</code> to
3469 do the encode. This allows, for example, setup on a relatively
3470 low-powered machine before running the encode on a higher-powered
3475 <title><code>dcpomatic2_create</code></title>
3478 The syntax for <code>dcpomatic2_create</code> is:
3482 <code>dcpomatic2_create [OPTION] <CONTENT> [[OPTION] <CONTENT> ...]</code>
3486 <code>[CONTENT]</code> are the files or folders that you want to use in the
3489 <listitem>‘Movie’ files in almost any common format (e.g. MP4, MOV, MKV, etc.)</listitem>
3490 <listitem>A folder containing and image sequence in almost any common format (e.g. TIFF, DPX etc.)</listitem>
3491 <listitem>Sound files (e.g. WAV, MP3, AIFF)</listitem>
3492 <listitem>Subtitles files (e.g. <code>.srt</code>, DCP XML, <code>.ssa</code> etc.)</listitem>
3500 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_create.xml"/>
3503 For example, to setup a film using a MP4 file you might do:
3507 <code>dcpomatic2_create -o my_film --container-ratio 185 --content-ratio 185 -c FTR -n "My Film" Stuff.mp4</code>
3511 This will create a folder called <code>my_film</code> which is ready for a DCP to be made by <code>dcpomatic2_cli</code>.
3515 <code>dcpomatic2_create</code> will use any default settings that you have configured in the main DCP-o-matic preferences.
3520 <title><code>dcpomatic2_cli</code></title>
3523 The syntax for <code>dcpomatic2_cli</code> is:
3527 <code>dcpomatic2_cli [OPTION] [FILM]</code>
3530 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_cli.xml"/>
3533 For example, to encode a film called <code>my_film</code> you might do:
3537 <code>dcpomatic2_cli my_film</code>
3542 <title><code>dcpomatic2_kdm_cli</code></title>
3545 The syntax for <code>dcpomatic2_kdm_cli</code> is:
3549 <code>dcpomatic2_kdm_cli [OPTION] <FILM|CPL-ID></code>
3552 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_kdm_cli.xml"/>
3559 <!-- ============================================================== -->
3561 <title>Loose ends</title>
3564 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
3568 <!-- ============================================================== -->
3570 <title>Resuming encodes</title>
3573 If you cancel a DCP encoding run half-way through, or your computer
3574 crashes... fear not. DCP-o-matic takes care to ensure that, in most
3575 cases, it can resume encoding from where it left off. When you
3576 re-start a DCP creation, using the same settings are a previous run,
3577 DCP-o-matic will first check that the existing picture frames are
3578 correct, and then resume from where it left off. The checking of
3579 existing frames does take some time, but it is much faster than
3580 running a full re-encode.
3584 This resumption is achieved by writing a digest (hash) to disk for
3585 every image frame that is written. On resumption, the existing MXF
3586 file for image data is read and its contents checked against the
3594 <!-- ============================================================== -->
3595 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3596 <title>Common tasks</title>
3599 This chapter describes how to carry out some commonly-required tasks
3600 with DCP-o-matic. The full details are elsewhere in the manual: here
3601 we just discuss different approaches to these tasks and how to carry
3606 <title>Adding subtitles to an existing DCP</title>
3609 You have three options:
3613 <listitem>Make a “Version File” (VF) DCP.</listitem>
3614 <listitem>Make a complete DCP with projector-added subtitles.</listitem>
3615 <listitem>Make a complete DCP with burnt-in subtitles.</listitem>
3619 Making a VF DCP is usually the best option. This will be a very small
3620 DCP which contains only the subtitles: it refers to your existing DCP
3621 for the picture and sound. The projectionist will ingest both the
3622 existing and VF DCPs and play back the VF. The advantages of this
3623 approach are that the VF is very quick to generate, and small in size,
3624 making it easy to distribute. This is especially useful if you have
3625 to make VF DCPs in many different languages.
3629 Making a complete DCP with projector-added subtitles gives you a new,
3630 single DCP which the projectionist can ingest and play. It will be
3631 the same size as your existing DCP, and fairly quick to create. This
3632 approach relies on the projector (or server) to create the subtitles
3633 and overlay them on the image, which mostly works well but is not
3634 100% reliable.
3638 Making a complete DCP with burnt-in subtitles gives you a new, single DCP
3639 but with the subtitles rendered by DCP-o-matic and copied into your
3640 image. This is slower to create than a DCP with projector-added
3641 subtitles as every video frame with a subtitle must be re-encoded.
3642 The advantage of this approach is that it is less likely to go wrong,
3643 especially if you are using unusual subtitle positioning or character
3648 <title>Making a VF DCP</title>
3651 <listitem>Start a new DCP-o-matic film.</listitem>
3652 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3653 <listitem>Go to the <guilabel>DCP</guilabel> tab and choose <guilabel>Split by video content</guilabel> for <guilabel>Reel type</guilabel>.</listitem>
3654 <listitem>Go to the <guilabel>Video</guilabel> and
3655 <guilabel>Audio</guilabel> tabs in turn and tick the <guilabel>Use this DCP's audio as OV and make VF</guilabel> checkboxes.</listitem>
3656 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3657 <listitem>Check the subtitle appearance in the preview; it will be
3658 slow to respond as it is having to decompress images from the existing
3660 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3666 <title>Making a complete DCP with projector-added subtitles</title>
3669 <listitem>Start a new DCP-o-matic film.</listitem>
3670 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3671 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3672 <listitem>Check the subtitle appearance in the preview; it will be
3673 slow to respond as it is having to decompress images from the existing
3674 DCP. Adjust the appearance using controls in the
3675 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3676 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3682 <title>Making a complete DCP with burnt-in subtitles</title>
3685 <listitem>Start a new DCP-o-matic film.</listitem>
3686 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3687 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3688 <listitem>Go to the <guilabel>Subtitle</guilabel> tab and tick the <guilabel>Burn subtitles into image</guilabel> checkbox.</listitem>
3689 <listitem>Check the subtitle appearance in the preview; it will be
3690 slow to respond as it is having to decompress images from the existing
3691 DCP. Adjust the appearance using controls in the
3692 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3693 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3700 <title>Adding soundtracks or subtitles in different languages</title>
3703 If you have a film that is to be dubbed or subtitled in several
3704 languages, the best approach with DCP-o-matic is as follows:
3708 <listitem>Make a DCP with the common elements (perhaps just the video, or maybe the video and sound); this is known as the Original Version (OV).</listitem>
3709 <listitem>For each language, make a new Version File (VF) DCP which refers to the OV.</listitem>
3713 Once you have done this, you send the OV DCP to every cinema and then
3714 the appropriate VF to each cinema depending on what language they want
3715 to play the film in. The projectionist ingests both DCPs and then plays the VF.
3719 The advantage of this approach is that the VF DCPs are much smaller
3720 than the OV since they only have the language-specific parts. If you
3721 are just changing the subtitles you can often ship the OV by normal
3722 transport means (e.g. a hard drive or high-speed download) and send
3727 The full details of OV and VF files are discussed in <xref linkend="sec-overlay"/>. The steps can be summarised as follows:
3731 <listitem>Create a new DCP-o-matic project for the OV, as normal, adding video and perhaps sound. Make the DCP.</listitem>
3732 <listitem>Create a new DCP-o-matic project for the VF.</listitem>
3733 <listitem>Use <guilabel>Add folder...</guilabel> to add your OV DCP to the project.</listitem>
3734 <listitem>Select the video tab and tick <guilabel>Use this DCP's video as OV and make VF</guilabel> (you may need to select <guilabel>By video content</guilabel> for <guilabel>Reel type</guilabel> in the <guilabel>DCP</guilabel> tab).</listitem>
3735 <listitem>Do the same in the <guilabel>Audio</guilabel> tab if your OV has audio.</listitem>
3736 <listitem>Add your language-specific audio and/or subtitles and Make DCP.</listitem>
3743 <chapter xml:id="ch-player" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3744 <title>Playing and verifying DCPs</title>
3746 <para>DCP-o-matic includes a DCP player, and although it requires a
3747 very high-speed CPU to play DCPs in full resolution, it can also
3748 play DCPs at reduced resolutions with slower CPUs.</para>
3750 <para>To use the player, start <guilabel>DCP-o-matic
3751 Player</guilabel>, and load a DCP using the
3752 <guilabel>Open</guilabel> option on the <guilabel>File</guilabel>
3755 <para>If you load a VF and/or encrypted DCP you can add your OV
3756 and/or KDM using the appropriate options on the
3757 <guilabel>File</guilabel> menu.</para>
3759 <para>During playback the <guilabel>Performance</guilabel> area at
3760 the bottom right of the window will give details of how many frames
3761 are being dropped; these are frames that were not decoded from the
3762 DCP quickly enough. If this number is high you can increase
3763 performance at the cost of rendering quality by choosing an option
3764 from the <guilabel>View</guilabel> menu. If you set the player to
3765 decode at less than full resolution the DCP's data will be decoded
3766 at this lower resolution, which is quicker than decoding at full
3771 The player also offers a simple DCP validator. To check a DCP,
3772 open it and then select <guilabel>Verify DCP</guilabel> from the
3773 <guilabel>Tools</guilabel> menu. This will run some basic checks to see if the DCP meets the required standards.
3779 <!-- ============================================================== -->
3781 <title>Keyboard shortcuts</title>
3782 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="shortcuts.xml"/>
3786 <!-- ============================================================== -->
3787 <chapter xml:id="ch-config" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3788 <title>Configuration files</title>
3790 <para>Most of DCP-o-matic's configuration is stored in an XML file called <code>config.xml</code>. This is stored in different places depending on your operating system:</para>
3793 <listitem>Windows: <code>c:\Users\your_user_name\AppData\Local\dcpomatic</code></listitem>
3794 <listitem>OS X: <code>/Users/your_user_Name/Library/Preferences/com.dcpomatic/2</code></listitem>
3795 <listitem>Linux: <code>~/.config/dcpomatic2</code></listitem>
3798 <para>Possible XML tags are as follows:</para>
3800 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="config.xml"/>
3806 <!-- LocalWords: dbcent DCP matic Hetherington DCPs KDMs GPL XP sid
3808 <!-- LocalWords: matic's jessie Tahr Xenial Xerus Centos Mageia GTK
3810 <!-- LocalWords: Karner FFmpeg libsndfile libsamplerate OpenSSL waf
3812 <!-- LocalWords: libopenjpeg libssh wxWidgets libxml xmlsec libzip
3814 <!-- LocalWords: asdcplib libdcp libsub libcxml sstream sudo Sintel
3816 <!-- LocalWords: dcpomatic TMS SCP timecode DCP's unencrypted OV Gb
3818 <!-- LocalWords: Decrypting KDM decrypt decrypted MOV VOB WAV AIFF
3820 <!-- LocalWords: PNG srt ssa xml wav Lfe XYZ colourspace sRGB RGB
3822 <!-- LocalWords: colourspaces pdf fader CP Doremi CaptiView SubRip
3824 <!-- LocalWords: SubStation BluRay
projects / dcpomatic.git / blob