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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 tools 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 (see <xref linkend="ch-player"/> and <xref linkend="ch-verifier"/>).</listitem>
36 <listitem>Create KDMs for DCPs (see <xref linkend="ch-encryption"/>).</listitem>
37 <listitem>Write cinema-format drives containing DCPs (see <xref linkend="ch-writer"/>).</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 Use the 64-bit installer unless you are using a 32-bit version of Windows.
100 You may find that DCP-o-matic crashes if run the 32-bit version on a CPU with more than 4 cores.
106 <!-- ============================================================== -->
111 DCP-o-matic versions 2.16.0 and higher will run on macOS version 10.8 (Mountain Lion) and
112 higher. DCP-o-matic is split into eight separate applications, each of
113 which can be installed by downloading the <code>.dmg</code>,
114 double-clicking to open and then dragging the icon to your
115 <guilabel>Applications</guilabel> folder.
119 If you don't know which parts of DCP-o-matic to install, start
120 with the first (main) part.
124 If you are using macOS 10.7 (Lion) or older you will need to install the latest 2.14.x version of DCP-o-matic.
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.
161 <title>Building from source</title>
163 Since DCP-o-matic is open-source you can also build it yourself,
164 though this can be quite a difficult process (especially on Windows and macOS).
165 There are instructions for how to do it on <ulink url="https://dcpomatic.com/building">https://dcpomatic.com/</ulink>
173 <!-- ============================================================== -->
174 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
175 <title>Creating a DCP from a video</title>
178 In this chapter we will see how to create a DCP from a video file using
179 DCP-o-matic. We will gloss over the details and look at the basics.
183 <title>Creating a new film</title>
186 Let's make a very simple DCP to see how DCP-o-matic works. First, we
187 need some content. Download the low-resolution trailer for the open
188 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
189 url="https://download.blender.org/durian/trailer/Sintel_Trailer.480p.DivX_Plus_HD.mkv">their
190 website</ulink>. Generally one would want to use the
191 highest-resolution material available, but for this test we will use
192 the low-resolution version to save on download time.
196 Now, start DCP-o-matic and its window will open. First, we will
197 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
198 some pieces of content, along with some settings, which we will make into
199 a DCP. DCP-o-matic stores its ‘film’ data in a folder on your disk while it
204 You can create a new film by selecting
205 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
206 shown in <xref linkend="fig-file-new"/>.
209 <figure id="fig-file-new">
210 <title>Creating a new film</title>
213 <imagedata fileref="screenshots/file-new&scs;"/>
219 This will open a dialogue box for the new film, as shown in <xref
220 linkend="fig-video-new-film"/>.
223 <figure id="fig-video-new-film">
224 <title>Dialogue box for creating a new film</title>
227 <imagedata fileref="screenshots/new-film&scs;"/>
233 In this dialogue box you can choose a name for the film. This will be
234 used to name the folder to store its data in, and also as the initial
235 name for the DCP itself. You can also choose where you want to create
236 the film. In the example from the figure, DCP-o-matic will create a
237 folder called ‘DCP Test’ inside my existing folder <code>DCP</code> into which it
238 will write its working files.
244 <!-- ============================================================== -->
246 <title>Adding content</title>
249 The next step is to add the content that you want to use. DCP-o-matic
250 can make DCPs from multiple pieces of content, but in this example we
251 will use a single piece. Click the <guilabel>Add
252 file(s)...</guilabel> button, as shown in <xref
253 linkend="fig-add-file"/>, and a file chooser will open for you to
254 select the content file to use, as shown in <xref
255 linkend="fig-video-select-content-file"/>.
258 <figure id="fig-add-file">
259 <title>Adding content files</title>
262 <imagedata fileref="screenshots/add-file&scs;"/>
267 <figure id="fig-video-select-content-file">
268 <title>Selecting a video content file</title>
271 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
277 Select your content file and click <guilabel>Open</guilabel>. In this
278 case we are using the Sintel trailer that we downloaded earlier.
282 When you do this, DCP-o-matic will take a look at your file. After a
283 short while (when the progress bar at the bottom right of the window
284 has finished), you can look through your content using the slider to
285 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
288 <figure id="fig-examine-content">
289 <title>Examining the content</title>
292 <imagedata fileref="screenshots/examine-content&scs;"/>
298 Dragging the slider will move through your video. You can also click
299 the <guilabel>Play</guilabel> button to play the content back.
307 <!-- ============================================================== -->
309 <title>Making the DCP</title>
311 <para>In most cases, some adjustments would be made to DCP-o-matic's
312 settings once the content has been added. For our simple test,
313 however, the default values will suffice, so we can go straight onto
314 making the DCP.</para>
317 Choose <guilabel>Make DCP</guilabel> from the
318 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
319 This may take some time (many hours in some cases). While the job is
320 in progress, DCP-o-matic will update you on how it is getting on with
321 the progress bar in the bottom of its window, as shown in <xref
322 linkend="fig-making-dcp"/>.
325 <figure id="fig-making-dcp">
326 <title>Making the DCP</title>
329 <imagedata fileref="screenshots/making-dcp&scs;"/>
335 When it has finished, the DCP will be written into its own folder inside the film's folder.
336 You can copy this to a projector via a USB stick, hard-drive or network connection. See <xref
337 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
341 Alternatively, DCP-o-matic can upload your DCP directly to a projector
342 or Theatre Management System (TMS) that is accessible via SCP or FTP
343 across your network. See <xref linkend="sec-prefs-tms"/>.
350 <!-- ============================================================== -->
351 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
352 <title>Creating a DCP from a still image</title>
355 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
356 for an advertisement or an on-screen announcement. This chapter shows you
361 As with DCPs made from video files, the first step is to create a new
362 ‘Film’; select <guilabel>New</guilabel> from the
363 <guilabel>File</guilabel> menu and the new film dialogue will open as
364 shown in <xref linkend="fig-still-new-film"/>.
367 <figure id="fig-still-new-film">
368 <title>Dialogue box for creating a new film</title>
371 <imagedata fileref="screenshots/new-film&scs;"/>
377 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
378 the content. As before, click <guilabel>Add file(s)...</guilabel>.
379 For our example, we will add a single image file, as shown in <xref
380 linkend="fig-still-select-content-file"/>.
383 <figure id="fig-still-select-content-file">
384 <title>Selecting a still content file</title>
387 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
393 Most of the default settings will be fine for a simple test. The one
394 thing that you might wish to change is the length of the still.
395 Select the <guilabel>Timing</guilabel> tab and you will see a
396 <guilabel>Full length</guilabel> setting, as shown in <xref
397 linkend="fig-timing-tab"/>.
400 <figure id="fig-timing-tab">
401 <title>The timing tab</title>
404 <imagedata fileref="screenshots/timing-tab&scs;"/>
410 This length is a ‘timecode’: it consists of four numbers.
411 The first is hours, the second minutes, the third seconds, and the
412 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
416 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
417 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
418 be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
419 to encode a single frame which it can then repeat.
425 <!-- ============================================================== -->
426 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" id="ch-manipulating-existing-dcps">
427 <title>Manipulating existing DCPs</title>
430 DCP-o-matic is often used to take content in formats such as MP4 and
431 make it into a DCP. It can also be used to take existing DCPs and
432 modify them in various ways.
436 <title>Importing a DCP into DCP-o-matic</title>
439 The first step in manipulating an existing DCP is to import it. Click
440 <guilabel>Add DCP...</guilabel> and select your DCP's folder. It will
441 be added to the DCP-o-matic project. If the DCP is unencrypted you
442 can preview it in the normal way, though playback may be slow as
443 decoding of DCPs is almost as computationally intensive as encoding
448 If your DCP is a Version File (VF) (i.e. it refers to
449 another DCP's assets) you should import it as follows:
453 <listitem>Use <guilabel>Add DCP...</guilabel> to import the VF DCP.
454 The VF DCP will be added to the content list and marked “NEEDS
455 OV”.</listitem>
456 <listitem>Right-click on the VF DCP in the content list and choose <guilabel>Add OV...</guilabel> from the menu.</listitem>
457 <listitem>Choose the folder that contains the OV DCP. The VF will now be playable as normal.</listitem>
463 <section xml:id="sec-decrypting">
464 <title>Decrypting encrypted DCPs</title>
467 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
468 details). If you import an encrypted DCP you will need a key, in the
469 form of a Key Delivery Message (KDM), to decrypt it.
473 KDMs must be prepared by the organisation which created the DCP. They
474 contain the keys to decrypt the DCP wrapped up in such a way that only
475 the intended recipient can read them. You will need to provide the
476 organisation with a certificate which identifies your copy of
477 DCP-o-matic and allows them to create a KDM for you.
481 To get DCP-o-matic's decryption certificate, open the Preferences
482 dialogue (see <xref linkend="ch-preferences"/>) and go to the
483 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
484 decryption certificate...</guilabel> button at the bottom of this tab
485 and save the certificate. Send this certificate to the DCP creators
486 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
490 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
491 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and the DCP
492 will be decrypted and become available for preview.
499 <title>Making a DCP from a DCP</title>
502 In many ways, using DCPs as <emphasis>content</emphasis> in
503 DCP-o-matic is the same as using any other content. There are a few
504 things to note, though.
509 <title>Re-use of existing data</title>
512 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
513 data from DCP content without modification. This has the advantage
514 that creation of the new DCP will be quick, as the time-consuming
515 JPEG2000 encoding is not necessary.
519 DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
520 the following content settings:
524 <listitem>Crop</listitem>
525 <listitem>Scaling</listitem>
526 <listitem>Subtitle burn-in</listitem>
527 <listitem>Fades</listitem>
528 <listitem>Colour conversion</listitem>
532 DCP-o-matic will be forced to decode and re-encode your JPEG2000 data
533 if you change any of these settings on a piece of DCP content.
539 <section xml:id="sec-overlay">
540 <title>Making overlay files</title>
543 With its default settings, DCP-o-matic will take any data from DCP
544 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
547 <figure id="fig-dcp-copy">
548 <title>Creating a new DCP by copying an existing one</title>
549 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
553 This can be inefficient in some cases. Consider, for example, a film
554 which has ten different translations for which the subtitles are
555 different but video and audio are the same. If the video and audio
556 content takes up, say, 100Gb this means that the set of DCPs for every
557 translation would be about 1Tb with a lot of duplicated data.
561 The DCP format has a solution to this problem. One DCP can refer to
562 the ‘assets’ (picture, sound or subtitle) of another DCP.
563 For our translation example this means that we could have a
564 ‘base’ DCP (often called the OV or Original Version)
565 containing video, audio and one set of subtitles and then any number
566 of overlay DCPs (often called VF or Version Files) which refer to the
567 base version and replace the original subtitles with their own. <xref
568 linkend="fig-dcp-refer"/> shows this principle for one of our
569 translations. The DCP that we make refers to the original content
570 DCP's video and audio rather than containing a copy.
573 <figure id="fig-dcp-refer">
574 <title>Creating a new DCP by referring to an existing one</title>
575 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
579 To play back the subtitled DCP the projectionist ingests both the base
580 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
584 To make a DCP like this:
588 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
589 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
590 <listitem>Select the DCP in the content list</listitem>
591 <listitem>Tick the <guilabel>Use's this DCP's ... as OV and make VF</guilabel> checkbox
592 in the tabs for the parts of the DCP that you want to refer to in your
593 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>
594 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
604 <!-- ============================================================== -->
607 <!-- ============================================================== -->
608 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
609 <title>Content settings</title>
612 The previous chapters showed DCP generation using the default
613 settings. DCP-o-matic offers a range of features to adjust the
614 content that goes into your DCP, and this chapter describes those
619 <title>Adding and removing content</title>
622 At the top of the <guilabel>Content</guilabel> tab is a list of the
623 content that will go into our DCP. There can be as many pieces of
624 content as you like, and they can be of the following types:
628 <listitem>Movie — a file containing some video, probably some
629 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
632 <listitem>Sound — a file containing one or more channels of
633 audio; for example, a WAV or AIFF file.
636 <listitem>Still image — a file containing a single still image; for
637 example, a JPEG, PNG or TIFF file.
640 <listitem>Moving image — a directory containing many still
641 images which should be treated as the frames of a video.
644 <listitem>Subtitle — a file containing subtitles which will be
645 superimposed on the image of the DCP. These can be
646 <guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel>, <guilabel>.ass</guilabel> or <guilabel>.xml</guilabel>
647 files. Subtitle files can also be used to make closed captions.</listitem>
649 <listitem>DCP — an existing DCP.</listitem>
651 <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>
655 To add one or more movie, sound, still-image or subtitle files, select
656 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
660 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"/>.
663 <table id="tab-audio-file-naming">
664 <title>Audio file naming</title>
665 <tgroup cols='3' align='left' colsep='1' rowsep='1'>
669 <entry>Examples</entry>
670 <entry>Channel</entry>
675 <entry><code>L</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
676 <entry>film-L.wav my_movie_L_final.wav</entry>
680 <entry><code>R</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
681 <entry>film-R.wav my_movie_R_final.wav</entry>
685 <entry><code>C</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
686 <entry>film-C.wav my_movie_C_final.wav</entry>
687 <entry>Centre</entry>
690 <entry><code>Lfe</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
691 <entry>film-Lfe.wav my_movie_Lfe_final.wav</entry>
692 <entry>LFE (sub)</entry>
695 <entry><code>Ls</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
696 <entry>film-Ls.wav my_movie_Ls_final.wav</entry>
697 <entry>Left surround</entry>
700 <entry><code>Rs</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
701 <entry>film-Rs.wav my_movie_Rs_final.wav</entry>
702 <entry>Right surround</entry>
709 To add a directory (folder) of images, choose <guilabel>Add
710 folder...</guilabel> and choose the directory from the selector.
711 DCP-o-matic will open a small dialogue box where you can enter the
712 frame rate that the image sequence should be run at.
716 To add a DCP, choose <guilabel>Add DCP...</guilabel> and choose the
717 DCP's directory from the selector.
721 You can remove a piece of content by clicking on its name and then
722 clicking the <guilabel>Remove</guilabel> button.
727 <!-- ============================================================== -->
729 <title>Adding existing DCPs</title>
731 <para>Adding existing DCPs to a DCP-o-matic film is a little different
732 to adding other types of content. Most content has to be converted to
733 JPEG2000, the compression scheme used by DCPs, which is a very
734 time-consuming process. Existing DCPs are already in JPEG2000 format
735 so do not require conversion. This means that, provided no settings
736 such as crop are used on the DCP content, picture and sound data will
737 be passed from existing to new DCP unaltered.
740 <para>Encrypted DCPs that are added as content will require a KDM
741 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
742 should ask the creator of the imported DCP to provide a KDM for
743 DCP-o-matic's decryption certificate, which can be obtained by
744 clicking <guilabel>Export DCP decryption certificate...</guilabel>
745 from the <guilabel>Keys</guilabel> tab of the
746 <guilabel>Preferences</guilabel> dialog (see <xref
747 linkend="sec-prefs-keys"/>).
752 <!-- ============================================================== -->
754 <title>Content properties</title>
757 Below the content list are the controls to set content properties. To
758 adjust the properties for a piece of content, click its name in the
759 content list. The content property controls will then become active
760 for that piece of content.
764 If you want to change the properties for multiple pieces of content at
765 the same time, select the content in the list by clicking the first
766 piece then clicking the other pieces with <keycap>shift</keycap> key
767 held down. Note that not all settings can be changed in this way.
771 The content properties are split up into four sections:
772 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
773 <guilabel>Timed text</guilabel> and <guilabel>Timing</guilabel>. Not
774 all of these sections will be active for all content types. The controls
775 in each section are described below.
781 <!-- ============================================================== -->
786 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
789 <figure id="fig-video-tab">
790 <title>Video settings tab</title>
793 <imagedata fileref="screenshots/video-tab&scs;"/>
799 <!-- ============================================================== -->
801 <title>Use this DCP's video as OV and make VF</title>
804 This option is only applicable if the selected content is an existing
805 DCP. It allows you make a VF DCP, using the video content from the
806 existing DCP by referencing it (rather than copying). See <xref
807 linkend="sec-overlay"/>.
812 <!-- ============================================================== -->
814 <title>Image type</title>
817 The next option on this tab is the ‘type’ of the video.
818 This specifies how DCP-o-matic should interpret the video's image.
819 <guilabel>2D</guilabel> is the default; this just takes the video
820 image as a standard 2D frame. The <guilabel>3D
821 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
822 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
825 <figure id="fig-3d-left-right">
826 <title>3D left/right image type</title>
829 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
835 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
836 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
837 linkend="fig-3d-top-bottom"/>.
840 <figure id="fig-3d-top-bottom">
841 <title>3D top/bottom image type</title>
844 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
850 Another option is <guilabel>3D alternate</guilabel> which takes the
851 first frame of the content as for the left eye, the second for the
852 right eye, the third for the left, and so on. Finally, you can
853 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
854 only</guilabel> if this content contains only the the left or right
855 eye images. This is useful when you have the left and right eye image
856 sets in different files; you can specify one content as <guilabel>3D
857 left only</guilabel> and another as <guilabel>3D right only</guilabel>
858 and DCP-o-matic will pick up the appropriate frames from each.
864 <!-- ============================================================== -->
866 <title>Colour conversion</title>
869 The <guilabel>Colour conversion</guilabel> setting specifies what
870 colour transforms and gamma correction DCP-o-matic will use when
871 converting the selected content into the XYZ colourspace for the DCP.
875 The easiest way to select the required conversion is to choose one of
876 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
877 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
878 know which preset you should use, refer to the suggestions in <xref
879 linkend="tab-colour-conversion"/>.
882 <table id="tab-colour-conversion">
883 <title>Suggested colour conversion settings</title>
884 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
885 <colspec colwidth='1*'/>
886 <colspec colwidth='5*'/>
889 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs.</entry>
892 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
895 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
898 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
905 For other required colour conversions, and if you know what you are
906 doing, you can choose <guilabel>Custom</guilabel> which will open the full
907 colour conversion editing dialogue box:
910 <figure id="fig-colour-conversion">
911 <title>Dialogue box for custom colour conversion</title>
914 <imagedata fileref="screenshots/colour-conversion&scs;"/>
920 Alternatively, choose <guilabel>None</guilabel> if your source files
921 are already in the XYZ colour space and require no conversion.
925 DCP-o-matic's colour conversion processes are discussed in much more
926 detail in a separate document <ulink
927 url="https://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
932 <!-- ============================================================== -->
934 <title>Other settings</title>
937 The <guilabel>crop</guilabel> settings can be used to crop your
938 content, which is often used to remove black borders from the edges of
939 the image. The specified number of pixels will be trimmed from each
940 edge, and the content image in the right of the window will be updated
941 to show the effect of the crop.
945 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
946 settings can be used to apply linear fades into and out of a piece of
947 content. Specify the time for each, clicking <guilabel>Set</guilabel>
948 after making any changes.
952 The <guilabel>Scale to</guilabel> option governs the shape that
953 DCP-o-matic will scale the content's image into. Select the aspect
954 ratio that your content should be presented in.
959 <!-- ============================================================== -->
961 <title>Video description</title>
964 At the bottom of the video tab is a short description of what will
965 happen to your video with the current settings. In the example of
966 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
967 video file is 2048x872 pixels and it has square pixels (a pixel
968 aspect ratio of 1.00) hence its display aspect ratio is 2.35:1. Since
969 the controls specify ‘2.35’ for the ratio, DCP-o-matic
970 does not scale the image but pads it to the DCP's container ratio of
971 1.85:1. For a 2K DCP this is 1998x1080 pixels.
975 This description also gives the frame rate of the content and what
976 will happen to it when it is played at the DCP's frame rate. See
977 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
978 frame-rate conversion.
986 <!-- ============================================================== -->
991 The <guilabel>Audio</guilabel> tab controls properties of the sound, as shown in <xref linkend="fig-audio-tab"/>.
994 <figure id="fig-audio-tab">
995 <title>Audio settings tab</title>
998 <imagedata fileref="screenshots/audio-tab&scs;"/>
1003 <!-- ============================================================== -->
1005 <title>The audio map</title>
1008 The section at the bottom of the audio tab is the ‘audio
1009 map’. This governs how sound from the content will be arranged
1014 Down the left-hand side of the map is the list of audio channels in
1015 the currently-selected piece of content. These are labelled with two
1016 numbers; the first is the stream index within the content and the
1017 second is the channel number within that stream. Some content will
1018 have different streams for different languages or audio mixes. Along
1019 the top is each channel in the DCP. A green box means that the
1020 corresponding content channel will be copied into the corresponding
1025 When content channels are copied into DCP channels they can be done
1026 with variable gain. If, for example, you want to copy a channel
1027 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1028 two channels into one, you may want to use a gain of -6dB on each one
1029 to prevent clipping when the two channels are added.
1033 The green boxes of the audio mapping view tell you (very roughly) how
1034 much gain is applied to each channel. A full-height box means 0dB
1035 (i.e. unity) gain. Any less height indicates lower gain.
1039 To map one channel to another with 0dB gain, click in the empty box
1040 and it will turn green to reflect the mapping. A second click will
1041 turn the mapping back off. To set some other gain, right-click on the
1042 box to open the gain menu. This allows you to set
1043 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1044 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1045 <guilabel>Edit</guilabel> which allows you to set the required gain
1050 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1053 <figure id="fig-audio-map-eg1">
1054 <title>Audio map example 1</title>
1057 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1063 Here, we have two channels in the source which are mapped to left and
1064 right, respectively, in the DCP. The full green boxes show that the
1065 mapping is at unity gain (0dB) in each case. Imagine that we modify
1066 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1069 <figure id="fig-audio-map-eg2">
1070 <title>Audio map example 2</title>
1073 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1079 We now have the content's streams mapped to left and right and also
1080 mixed together and placed in the DCP's centre channel. The smaller
1081 green boxes on the centre mappings show that those channels are added
1082 with some non-unity gain; you can see by hovering the mouse pointer
1083 over those boxes that the gain for content channels 1 and 2 is -6dB
1084 when being sent to the centre channel and 0dB when being sent to left
1088 <figure id="fig-audio-map-eg3">
1089 <title>Audio map example 3</title>
1092 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1098 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1099 shows the mapping of a 5.1 source into a 5.1 DCP.
1105 <!-- ============================================================== -->
1107 <title>Other controls</title>
1110 The <guilabel>Use this DCP's audio as OV and make VF</guilabel>
1111 checkbox is only applicable if the selected content is an existing
1112 DCP. It allows you to make a VF DCP, using the audio content from the
1113 existing DCP by referencing it (rather than copying). See <xref
1114 linkend="sec-overlay"/>.
1118 <guilabel>Show graphs of audio levels</guilabel> will analyse the
1119 audio of the selected content and plot it on a graph. See <xref
1120 linkend="sec-show-audio"/> for more details.
1124 ‘Audio Gain’ is used to alter the volume of the
1125 soundtrack. The specified gain (in dB) will be applied to each sound
1126 channel of your content before it is written to the DCP.
1130 If you use a sound processor that DCP-o-matic knows about, it can help
1131 you calculate changes in gain that you should apply. Say, for
1132 example, that you make a test DCP and find that you have to run it at
1133 volume 5 instead of volume 7 to get a good sound level in the screen.
1134 If this is the case, click the <guilabel>Calculate...</guilabel>
1135 button next to the audio gain entry, and the dialogue box in <xref
1136 linkend="fig-calculate-audio-gain"/> will open.
1139 <figure id="fig-calculate-audio-gain">
1140 <title>Calculating audio gain</title>
1143 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1149 For our example, put 5 in the first box and 7 in the second and click
1150 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1151 that it should apply to make this happen. Then you can re-make the
1152 DCP (this will be reasonably fast, as the video data will already have
1153 been done) and it should play back at the correct volume with 7 on
1154 your sound-rack fader.
1158 Current versions of DCP-o-matic only know about the Dolby CP650 and
1159 CP750. If you use a different sound processor, and know the gain
1160 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1165 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1166 between audio and video. A positive delay will move the audio later
1167 with respect to the video, and a negative delay will move it earlier.
1174 <!-- ============================================================== -->
1176 <title>Timed text (subtitles and closed captions)</title>
1179 The timed text tab contains settings related to subtitles and closed captions in your
1180 content, as shown in <xref linkend="fig-timed-text-tab"/>.
1183 <figure id="fig-timed-text-tab">
1184 <title>Timed text settings tab</title>
1187 <imagedata fileref="screenshots/timed-text-tab&scs;"/>
1193 Depending on where timed text comes from it can sometimes be used as
1194 either an open subtitle (to be overlaid onto the cinema screen and
1195 seen by everybody) or as a closed caption (to be displayed to
1196 individual viewers using a special system such as the Doremi
1201 DCP-o-matic can either:
1205 <listitem>Extract timed text that is embedded in video files, or</listitem>
1206 <listitem>Use timed text from SubRip (<code>.srt</code>), SubStation
1207 Alpha (<code>.ssa</code> or <code>.ass</code>) or DCP XML files. You may find the great
1209 url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
1210 for creating such files.</listitem>
1214 Embedded timed text is usually represented using a set of bitmaps,
1215 especially on files that have come from DVD or BluRay. Such text can
1216 be used as a subtitle, but not a closed caption (since the closed
1217 captioning system requires the text to be delivered as
1218 character codes rather than an image).
1221 <para>In contrast, SubRip, SubStation Alpha or DCP text can be used as either a subtitle or a closed caption.</para>
1224 With subtitles you have the further choice of whether to burn the
1225 subtitles into the image or include them as a separate subtitle
1226 ‘asset’ within your DCP (in which case the projector
1227 overlays them onto the image on playback). The difference between
1228 burn-in and overlay is illustrated by <xref linkend="fig-burn-in"/>
1229 and <xref linkend="fig-discrete"/>.
1232 <figure id="fig-burn-in">
1233 <title>Burnt-in subtitles</title>
1236 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1241 <figure id="fig-discrete">
1242 <title>Separate subtitles</title>
1245 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1251 The advantage of separate subtitles is that the same video content can
1252 be used for DCPs in many different languages. This means that only a
1253 small text file needs to be changed for each target language, rather
1254 than a large video file. It also means that the time-consuming video
1255 encoding need only be done once for the project rather than once for
1260 Select the <guilabel>Use as</guilabel> check-box to enable the timed
1261 text in the selected content, then choose what you want to use the
1262 text for: open subtitles or closed captions.
1266 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1267 burn subtitles into the image; if this is not ticked the
1268 subtitles will be included separately in the DCP to be rendered by the
1273 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1274 controls move subtitles around within the image. These controls have
1275 no effect for closed captions. The offsets are expressed as a
1276 percentage of the video frame size; 100% X offset is the entire width
1277 of the frame, and 100% Y offset is the entire height. Hence, to move
1278 the subtitles down by half the frame height you would use a Y offset
1283 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1284 controls scale subtitles. These controls have no effect for closed
1285 captions. Scale values of 1 make the subtitles the same size
1286 (relative to the size of the image) as they are on the original.
1287 Values lower than 1 make them smaller, and values higher make them
1288 larger. You can stretch the subtitles in either direction by
1289 specifying different values for X and Y scale. Subtitles from DVD and
1290 Blu Ray sources are frequently larger (relative to the video frame)
1291 than those typically used for DCP, so it is often useful to scale such
1292 subtitles down using these controls.
1296 The <guilabel>Line spacing</guilabel> control adjusts the line spacing
1297 of the subtitles. This only works for subtitles that did not come from bitmaps.
1301 The <guilabel>Stream</guilabel> control changes the subtitle stream
1302 that is used when the content has more than one.
1306 If you are using non-image (text) subtitles or closed captions you can see the
1307 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1308 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1312 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1313 change how the subtitles look. Some of the controls in the
1314 <guilabel>Appearance</guilabel> only apply to burnt-in subtitles, as
1315 only limited control is available for subtitles rendered by the
1322 <!-- ============================================================== -->
1324 <title>Timing</title>
1327 The timing tab contains settings related to the timing of your
1328 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1331 <figure id="fig-timing-tab-detail">
1332 <title>Timing settings tab</title>
1335 <imagedata fileref="screenshots/timing-tab&scs;"/>
1341 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1342 These are expressed as four numbers, as shown in <xref
1343 linkend="fig-timecode"/>.
1346 <figure id="fig-timecode">
1347 <title>Timecode</title>
1350 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1356 <guilabel>Position</guilabel> is the time at which this piece of
1357 content should start within the DCP. In most cases, this will be
1358 <code>0:0:0:0</code> to make the content start at the beginning of the
1363 <guilabel>Full length</guilabel> is the length of the piece of
1364 content. This can only be set for still-image content: for video or
1365 sound content, it is fixed by the nature of the content file. If
1366 still-image content is being used you can set the length for which it
1367 should be displayed using this control.
1371 <guilabel>Trim from start</guilabel> specifies the amount that should
1372 be trimmed from the start of the content. You can set this amount to
1373 trim up to the current preview position by clicking <guilabel>Trim up
1374 to current position</guilabel>.
1378 <guilabel>Trim from end</guilabel> specifies the amount that should be
1379 trimmed from the end of the content. You can set this amount to trim
1380 after the current preview position by clicking <guilabel>Trim after to
1381 current position</guilabel>.
1385 <guilabel>Play length</guilabel> indicates how long this piece of
1386 content will be once the trims have been applied. This will be equal
1387 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1391 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1392 still-image content. It can also be used to override the detected
1393 frame rate of other content if DCP-o-matic has got it wrong.
1397 Each timecode control has a <guilabel>Set</guilabel> which you should
1398 click when you have entered a new value for a timecode. The
1399 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1400 any changes to the corresponding timecode.
1406 <!-- ============================================================== -->
1408 <title>Timeline</title>
1411 The timeline window gives an overview of all the pieces of content
1412 in your film, and how they are arranged. You can open the
1413 timeline by clicking the <guilabel>Timeline...</guilabel> button
1414 next to the content list. This will open a window like the one in <xref linkend="fig-timeline1"/>.
1417 <figure id="fig-timeline1">
1418 <title>Timeline</title>
1421 <imagedata fileref="screenshots/timeline1&scs;"/>
1427 The horizontal axis represents time, and you can see the time codes (in
1428 hours:minutes:seconds) along the bottom of the window. Pieces of
1429 content are represented with rectangles in the main part of the
1430 window. Content containing different types of data (e.g. a MP4
1431 file with video, audio and subtitles) have a rectangle for each
1436 Within the timeline you can select content by clicking, and drag
1437 it to change its position. Right-clicking a piece of content will
1438 open the content menu.
1442 The toolbar at the top of the window offers the following tools:
1446 <listitem>Select — to select and move content.</listitem>
1447 <listitem>Zoom in — to drag out an area that you want to see more closely.</listitem>
1448 <listitem>Zoom out — to zoom out so that the window shows the whole film.</listitem>
1449 <listitem>Snap — when enabled, content will snap to other content when you drag it close.</listitem>
1450 <listitem>Sequence — when enabled, content will be kept in sequence, without gaps, even if some content is removed.</listitem>
1454 <!-- ============================================================== -->
1456 <title>Video processing pipeline</title>
1459 This section gives a little more detail about how DCP-o-matic process
1460 video as it takes it from a source and puts it into a DCP.
1464 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1465 image which is letterboxed with 36 black pixels each at the top and
1466 bottom, and the video content within the letterbox should be presented
1467 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1468 happen with a trailer). The source image is shown in <xref
1469 linkend="fig-pipeline1"/>.
1472 <figure id="fig-pipeline1">
1473 <title>Example image to demonstrate video processing</title>
1476 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1482 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1486 <listitem>Crop</listitem>
1487 <listitem>Scale</listitem>
1488 <listitem>Place in container</listitem>
1492 First, some amount of the image can be cropped. This is almost always
1493 used to remove black borders (letterboxing and/or pillarboxing) around
1498 In our example image, we would use 36 pixels of crop from the top and
1499 bottom. This would give the new image shown in <xref
1500 linkend="fig-pipeline2"/>.
1503 <figure id="fig-pipeline2">
1504 <title>Example image after cropping</title>
1507 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1513 The next step is to scale the image. Since this content should be
1514 presented in a 2.39:1 (scope) aspect ratio inside a 1.85:1 (flat) DCP we would select
1515 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1516 option in the <guilabel>Video</guilabel> tab and
1517 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1518 option in the <guilabel>DCP</guilabel> tab.
1521 <para>The <guilabel>Scale to</guilabel> option should always be set to
1522 the aspect ratio at which the content should be seen. The
1523 <guilabel>Container</guilabel> option should be set to the preset that
1524 you want to use on the projector. Of course, these two settings will
1529 Given the scaling and container information, DCP-o-matic will look at
1530 the DCP's container size, and then scale the source image up until one
1531 or both of its dimensions (width, height or both) fits the size of the
1532 container, all the while preserving the desired aspect ratio.
1536 In our example here, the DCP's container is specified as 1.85:1 (so
1537 that the DCP will play back correctly using the projector's
1538 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1539 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1540 result in the image hitting the sides of the container first, at a
1541 size of 1998 x 836. This gives us a new version of the image as shown
1542 in <xref linkend="fig-pipeline3"/>.
1545 <figure id="fig-pipeline3">
1546 <title>Example image after cropping and scaling</title>
1549 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1555 The final step is to place the image into the DCP. In this case,
1556 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1557 we have set the <guilabel>container</guilabel> in the
1558 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1559 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1560 be some black bars at the top and bottom of the image. DCP-o-matic
1561 shares out this black equally, as shown in <xref
1562 linkend="fig-pipeline3"/>.
1565 <figure id="fig-pipeline4">
1566 <title>Example image in the DCP</title>
1569 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1578 <title>Copy and paste settings</title>
1581 Once you have set up a piece of content it is possible to copy the
1582 settings you have applied to another piece of content. To do this,
1583 select the content to copy from and choose <guilabel>Copy</guilabel>
1584 from the <guilabel>Edit</guilabel> menu. Then select the content to
1585 copy to and choose <guilabel>Paste</guilabel>. A dialogue box will
1586 open to allow you to choose which settings you want to copy. Clicking
1587 <guilabel>OK</guilabel> will apply the copied settings.
1594 <title>Advanced content settings</title>
1597 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>
1598 This opens the dialogue box shown in <xref linkend="fig-advanced-content"/>.
1601 <figure id="fig-advanced-content">
1602 <title>Advanced content dialogue</title>
1605 <imagedata fileref="screenshots/advanced-content&scs;"/>
1611 <!-- ============================================================== -->
1613 <title>Video filters</title>
1616 The <guilabel>Video filters</guilabel> setting allows you to apply various
1617 filters to the image. These may be useful to try to improve
1618 poor-quality sources like DVDs. You can set up the filters by clicking the
1619 <guilabel>Edit</guilabel> button next to the filters entry; this opens the filters selector
1620 as shown in <xref linkend="fig-filters"/>.
1623 <figure id="fig-filters">
1624 <title>Filters selector</title>
1627 <imagedata fileref="screenshots/filters&scs;"/>
1636 <title>Override frame rate</title>
1639 The <guilabel>Override detected video frame rate</guilabel> setting has some different effects depending on the type of content
1644 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
1645 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
1646 override value to 25 to force DCP-o-matic to do the right thing.
1650 On audio, subtitle and caption content this setting behaves slightly differently. It sets the video frame rate that the content
1651 in question was intended to work with. As an example, consider a project with a 23.976fps video source and some separate audio files.
1652 Perhaps those audio files have been mastered alongside a 24fps version of your video. By default, DCP-o-matic will see the 23.976fps
1653 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
1654 it stays in sync with the video.
1658 In this case, though, that is not what you want, since the audio is already ‘fixed’ to work alongside 24fps video. If you
1659 override the video frame rate of the <emphasis>audio</emphasis> content to 24fps this will stop DCP-o-matic altering it.
1663 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.
1664 In that case, you should override the video frame rate of the <emphasis>subtitle</emphasis> content to the one that it was prepared for.
1665 This will mean that DCP-o-matic can get the relative timing right.
1669 Do <emphasis>not</emphasis> use this setting to change the DCP frame rate. Doing so will result in strange effects and sync problems.
1675 <title>Video has burnt-in subtitles</title>
1677 Details about subtitle language are stored in various places within the DCP metadata. If a piece of video content already has subtitles
1678 burnt into the image you can tell DCP-o-matic the language that they are in by clicking the <guilabel>Edit...</guilabel> button.
1684 <title>Ignore this content's video</title>
1686 Tick this if you have some content which includes video along with other things (such as audio or subtitles) and you do
1687 <emphasis>not</emphasis> want the video to appear in the DCP.
1697 <!-- ============================================================== -->
1698 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1699 <title>DCP settings</title>
1702 This chapter describes the settings that apply to the whole DCP. The
1703 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1704 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1707 <figure id="fig-dcp-tab">
1708 <title>DCP settings tab</title>
1711 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1717 The first thing here is the name. This is generally set to the title
1718 of the film that is being encoded. If <guilabel>Use ISDCF
1719 name</guilabel> is not ticked, the name that you specify will be used
1720 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1721 is ticked, the name that you enter will be used as part of a
1722 ISDCF-compliant name.
1726 Underneath the name field is a preview of the name that the DCP will
1727 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1728 name</guilabel> check-box. The ISDCF name will be composed using details
1729 of your content's soundtrack, the current date and other things that
1730 can be specified in the ISDCF name details dialogue box, which you can
1731 open by clicking on the <guilabel>Details</guilabel> button.
1735 If you want to take the ISDCF-compliant name that DCP-o-matic
1736 generates and modify it, click <guilabel>Copy as name</guilabel> and
1737 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1738 You can then edit it as you wish. The DCP name should not matter (in
1739 that it should not affect how the DCP ingests or plays) but
1740 projectionists will appreciate it if you use the standard naming
1741 scheme as it makes it easier to identify details of the content.
1745 The <guilabel>Content Type</guilabel> option can be
1746 ‘feature’, ‘trailer’ or whatever; select the
1747 required type from the drop-down list. On some projection systems
1748 this will affect where your content appears in the projector's server
1749 user interface, so take care to select an appropriate type.
1753 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1754 is signed. This is rarely important; if in doubt, tick it.
1758 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1759 should be encrypted or not. If this is ticked, the DCP will require a
1760 KDM to play back. Encryption is discussed in <xref
1761 linkend="ch-encryption"/>.
1765 If you use encryption DCP-o-matic will generate a random encryption
1766 key for you. To specify your own key, click the
1767 <guilabel>Edit..</guilabel> button next to the key.
1771 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1772 controls specify how the DCP will be split up into
1773 ‘reels’. See <xref linkend="sec-reels"/>.
1777 The <guilabel>Standard</guilabel> option specifies which of the two
1778 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1779 more modern of the two).
1783 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1784 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1788 At the bottom of the DCP tab are a further two tabs, one each to
1789 contain the settings for the DCP's video and audio parts.
1793 The <guilabel>Container</guilabel> option sets the ratio of the image
1794 in the DCP. If this ratio is different to the ratio used for any
1795 content, DCP-o-matic will pad the content with black. In simple cases
1796 this should be set to the same ratio as that for the the primary piece
1797 of video content. Alternatively, you might want to pillarbox a small
1798 format into a Flat container: in this case, select the small format
1799 for the content's ratio and ‘Flat’ for the DCP.
1803 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1804 your DCP. This can be a little tricky to get right. Ideally, you
1805 want it to be the same as the video content that you are using. If it
1806 is not the same, DCP-o-matic must resort to some tricks to alter your
1807 content to fit the specified frame rate. Frame rates are discussed in
1808 more detail in <xref linkend="ch-frame-rates"/>.
1812 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1813 to what DCP-o-matic thinks is the best given the content that you have
1818 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1819 is checked. A 3D DCP will then be created, and any 2D content will be
1820 made 3D compatible by repeating the same frame for both left and right
1821 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1822 Real-D etc.) but not on a 2D system.
1826 The <guilabel>Resolution</guilabel> tab allows you to choose the
1827 resolution for your DCP. Use 2K unless you have content that is of
1828 high enough resolution to be worth presenting in 4K.
1832 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1833 the final image files used within the DCP will be. Larger numbers
1834 will give better quality, but correspondingly larger DCPs. The
1835 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1836 Most commercial DCPs use bit rates between 75 and 125 Mbit/s.
1840 <guilabel>Re-encode JPEG2000 data from input</guilabel> governs
1841 whether or not JPEG2000-encoded data from a piece of content (usually
1842 a DCP) will be re-used in the output data as-is or whether it will be
1843 decoded and re-encoded by DCP-o-matic. If the option is enabled
1844 DCP-o-matic will decompress any JPEG2000 data it finds and re-encode
1845 it. This is useful if you want to reduce the bitrate of a DCP.
1846 Usually you will achieve better quality and quicker results by leaving
1847 this option switched off.
1851 The <guilabel>Audio Channels</guilabel> control sets the number of
1852 audio channels that the DCP will have. If the DCP has any channels
1853 for which there is no content audio they will be replaced by silence.
1854 You can only set an even number of channels here, since that is
1855 required by the DCI standard. If you want an odd number of channels,
1856 set the DCP channel count to one greater than you need and the
1857 unused channel will be filled with silence.
1861 The <guilabel>Processor</guilabel> control allows you to select a
1862 process to apply to the audio before it goes into the DCP. One process is currently provided:
1866 <listitem>Mid-side decode — this will take a L/R
1867 stereo input and extract the common part (corresponding to the
1868 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1869 The remaining L/R parts will be kept in the L/R channels of the DCP.
1870 This may be useful to make near-field L/R mixes more compatible with
1871 cinema audio systems.</listitem>
1874 <!-- ============================================================== -->
1875 <section xml:id="sec-reels">
1876 <title>Reels</title>
1879 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1880 way as a 35mm reel is a section of a film. A DCP can be split up into
1881 any number of reels and the joins (the equivalent to 35mm splices or changeovers)
1882 between the reels are seamless.
1886 There is no reason why you can't just use a single reel for the whole
1887 of your DCP, as there is no limit to their length. Many people choose
1892 There are, however, some possible advantages of splitting things up
1898 The picture, sound and subtitle data of the DCP will be
1899 split up into more smaller files on disk, rather than fewer larger
1900 files. This can be useful if the DCP is to be transferred on storage
1901 that has a file size limit. The FAT32 filesystem, for example, can
1902 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1903 not be transferred using a FAT32-formatted disk. If that DCP were
1904 split up into two 3Gb reels it could be transferred.
1907 It is easier to re-use DCP components if they are in reels. Consider,
1908 for example, a film company who wants to put a 5 second ident onto the
1909 beginning of DCPs that they distribute. If they receive a feature
1910 film DCP they can modify it to add their ident as a separate reel.
1911 This is easier than attaching the picture data to the feature's existing data.
1916 DCP-o-matic offers three options for setting up the reels in your DCP:
1917 <guilabel>single reel</guilabel>, <guilabel>split by video content</guilabel> or <guilabel>custom</guilabel>.
1921 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1922 This is a perfectly good option if you have no particular reason to
1927 <guilabel>Split by video content</guilabel> puts each piece of source
1928 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1931 <figure id="fig-reels-by-video">
1932 <title>Making reels using split by video content</title>
1933 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1937 Here we have three video files (<code>ident.mp4</code>,
1938 <code>feature.ts</code> and <code>cred.mov</code>). With
1939 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1940 reel to hold each video file.
1944 <guilabel>Custom</guilabel> splits reels by the size of the files that
1945 will make up their video content. With <guilabel>Custom</guilabel>
1946 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1952 <!-- ============================================================== -->
1953 <section xml:id="sec-show-audio">
1954 <title>Show audio</title>
1957 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1958 to examine the audio in your content and plot a graph of its level
1959 over time. This can be useful for getting a rough idea of how loud
1960 the sound will be in the cinema auditorium. A typical plot is shown
1961 in <xref linkend="fig-audio-plot"/>
1964 <figure id="fig-audio-plot">
1965 <title>Audio plot</title>
1968 <imagedata fileref="screenshots/audio-plot&scs;"/>
1974 The plot gives the audio level (vertical axis, in dB) with time
1975 (horizontal axis). 0dB represents full scale, so if there is anything
1976 near this you are in danger of clipping the projector's audio outputs.
1980 There are two plot types: the peak level and the RMS, which can be
1981 shown or hidden using the check-boxes on the right hand side of the
1986 The channel check-boxes will show or hide the plot(s) for
1987 the corresponding channels in the DCP.
1991 The smoothing slider applies a variable degree of temporal smoothing
1992 to the plots, which can make them easier to read in some cases.
1996 Obviously the audio plot is no substitute for listening in an
1997 auditorium, but it can be useful to get levels in the right rough area.
2005 <!-- ============================================================== -->
2006 <chapter xml:id="ch-templates" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2007 <title>Templates</title>
2010 If you frequently make DCPs with similar settings you may find it
2011 useful to use templates.
2015 Say, for example, you often make 4K feature DCPs from video files in
2016 ’scope at 25fps. You can speed up this process by following
2021 <listitem>Create a film with any content and set it up how you like;
2022 in our example, set the content to scale to DCP, the DCP resolution
2023 to 4K, and so on.</listitem>
2024 <listitem>Choose <guilabel>Save as template...</guilabel> from the <guilabel>File</guilabel> menu.</listitem>
2025 <listitem>Enter a name for your template.</listitem>
2029 Then in the future you can create a new film, tick the
2030 <guilabel>Template</guilabel> box and choose your previously-saved
2031 template. The basic film's settings will come from your template, and
2032 when you add some content it will take on the settings of the
2033 first similarly-typed piece of content in your template.
2037 For example, if the template has a piece of video content and some
2038 subtitles, any video that you add to the new film will take on the
2039 settings of the video in the template. Similarly, any subtitles that
2040 you add will take on the settings of the subtitles from the template.
2044 The following settings from the <guilabel>DCP</guilabel> tab are saved
2049 <listitem>“Use ISDCF name” checkbox</listitem>
2050 <listitem>Content type (FTR, TLR etc.)</listitem>
2051 <listitem>Container</listitem>
2052 <listitem>Resolution</listitem>
2053 <listitem>JPEG200 bandwidth</listitem>
2054 <listitem>Video frame rate</listitem>
2055 <listitem>Signed and encrypted checkboxes</listitem>
2056 <listitem>Audio channels</listitem>
2057 <listitem>Standard (Interop / SMPTE)</listitem>
2058 <listitem>Audio processor</listitem>
2059 <listitem>Reel type and length</listitem>
2060 <listitem>Upload after make DCP checkbox</listitem>
2064 In addition to this, the settings (but not the filenames) of any
2065 content in the template are stored, as discussed above. The status of
2066 the <guilabel>Keep video and subtitles in sequence</guilabel> checkbox
2067 from the timeline is also preserved.
2073 <!-- ============================================================== -->
2074 <chapter xml:id="ch-export" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2075 <title>Export</title>
2078 As well as creating DCPs from the content you specify, DCP-o-matic
2079 can also export projects to ProRes and MP4 files. This is most
2080 often useful to convert DCPs to a file that is smaller and easier to play back.
2084 To convert a DCP to ProRes or MP4, the first step is start a new
2085 project and import the DCP (see <xref
2086 linkend="ch-manipulating-existing-dcps"/>). Then, choose
2087 <guilabel>Export...</guilabel> from the <guilabel>Jobs</guilabel>
2088 menu to open the export dialogue, as shown in <xref linkend="fig-export"/>.
2091 <figure id="fig-export">
2092 <title>Export dialogue</title>
2095 <imagedata fileref="screenshots/export&scs;"/>
2101 From this dialogue you can select the required output format,
2102 output file and, in the case of MP4, the quality of the output
2103 file (by setting the <ulink url="https://trac.ffmpeg.org/wiki/Encode/H.264#crf">CRF value</ulink>).
2107 The useful range of CRF values is from 17 (high quality but large file size) to 28 (smaller file size and still reasonable quality).
2111 The time needed to export, and the resulting size, depend partly on the DCP resolution set in the project. To change that, see chapter <xref linkend="ch-dcp"/>.
2115 You can also choose whether to mix down multichannel sources to stereo and whether you want to write separate reels to separate files.
2119 <!-- ============================================================== -->
2120 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2121 <title>Encryption</title>
2124 DCP's do not have to be encrypted, but they can be. This
2125 chapter discusses the basic principles of DCP encryption, and how
2126 DCP-o-matic can create encrypted DCPs and KDMs for them.
2130 <!-- ============================================================== -->
2132 <title>Basics</title>
2135 DCPs can be encrypted. This means that the picture and sound data are
2136 encoded in such a way that only cinemas ‘approved’ by the
2137 DCP's creators can read them. In particular, this means copies of the
2138 DCP can be distributed by insecure means: if a bad person called
2139 Mallory obtains a hard drive containing an encrypted DCP, there is no
2140 way that he can play it. Only those cinemas who receive a correct key
2141 delivery message (KDM) can play the DCP.
2145 <!-- ============================================================== -->
2147 <title>How it works</title>
2150 This section attempts to summarise how DCP encryption works. You can
2151 skip it if you like. You may need some knowledge of encryption
2152 methods to understand it.
2156 We suppose that we are trying to send a DCP to
2157 Alice's cinema without a third party called Mallory being able to
2162 There are two main families of encryption techniques. The first,
2163 symmetric-key encryption, allows us to encode some data using some
2164 numeric key. After encoding, no-one can decode the data unless they
2169 The first step in a DCP encryption is to encode its data with a random key
2170 using symmetric-key encryption. The encrypted DCP can then be sent
2171 anywhere, safe in the knowledge that even if Mallory got hold of a
2172 copy, he could not decrypt it.
2176 Alice, however, needs to know the key so she can play the DCP in her
2177 cinema. A simple approach might be for us to send Alice the key.
2178 However, if Mallory can intercept the DCP, he might also be able to
2179 intercept our communication of the key to Alice. Furthermore, if Alice
2180 happened to know Mallory, she could just send him a copy of the key.
2184 The clever bit in the process requires the use of public-key
2185 encryption. With this technique we can encrypt a block of data using
2186 some ‘public’ key. That data can then only be decrypted
2187 using a corresponding private key which is
2188 <emphasis>different</emphasis> to the public key. The private and
2189 public keys form a pair which are related mathematically, but it is
2190 extremely hard (or rather, virtually impossible) to derive the private
2191 key from the public key.
2195 Public-key encryption allows us to distribute the DCP's key to Alice
2196 securely. The manufacturer of Alice's projector generates a public
2197 and private key. They hide the private key inside the projector where
2198 no-one can read it. They then make the public key available to anyone
2203 DCP-o-matic has a similar arrangement except that it stores its
2204 private keys in the user's configuration file. See <xref
2205 linkend="sec-decrypting"/> for details of how to share DCP-o-matic's
2206 certificate so that others can make encrypted DCPs for DCP-o-matic.
2210 We take our DCP's symmetric key and encrypt it using the public key of
2211 Alice's projector. We send the result to Alice over email (using a
2212 format called a Key Delivery Message, or KDM). Her projector then
2213 decrypts our message using its private key, giving the
2214 symmetric key which can decrypt the DCP.
2218 If is fine if Mallory intercepts our email to Alice, since the only
2219 key which can decrypt the message is the private key buried inside
2220 Alice's projector. The projector manufacturer is very careful that
2221 no-one ever finds out what this key is. Our DCP is secure: only Alice
2222 can play it back, since only her projector knows the key (even Alice
2230 <!-- ============================================================== -->
2232 <title>Encryption using DCP-o-matic</title>
2235 There are two steps to distributing an encrypted DCP. First, the
2236 DCP's data must be encrypted, and secondly KDMs must be generated for
2237 those cinemas that are allowed to play the DCP.
2241 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
2242 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
2243 encrypt the DCP that it makes using a random key that DCP-o-matic
2244 generates. The key will be written to the film's metadata file, which
2245 should be kept secure.
2249 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
2250 ticked will not play on any projector as-is (it will be marked as
2251 ‘locked’, or whatever the projector manufacturer's term
2256 The second part of distributions is to generate KDMs for the cinemas
2257 that you wish to allow to play your DCP. There are two approaches to
2258 this within DCP-o-matic: using the project, or using a DKDM. These
2259 approaches are now described in turn.
2263 <title>Creating KDMs from a DCP-o-matic project</title>
2266 You can create KDMs from inside a DCP-o-matic project using the
2267 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
2268 menu. This will open the KDM dialogue box, as shown in <xref
2269 linkend="fig-kdm"/>.
2272 <figure id="fig-kdm">
2273 <title>KDM dialog</title>
2276 <imagedata scale="35" fileref="screenshots/kdm&scs;"/>
2282 In order to generate KDMs for a particular projector, you need to know
2283 its <emphasis>certificate</emphasis>. These are usually made
2284 available by the projector manufacturers as text files with a
2285 <code>.pem</code> extension.
2289 DCP-o-matic can store these certificates along with details of their
2290 cinemas and screens within those cinemas. Each screen has a
2291 certificate for its projector (and optionally certificates for other
2292 trusted devices, such as the sound processor). DCP-o-matic can
2293 generate KDMs for any screens that it knows about.
2297 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
2298 a dialogue box into which you can enter the cinema's name, and
2299 optionally an email address. This email address can be used to
2300 get DCP-o-matic to deliver KDMs via email.
2304 Once you have added a cinema, select it by clicking on its name, then
2305 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2306 allows you to enter a name for the screen and load in its certificate
2307 from a file. The certificate should be in SHA256 PEM format.
2311 Alternatively, certificates for projection systems made by some
2312 manufacturers can be downloaded from databases provided by the
2313 manufacturer. Currently this is supported for Doremi, Dolby, Barco,
2314 Christie and GDC equipment (through downloading Barco, Christie or GDC
2315 certificates requires you to have an appropriate account set up in
2316 DCP-o-matic's preferences). If you are targeting a screen with
2317 equipment by one of these manufacturers you can click
2318 <guilabel>Download</guilabel> then enter the serial number of the
2319 server in the screen and click <guilabel>Download</guilabel> again
2320 and, all being well, the certificate will be fetched. Most cinema
2321 projection or technical departments will know these serial numbers.
2325 Note that the reliability of the manufacturers' certificate databases
2326 cannot be guaranteed. It is vital that KDMs are tested by the
2327 destination cinema will in advance of show time to identify any
2332 Once you have set up all the screens that you need KDMs for, select
2333 the CPL that you want to create the KDM for. You can use the
2334 drop-down list to select the CPLs in the current film project, or load
2335 a CPL from somewhere else. Select the cinemas and/or screens that you
2336 want KDMs for and fill in the start and end dates and times.
2340 You must also select the type of KDM that you want to generate. If in
2341 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2345 The differences between the three KDM types are fairly subtle.
2346 <guilabel>DCI Specific</guilabel> and <guilabel>DCI Any</guilabel> add
2347 a <code><ContentAuthenticator></code> tag to the KDM which
2348 allows the exhibitor to check that the DCP and KDM have come from a
2349 bona-fide source. In addition, <guilabel>DCI Specific</guilabel> adds
2350 information on trusted devices to the KDM. This allows the KDM
2351 creator to specify devices (such as sound processors) that are allowed
2352 to use keys delivered by the KDM. At present it is not clear how
2353 widely the <guilabel>DCI Specific</guilabel> and <guilabel>DCI
2354 Any</guilabel> features are supported (or even tolerated) by servers
2355 so you are advised to use <guilabel>Modified Transitional
2360 Finally, choose what you want to do with the KDMs. They can be
2361 written to disk, to a location that you can specify by clicking
2362 <guilabel>Browse</guilabel>. Alternatively, if you choose
2363 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2364 emailed to the appropriate cinema email addresses. Click
2365 <guilabel>Make KDMs</guilabel> to generate the KDMs.
2371 <title>Creating KDMs using a DKDM</title>
2375 It can be inconvenient to need a whole DCP-o-matic project just to
2376 create KDMs for its film. Perhaps you want to archive the project to
2377 save space, or create KDMs on a different machine. In such situations
2378 it is easier to use a DKDM. This is a normal KDM, but instead of
2379 being targeted at a projection system (to allow it to decrypt the
2380 content) it is targeted at a particular user's certificate. This
2381 means that the certificate owner can create new KDMs for other users.
2382 The DKDM holds everything that is required to create further KDMs.
2386 Sometimes it is useful to create DKDMs that can be used by
2387 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2388 any point in the future, use DCP-o-matic's standalone KDM creator to
2389 make KDMs for the DKDM's film for any cinema.
2393 In other cases a DKDM is sent to a 3rd party so that they can create
2394 KDMs for your films. This can be useful if, for example, you have a
2395 distributor who provides 24-hour KDM support to cinemas and can create
2396 KDMs for anybody that requires them at short notice.
2400 To create a DKDM for DCP-o-matic, open your encrypted project and
2401 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2402 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2403 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2404 be available in the KDM creator. This is a separate program which you
2405 can start from the same place that you start the ‘normal’
2406 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2409 <figure id="fig-kdm-creator">
2410 <title>The KDM creator</title>
2413 <imagedata scale="30" fileref="screenshots/kdm-creator&scs;"/>
2419 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2420 to be created for, the date range, the DCP that the KDMs are for and
2421 the destination for the KDMs and click <guilabel>Create
2426 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2427 which you have clicked <guilabel>Make DKDM for
2428 DCP-o-matic</guilabel> in the main DCP-o-matic program. If you have
2429 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2430 specifying the file containing the DKDM.
2434 If another organisation wants to send you a DKDM they will ask you for
2435 a target certificate. You can get DCP-o-matic's target certificate by
2436 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2437 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2445 <title>Encryption keys</title>
2448 You must be careful when using encryption not to lose important keys.
2452 If you are making KDMs from a DCP-o-matic film you
2453 <emphasis>must</emphasis> ensure that you have a backup of the
2454 <code>metadata.xml</code> file from the project, as well as the DCP
2459 If you are using a DKDM you <emphasis>must</emphasis> ensure that you
2460 have a backup of DCP-o-matic's <code>config.xml</code> file, since it
2461 contains the only key which can decrypt the DKDM. The
2462 <code>config.xml</code> file location depends on your operating
2463 system; possible locations are listed in <xref linkend="ch-config"/>.
2469 <title>Should I encrypt?</title>
2472 The question of whether encryption is appropriate for a given
2473 project is a tricky one.
2477 On the one hand, if you distribute an unencrypted DCP it is easy for
2478 anybody to take it and do whatever they want with its contents.
2479 They could use DCP-o-matic to convert it to a MP4, show it in
2480 their cinema, or even edit and redistribute it in ways that you
2485 Encryption prevents this, but brings its own problems. It will be
2486 impossible for a cinema to screen your DCP unless they have the
2487 correct KDM. This is easy enough if things work as they should,
2488 but problems can occur. For example, cinemas may substitute
2489 broken playout servers with new ones without telling you: then the
2490 KDM that you sent them will be invalid, and a new one required.
2491 If the cinema can't get in touch with you, or somebody else who
2492 can create a new KDM, they can't screen your DCP. Often these
2493 problems are only discovered very close to showtime, with little
2498 If you are distributing encrypted DCPs widely it is worth thinking
2499 about who will make the KDMs, and who will provide quick-response
2500 technical support. It may be a good idea to engage a company who can
2501 provide such services.
2508 <title>Encryption overview</title>
2510 <figure id="fig-encryption-overview">
2511 <title>Overview of encryption</title>
2514 <imagedata fileref="diagrams/crypt&dia;"/>
2524 <!-- ============================================================== -->
2525 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2526 <title>Preferences</title>
2529 DCP-o-matic provides preferences which can be used to modify its
2530 behaviour. They are described in this chapter.
2534 Preferences can be edited by choosing
2535 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2536 menu. This opens a dialogue which is split into eleven tabs.
2539 <!-- ============================================================== -->
2541 <title>General</title>
2544 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2547 <figure id="fig-prefs-general">
2548 <title>General preferences</title>
2551 <imagedata fileref="screenshots/prefs-general&scs;"/>
2557 <!-- ============================================================== -->
2559 <title>Language</title>
2562 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2563 a language from the list, that language will be used for DCP-o-matic.
2564 You will need to restart DCP-o-matic to see the new language.
2568 The translations for DCP-o-matic have been contributed by helpful
2569 users. If your language is not on the last, head to <ulink
2570 url="https://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2571 find out how to contribute a translation.
2576 <!-- ============================================================== -->
2578 <title>Interface complexity</title>
2581 Choose <guilabel>Simple</guilabel> to see a cut-down, simplified
2582 interface or <guilabel>Full</guilabel> to see DCP-o-matic's full
2588 <!-- ============================================================== -->
2590 <title>Number of threads DCP-o-matic should use</title>
2593 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2594 to speed things up. Set this value to the number of threads
2595 DCP-o-matic should use. This should normally be the number of
2596 processors (or processor cores) in your machine. DCP-o-matic will try
2597 to set this up correctly when you run it for the first time.
2603 <!-- ============================================================== -->
2605 <title>Number of threads DCP-o-matic encode server should use</title>
2608 This is the number of threads that the encode server should use when
2609 it is running and helping another copy of DCP-o-matic to speed up its
2616 <!-- ============================================================== -->
2618 <title>Configuration file</title>
2621 This is the location of DCP-o-matic's configuration file on disk. You
2622 can use this to share configuration between several copies of
2623 DCP-o-matic, across a network share, for instance.
2627 <!-- ============================================================== -->
2629 <title>Cinema and screen database file</title>
2632 This option allows you to change the file that DCP-o-matic uses to
2633 store details of the cinemas and screens used to make KDMs.
2638 <!-- ============================================================== -->
2640 <title>Play sound via</title>
2643 The checkbox to the left of <guilabel>Play sound</guilabel> enables or
2644 disables DCP-o-matic use of sound. On some machines there will be
2645 multiple options in the drop-down menu to decide how the sound should
2650 <!-- ============================================================== -->
2652 <title>Integrated loudness</title>
2655 If <guilabel>Find integrated loudness, true peak and loudness range
2656 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2657 work when analysing audio. Leave this ticked if the extra parameters
2658 are useful to you. If not, untick it and audio analysis will be
2664 <!-- ============================================================== -->
2666 <title>Automatically analyse content audio</title>
2669 If this checkbox is ticked an audio analysis will be run whenever content is added that contains sound.
2673 <!-- ============================================================== -->
2675 <title>Updates</title>
2678 The <guilabel>Check for updates on startup</guilabel> option, if
2679 enabled, will tell DCP-o-matic to check on <ulink
2680 url="https://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2681 newer versions of DCP-o-matic then the one you are running. If so, a
2682 dialogue box will open with a link to download the new version.
2686 The <guilabel>Check for testing updates as well as stable
2687 ones</guilabel> option will also check for test updates as well as
2688 those that are formally ‘released’. This is useful if you
2689 like to live on the bleeding edge!
2693 <!-- ============================================================== -->
2695 <title>Issuer and creator</title>
2698 With these controls you can set the issuer and creator strings that
2699 will be put into the DCPs which you create. The issuer is typically your name
2700 (or your organisation's name) and the creator is typically the name of the tool
2701 used to make the DCP (e.g. DCP-o-matic).
2707 <!-- ============================================================== -->
2709 <title>Defaults</title>
2712 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2715 <figure id="fig-prefs-defaults">
2716 <title>Defaults preferences</title>
2719 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2725 The options in this tab simply allow you to set up default values for
2726 various properties of new films.
2731 <!-- ============================================================== -->
2733 <title>Servers</title>
2736 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2739 <figure id="fig-prefs-servers">
2740 <title>Servers preferences</title>
2743 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2749 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2750 locate encoding servers automatically (see <xref
2751 linkend="ch-servers"/>).
2755 Instead of this (or in addition) servers can be specified explicitly.
2756 To add a server, click <guilabel>Add...</guilabel> and enter the host
2757 name or IP address of the server to use.
2763 <!-- ============================================================== -->
2764 <section xml:id="sec-prefs-keys">
2768 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) has controls
2769 related to the keys and certificates used in some parts of DCP
2773 <figure id="fig-prefs-keys">
2774 <title>Keys preferences</title>
2777 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2783 <guilabel>Export KDM decryption certificate...</guilabel> allows you
2784 to save the certificate that DCP-o-matic uses when decrypting KDMs
2785 that you give it. Use this option if somebody wants to make a KDM for
2786 you and asks for your certificate.
2790 <guilabel>Export all KDM decryption settings...</guilabel> exports a
2791 file which contains all the DCP-o-matic settings related to the use of
2792 KDMs supplied by other people. Use this button and <guilabel>Import
2793 all KDM decryption settings...</guilabel> to transfer settings between
2794 different copies of DCP-o-matic so that they can both use the same
2799 The two <guilabel>Advanced...</guilabel> buttons open advanced
2800 dialogue boxes for detailed manipulation of DCP-o-matic's certificate
2807 <title>Advanced keys settings</title>
2810 At the top of the <guilabel>Advanced</guilabel> dialogue for signing
2811 DCPs and KDMs is the chain of certificates that will be used to sign
2812 DCPs and KDMs. DCP-o-matic creates a random chain when you first run
2813 it and if you are happy to use this chain you can ignore the
2814 preferences. Otherwise, you can add or remove certificates from the
2815 chain using the <guilabel>Add...</guilabel> and
2816 <guilabel>Remove</guilabel> buttons.
2820 If you want DCP-o-matic to re-create the certificate chain (using new,
2821 random certificates) click <guilabel>Re-make
2822 certificates and key...</guilabel> and specify your organisation and common
2823 names in the dialogue box that opens.
2827 Underneath the certificate chain is the private key that corresponds
2828 to the leaf certificate in the chain. You can specify your own
2829 private key by clicking <guilabel>Import...</guilabel>. You must do
2830 this if you change the leaf certificate, so that the leaf private key
2831 corresponds to the public key held in the leaf certificate.
2835 At the top of the <guilabel>Advanced</guilabel> dialogue for decrypting DCPs is the chain and key which is used by
2836 DCP-o-matic when you import an encrypted DCP as a piece of content.
2837 The leaf certificate of this chain contains the public key that should
2838 be used when targeting a KDM at DCP-o-matic.
2842 Clicking <guilabel>Export chain...</guilabel> will
2843 export the whole certificate chain.
2848 <!-- ============================================================== -->
2849 <section xml:id="sec-prefs-tms">
2851 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2854 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2855 options for specifying details about your theatre management system
2856 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2857 you can upload DCPs directly from DCP-o-matic to the TMS using the
2858 <guilabel>Send DCP to TMS</guilabel> option in the
2859 <guilabel>Jobs</guilabel> menu.
2862 <figure id="fig-prefs-tms">
2863 <title>TMS preferences</title>
2866 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2872 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2873 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2874 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2875 FTP. Do let us know if you use any other type of TMS with the
2876 <guilabel>Send DCP to TMS</guilabel> feature.
2880 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2881 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2882 should be uploaded to (which will be relative to the home directory of
2883 the SSH or FTP user). Finally, the user name and password are the
2884 credentials required to log into the TMS via SSH or FTP.
2888 Note that for this to work on Doremi servers you will need to set the
2889 <code>PasswordAuthentication</code> option in your server's
2890 <code>sshd_config</code> to <code>yes</code>.
2896 <!-- ============================================================== -->
2898 <title>Email</title>
2901 The Email tab is shown in <xref linkend="fig-prefs-email"/>.
2904 <figure id="fig-prefs-email">
2905 <title>Email preferences</title>
2908 <imagedata fileref="screenshots/prefs-email&scs;"/>
2914 These settings are used when DCP-o-matic sends emails.
2918 <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.
2923 <!-- ============================================================== -->
2925 <title>KDM email</title>
2928 The KDM email tab is shown in <xref linkend="fig-prefs-kdm-email"/>.
2931 <figure id="fig-prefs-kdm-email">
2932 <title>KDM email preferences</title>
2935 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2941 This is a template for the email that is used to send KDMs out to
2942 cinemas. You can change it to say whatever you like. A few
2943 ‘magic’ strings will be replaced by information from the
2944 KDM that is being sent; these strings are shown in <xref linkend="tab-kdm-magic"/>.
2947 <table id="tab-kdm-magic">
2948 <title>‘Magic’ KDM strings</title>
2949 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2952 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2955 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2958 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2961 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2964 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2971 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2976 <!-- ============================================================== -->
2978 <title>Notifications</title>
2981 The Notifications tab is shown in <xref linkend="fig-prefs-notifications"/>.
2984 <figure id="fig-prefs-notifications">
2985 <title>Notifications preferences</title>
2988 <imagedata fileref="screenshots/prefs-notifications&scs;"/>
2994 DCP-o-matic can notify the user when jobs have completed. These
2995 notifications can be either or both of a message box on-screen (if
2996 <guilabel>Message box</guilabel> is ticked) and email (if
2997 <guilabel>Email</guilabel> is ticked). If you enable email
2998 notifications you can fill in the details of the emails you want to
3003 The bottom box in the tab is the contents of the email that should
3004 be sent. DCP-o-matic will replace the ‘magic’ strings
3005 <code>$JOB_NAME</code> and <code>$JOB_STATUS</code> in the with the
3006 details of the job that has completed.
3012 <!-- ============================================================== -->
3014 <title>Cover sheet</title>
3017 The DCP cover sheet configuration is shown in <xref linkend="fig-prefs-cover-sheet"/>.
3020 <figure id="fig-prefs-cover-sheet">
3021 <title>DCP cover sheet preferences</title>
3024 <imagedata fileref="screenshots/prefs-cover-sheet&scs;"/>
3030 This is a template for the cover sheet that is written next to every DCP that DCP-o-matic creates. You can change it to say whatever you like. A few
3031 ‘magic’ strings will be replaced by information from the
3032 DCP that has been made:
3036 <title>‘Magic’ cover sheet strings</title>
3037 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
3040 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
3043 <entry><code>$TYPE</code></entry><entry>DCP content type (e.g. feature, trailer...)</entry>
3046 <entry><code>$CONTAINER</code></entry><entry>The container ratio (e.g. flat, scope...)</entry>
3049 <entry><code>$AUDIO</code></entry><entry>Details of the audio channels</entry>
3052 <entry><code>$AUDIO_LANGUAGE</code></entry><entry>Audio language</entry>
3055 <entry><code>$SUBTITLE_LANGUAGE</code></entry><entry>Subtitle language</entry>
3058 <entry><code>$LENGTH</code></entry><entry>DCP length in hours, minutes and seconds</entry>
3061 <entry><code>$SIZE</code></entry><entry>DCP size in gigabytes</entry>
3068 The <guilabel>Reset to default text</guilabel> will replace the current cover sheet with DCP-o-matic's default.
3074 <!-- ============================================================== -->
3075 <section xml:id="sec-prefs-advanced">
3076 <title>Advanced</title>
3077 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
3080 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
3083 <figure id="fig-prefs-advanced">
3084 <title>Advanced preferences</title>
3087 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
3093 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
3094 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
3095 are advised to leave this at 250Mbit/s in normal use for maximum DCP
3100 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
3101 the DCP video frame rates that DCP-o-matic will create. This may be
3102 useful for experimentation. Again, you are strongly advised to leave
3103 this unticked for normal use.
3107 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
3108 JPEG2000 data only on encoding servers and not on the host. We
3109 suggest you leave this unticked unless you have a good reason to do otherwise.
3113 With the filename format fields you can adjust the filenames that are
3114 used for metadata (CPL and PKL files) and assets (MXF and subtitle
3115 files). Below each field there is a list of the ‘magic’
3116 values that you can use in the format and an example of a filename
3117 that you might see with your current settings.
3121 The four checkboxes labelled <guilabel>Log</guilabel> control what
3122 sort of messages DCP-o-matic writes to its log file when creating a
3123 DCP. It is useful to leave <guilabel>General</guilabel>,
3124 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
3125 as this makes the log files useful for tracking down bugs.
3129 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
3130 to allow developers to investigate and optimise the speed of
3131 DCP-o-matic. It will significantly increase the size of the log files
3132 that are generated, so in normal use it is best to leave this
3139 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
3140 <title>Frame rates</title>
3143 In an ideal world, a DCP would be created using content at the same
3144 video frame and audio sampling rates as the DCP. This is not,
3145 however, always possible.
3149 <!-- ============================================================== -->
3151 <title>DCP frame rate limitations</title>
3154 There are some limitations to video and audio frame rates in DCPs. This is
3155 complicated by the fact that not all projectors will play DCPs at the
3156 same frame rates. It is possible to create a DCP which one projector will
3157 play fine, but another (of a different type) will refuse to play.
3161 <!-- ============================================================== -->
3163 <title>Guaranteed rates</title>
3166 The only rates that are guaranteed to work on all DCI projectors are
3167 24 frames per second (fps) for video and 48kHz for audio. If you are
3168 sending DCPs to unknown places it is wise to consider using these
3169 rates if at all possible.
3175 <!-- ============================================================== -->
3177 <title>Other often-supported rates</title>
3179 Many projectors now in the wild support additional video frame rates:
3180 25, 30, 48, 50 and 60 fps.
3185 <!-- ============================================================== -->
3187 <title>Adapting content to fit the DCP rate</title>
3190 DCP-o-matic has a few tricks to allow you to use content that is not
3191 in one of the ‘approved’ rates.
3195 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
3196 with minimal loss in quality.
3200 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
3201 with a non-supported content rate is to run it at the wrong speed, and
3202 to adjust the audio to keep it in sync.
3205 <para>Let us consider the example of a 25fps source for which you want
3206 to create a 24fps DCP. DCP-o-matic will put the frames from the
3207 source directly into the DCP without modification, but will tell the
3208 projector to play them back at 24fps. This means that the DCP's video
3209 will run slightly slower than the original.
3213 If DCP-o-matic did nothing else, the result of this would be that the
3214 audio would be running at the original speed with the video running
3215 slowly. Hence the audio would drift slowly out of sync. To avoid
3216 this, DCP-o-matic also resamples the audio such that the projector
3217 will play it too slow by the same amount. Hence it will sound
3218 slightly different but will remain in sync with the video.
3222 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
3229 <!-- ============================================================== -->
3231 <title>Setting up</title>
3234 The <guilabel>Frame Rate</guilabel> control in the
3235 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
3236 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
3237 what DCP-o-matic thinks is the best for your content. With this
3238 button, DCP-o-matic assumes that the most commonly-working frame rates (24,
3239 25 and 30fps) are allowed.
3243 After this, the <guilabel>Video</guilabel> tab for each piece of
3244 content will give a summary of what DCP-o-matic is doing with that
3249 If you want to experiment with other non-standard frame rates, you can
3250 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
3251 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
3252 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
3253 use this only on your own equipment, and only for experimentation
3262 <!-- ============================================================== -->
3263 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
3264 <title>Encoding servers</title>
3267 One way to increase the speed of DCP encoding is to use more
3268 than one machine at the same time. An instance of DCP-o-matic can
3269 offload some of the time-consuming JPEG2000 encoding to any number of
3270 other machines on a network. To do this, one ‘master’
3271 machine runs DCP-o-matic, and the ‘server’ machines run
3272 a small program called <code>dcpomatic_server</code>.
3276 The master and server machines do not need to be the same type, so you
3277 can mix Windows PCs, Macs and Linux machines as you wish.
3281 <!-- ============================================================== -->
3283 <title>Running the servers</title>
3286 There are two options for the encoding server;
3287 <code>dcpomatic_server_cli</code>, which runs on the command line, and
3288 <code>dcpomatic_server</code>, which has a simple GUI. The command line
3289 version is well-suited to headless servers, especially on Linux, and
3290 the GUI version works best on Windows and macOS where it will put an icon in the
3295 To run the command line version, simply enter:
3299 dcpomatic2_server_cli
3303 at a command prompt. If you are running the program on a machine with
3304 a multi-core processor, you can run multiple parallel encoding threads
3305 by doing something like:
3309 dcpomatic2_server_cli -t 4
3313 to run 4 threads in parallel.
3317 To run the GUI version on windows, run the ‘DCP-o-matic encode
3318 server’ from the start menu. An icon will appear in the system
3319 tray; right-click it to open a menu from whence you can quit the
3320 server or open a window to show its status.
3323 <para>If you would rather not bother installing DCP-o-matic on your
3324 server computers, the other option is to use the live-CD
3325 image that you can download from the <ulink
3326 url="https://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
3328 <para>Either burn the image to CD, or write it to a USB stick (using
3329 something like <ulink
3330 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
3331 PC from the CD or USB stick and it becomes a DCP-o-matic server
3332 without touching your standard operating system install.
3337 <!-- ============================================================== -->
3339 <title>Setting up DCP-o-matic</title>
3342 DCP-o-matic periodically looks on the local network for servers. Any
3343 that it finds are given work to do during encodes. Selecting
3344 <guilabel>Encoding Servers</guilabel> from the
3345 <guilabel>Tools</guilabel> menu brings up a window which shows that
3346 servers that DCP-o-matic has found.
3351 <!-- ============================================================== -->
3353 <title>Some notes about encode servers</title>
3356 DCP-o-matic does not mind if servers come and go; if a server
3357 disappears, DCP-o-matic will stop sending work to it, and will check
3358 it every minute or so in case it has come back online.
3362 You will probably find that using a 1Gb/s or faster network will
3363 provide a significant speed-up compared to a 100Mb/s network.
3370 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3371 <title>Generated files</title>
3374 DCP-o-matic generates a number of files as it makes a DCP. <xref
3375 linkend="fig-file-structure"/> shows the files that might be generated
3376 after you have created a DCP for a film called ‘DCP Test’.
3379 <figure id="fig-file-structure">
3380 <title>Creating a new film</title>
3383 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
3389 The <code>DCP Test</code> folder is the one that you specify when you
3390 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
3391 menu. Everything is stored inside this folder.
3395 DCP-o-matic generates some working files as it goes along. These are as follows:
3398 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
3399 along. This can be useful for debugging purposes if something goes
3402 <listitem><code>metadata</code> stores the settings that you have made
3403 for this film: things like cropping, output format and so on.</listitem>
3405 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
3406 video data as it encodes it.</listitem>
3408 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
3410 <listitem><code>info</code> contains details of each video frame that
3411 DCP-o-matic has written so far. This is used when an encoding
3412 operation is interrupted and DCP-o-matic must resume it.</listitem>
3417 Following this is the DCP itself:
3418 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
3419 contains some small XML files, which describe the DCP, and two large
3420 MXF files, which contain the DCP's audio and video data. It may also
3421 contain subtitles in either XML or MXF format. This folder
3422 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
3423 to the cinema which is showing your DCP.
3430 <title>Command-line tools</title>
3433 DCP-o-matic includes some tools which allow DCP creation from the
3434 command line or from scripting languages. This chapter covers the
3439 There are three command-line tools in DCP-o-matic.
3440 <code>dcpomatic2_create</code> creates film directories, with the
3441 associated metadata, from a list of content files. Then
3442 <code>dcpomatic2_cli</code> runs the transcode process on these
3443 film directories. Finally, <code>dcpomatic2_kdm_cli</code> can be
3444 used to create KDMs.
3448 Some applications will benefit from setting up the films using the
3449 main DCP-o-matic GUI and then using <code>dcpomatic2_cli</code> to
3450 do the encode. This allows, for example, setup on a relatively
3451 low-powered machine before running the encode on a higher-powered
3456 <title><code>dcpomatic2_create</code></title>
3459 The syntax for <code>dcpomatic2_create</code> is:
3463 <code>dcpomatic2_create [OPTION] <CONTENT> [[OPTION] <CONTENT> ...]</code>
3467 <code>[CONTENT]</code> are the files or folders that you want to use in the
3470 <listitem>‘Movie’ files in almost any common format (e.g. MP4, MOV, MKV, etc.)</listitem>
3471 <listitem>A folder containing and image sequence in almost any common format (e.g. TIFF, DPX etc.)</listitem>
3472 <listitem>Sound files (e.g. WAV, MP3, AIFF)</listitem>
3473 <listitem>Subtitles files (e.g. <code>.srt</code>, DCP XML, <code>.ssa</code> etc.)</listitem>
3481 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_create.xml"/>
3484 For example, to setup a film using a MP4 file you might do:
3488 <code>dcpomatic2_create -o my_film --container-ratio 185 --content-ratio 185 -c FTR -n "My Film" Stuff.mp4</code>
3492 This will create a folder called <code>my_film</code> which is ready for a DCP to be made by <code>dcpomatic2_cli</code>.
3496 <code>dcpomatic2_create</code> will use any default settings that you have configured in the main DCP-o-matic preferences.
3501 <title><code>dcpomatic2_cli</code></title>
3504 The syntax for <code>dcpomatic2_cli</code> is:
3508 <code>dcpomatic2_cli [OPTION] [FILM]</code>
3511 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_cli.xml"/>
3514 For example, to encode a film called <code>my_film</code> you might do:
3518 <code>dcpomatic2_cli my_film</code>
3523 <title><code>dcpomatic2_kdm_cli</code></title>
3526 The syntax for <code>dcpomatic2_kdm_cli</code> is:
3530 <code>dcpomatic2_kdm_cli [OPTION] <FILM|CPL-ID></code>
3533 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_kdm_cli.xml"/>
3540 <!-- ============================================================== -->
3542 <title>Loose ends</title>
3545 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
3549 <!-- ============================================================== -->
3551 <title>Resuming encodes</title>
3554 If you cancel a DCP encoding run half-way through, or your computer
3555 crashes... fear not. DCP-o-matic takes care to ensure that, in most
3556 cases, it can resume encoding from where it left off. When you
3557 re-start a DCP creation, using the same settings are a previous run,
3558 DCP-o-matic will first check that the existing picture frames are
3559 correct, and then resume from where it left off. The checking of
3560 existing frames does take some time, but it is much faster than
3561 running a full re-encode.
3565 This resumption is achieved by writing a digest (hash) to disk for
3566 every image frame that is written. On resumption, the existing MXF
3567 file for image data is read and its contents checked against the
3575 <!-- ============================================================== -->
3576 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3577 <title>Common tasks</title>
3580 This chapter describes how to carry out some commonly-required tasks
3581 with DCP-o-matic. The full details are elsewhere in the manual: here
3582 we just discuss different approaches to these tasks and how to carry
3587 <title>Adding subtitles to an existing DCP</title>
3590 You have three options:
3594 <listitem>Make a “Version File” (VF) DCP.</listitem>
3595 <listitem>Make a complete DCP with projector-added subtitles.</listitem>
3596 <listitem>Make a complete DCP with burnt-in subtitles.</listitem>
3600 Making a VF DCP is usually the best option. This will be a very small
3601 DCP which contains only the subtitles: it refers to your existing DCP
3602 for the picture and sound. The projectionist will ingest both the
3603 existing and VF DCPs and play back the VF. The advantages of this
3604 approach are that the VF is very quick to generate, and small in size,
3605 making it easy to distribute. This is especially useful if you have
3606 to make VF DCPs in many different languages.
3610 Making a complete DCP with projector-added subtitles gives you a new,
3611 single DCP which the projectionist can ingest and play. It will be
3612 the same size as your existing DCP, and fairly quick to create. This
3613 approach relies on the projector (or server) to create the subtitles
3614 and overlay them on the image, which mostly works well but is not
3615 100% reliable.
3619 Making a complete DCP with burnt-in subtitles gives you a new, single DCP
3620 but with the subtitles rendered by DCP-o-matic and copied into your
3621 image. This is slower to create than a DCP with projector-added
3622 subtitles as every video frame with a subtitle must be re-encoded.
3623 The advantage of this approach is that it is less likely to go wrong,
3624 especially if you are using unusual subtitle positioning or character
3629 <title>Making a VF DCP</title>
3632 <listitem>Start a new DCP-o-matic film.</listitem>
3633 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3634 <listitem>Go to the <guilabel>DCP</guilabel> tab and choose <guilabel>Split by video content</guilabel> for <guilabel>Reel type</guilabel>.</listitem>
3635 <listitem>Go to the <guilabel>Video</guilabel> and
3636 <guilabel>Audio</guilabel> tabs in turn and tick the <guilabel>Use this DCP's audio as OV and make VF</guilabel> checkboxes.</listitem>
3637 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3638 <listitem>Check the subtitle appearance in the preview; it will be
3639 slow to respond as it is having to decompress images from the existing
3641 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3647 <title>Making a complete DCP with projector-added subtitles</title>
3650 <listitem>Start a new DCP-o-matic film.</listitem>
3651 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3652 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3653 <listitem>Check the subtitle appearance in the preview; it will be
3654 slow to respond as it is having to decompress images from the existing
3655 DCP. Adjust the appearance using controls in the
3656 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3657 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3663 <title>Making a complete DCP with burnt-in subtitles</title>
3666 <listitem>Start a new DCP-o-matic film.</listitem>
3667 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3668 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3669 <listitem>Go to the <guilabel>Subtitle</guilabel> tab and tick the <guilabel>Burn subtitles into image</guilabel> checkbox.</listitem>
3670 <listitem>Check the subtitle appearance in the preview; it will be
3671 slow to respond as it is having to decompress images from the existing
3672 DCP. Adjust the appearance using controls in the
3673 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3674 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3681 <title>Adding soundtracks or subtitles in different languages</title>
3684 If you have a film that is to be dubbed or subtitled in several
3685 languages, the best approach with DCP-o-matic is as follows:
3689 <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>
3690 <listitem>For each language, make a new Version File (VF) DCP which refers to the OV.</listitem>
3694 Once you have done this, you send the OV DCP to every cinema and then
3695 the appropriate VF to each cinema depending on what language they want
3696 to play the film in. The projectionist ingests both DCPs and then plays the VF.
3700 The advantage of this approach is that the VF DCPs are much smaller
3701 than the OV since they only have the language-specific parts. If you
3702 are just changing the subtitles you can often ship the OV by normal
3703 transport means (e.g. a hard drive or high-speed download) and send
3708 The full details of OV and VF files are discussed in <xref linkend="sec-overlay"/>. The steps can be summarised as follows:
3712 <listitem>Create a new DCP-o-matic project for the OV, as normal, adding video and perhaps sound. Make the DCP.</listitem>
3713 <listitem>Create a new DCP-o-matic project for the VF.</listitem>
3714 <listitem>Use <guilabel>Add folder...</guilabel> to add your OV DCP to the project.</listitem>
3715 <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>
3716 <listitem>Do the same in the <guilabel>Audio</guilabel> tab if your OV has audio.</listitem>
3717 <listitem>Add your language-specific audio and/or subtitles and Make DCP.</listitem>
3724 <chapter xml:id="ch-player" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3725 <title>Playing DCPs</title>
3727 <para>DCP-o-matic includes a DCP player, and although it requires a
3728 very high-speed CPU to play DCPs in full resolution, it can also
3729 play DCPs at reduced resolutions with slower CPUs.</para>
3731 <para>To use the player, start <guilabel>DCP-o-matic
3732 Player</guilabel>, and load a DCP using the
3733 <guilabel>Open</guilabel> option on the <guilabel>File</guilabel>
3736 <para>If you load a VF and/or encrypted DCP you can add your OV
3737 and/or KDM using the appropriate options on the
3738 <guilabel>File</guilabel> menu.</para>
3740 <para>During playback the <guilabel>Performance</guilabel> area at
3741 the bottom right of the window will give details of how many frames
3742 are being dropped; these are frames that were not decoded from the
3743 DCP quickly enough. If this number is high you can increase
3744 performance at the cost of rendering quality by choosing an option
3745 from the <guilabel>View</guilabel> menu. If you set the player to
3746 decode at less than full resolution the DCP's data will be decoded
3747 at this lower resolution, which is quicker than decoding at full
3754 <chapter xml:id="ch-verifier" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3755 <title>Verifying DCPs</title>
3758 The DCP-o-matic Player (see <xref linkend="ch-player"/>) also offers a DCP verifier. To check a DCP,
3759 open it and then select <guilabel>Verify DCP</guilabel> from the
3760 <guilabel>Tools</guilabel> menu.
3764 The verifier will report three kinds of problems:
3768 <listitem><emphasis>Errors</emphasis> — serious problems with the DCP that are likely to cause problems on playback.</listitem>
3769 <listitem><emphasis>Bv2.1 errors</emphasis> — errors described by the <ulink url="https://ieeexplore.ieee.org/stamp/stamp.jsp?arnumber=9161348">SMPTE Bv2.1 standard</ulink>.</listitem>
3770 <listitem><emphasis>Warnings</emphasis> — small problems that may not matter.</listitem>
3774 The following sections list what the verifier checks for in each category.
3778 <title>Errors</title>
3779 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="verify_errors.xml"/>
3783 <title>Bv2.1 errors</title>
3784 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="verify_bv21_errors.xml"/>
3788 <title>Warnings</title>
3789 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="verify_warnings.xml"/>
3795 <!-- ============================================================== -->
3796 <chapter xml:id="ch-writer">
3797 <title>Writing DCPs to disks</title>
3800 Once you have your DCP, you need to get it to the cinema or theater who
3801 will play it. Sometimes this is possible via the internet, using a
3802 service such as Filemail. If that's an option: go for it! Network
3803 transfers avoid a lot of the difficulties that other methods have.
3807 However, your DCP may be too large to make that practical. In that case,
3808 the usual approach is to copy the DCP onto a USB hard drive or stick and
3809 physically take it or send it to the cinema.
3813 <title>Hard drive formatting</title>
3816 In theory, this should be as simple as dragging and dropping the DCP's
3817 files onto a USB-connected drive. Sadly, though, things are not always
3818 that simple. This is because not all hard drives are formatted in the
3819 same way. The most common formats for hard drives are:
3823 <listitem>APFS — used by macOS 10.13 and later for solid state drives (SSDs).</listitem>
3824 <listitem>HFS+ (Mac OS Extended) — used by macOS on 10.12 and earlier, and on all macOS systems for spinning disks.</listitem>
3825 <listitem>NTFS — modern format used by Windows.</listitem>
3826 <listitem>ExFAT — another modern, but less common (and buggier) format used by Windows.</listitem>
3827 <listitem>FAT32 — old format used by Windows.</listitem>
3828 <listitem>ext2, ext3, ext4 — often used by Linux.</listitem>
3832 You can format a drive however you want, but a drive set up on macOS will usually use APFS, just as one set up on Windows will probably use NTFS or ExFAT.
3836 The problem you have as a DCP maker is: the only format that is
3837 guaranteed to work in all cinemas is ext2. This format is not easy to
3838 use directly from Windows or macOS: both operating systems need extra
3839 software to write ext2 drives.
3843 The “DCP-o-matic Disk Writer” provides a possible
3844 solution to this problem. It allows you to format and copy DCPs onto ext2-formatted disks from Windows, macOS or Linux.
3851 <title>Caution</title>
3854 DCP-o-matic is made by one developer in his spare time. As a project,
3855 we do not have any quality assurance department, testing team or
3856 anything like that. Though we try our best to ensure quality using
3857 automated testing, and by the great efforts of our users to find and report problems,
3858 bugs do get into the code and things do go wrong.
3862 Though very undesirable, bugs in most parts of DCP-o-matic are usually
3863 not disastrous; they most often result in an error message, or some
3864 problem with a DCP. The Disk Writer tool, however, is a bit different. It obtains
3865 permission from your operating system to write directly to disks connected to the
3866 computer. Though we have done as much as we can to prevent problems, there is a chance
3867 that a bug in the Disk Writer could cause irretrievable data loss (for example, if
3868 the writer wrote to the wrong drive by mistake).
3872 No such problems have been reported, nor found by us during testing, but I would
3873 like to warn you that they are possible. As always, make sure that you have backups
3874 (somewhere that is not directly connected to your computer) of anything that you do not want
3882 <title>Writing a DCP to a disk</title>
3885 Starting up the Disk Writer will give open a confirmation window to make sure that you understand the risks involved, as shown in <xref linkend="fig-disk-writer-notice"/>.
3888 <figure id="fig-disk-writer-notice">
3889 <title>Starting the Disk Writer</title>
3892 <imagedata fileref="screenshots/disk-writer-notice&scs;"/>
3898 If you are sure you want to continue, type <code>I am sure</code> into the text box and click <guilabel>OK</guilabel>. This will open the window shown in <xref linkend="fig-disk-writer"/>.
3901 <figure id="fig-disk-writer">
3902 <title>Starting the Disk Writer</title>
3905 <imagedata fileref="screenshots/disk-writer&scs;"/>
3910 <para>Next, click <guilabel>Open...</guilabel> and choose the DCP that you want to write.</para>
3913 Now we need to choose the drive that the DCP will be written to from the drop-down menu.
3914 <emphasis>Whichever drive you choose will be irretrievably wiped!</emphasis>
3915 If the drive you want is not listed, click <guilabel>Refresh</guilabel> to search the system for drives.
3919 Finally, click <guilabel>Copy DCP</guilabel>. After a confirmation window, the drive will be formatted,
3920 and the DCP copied and then read back to check that it was written correctly.
3928 <!-- ============================================================== -->
3930 <title>Keyboard shortcuts</title>
3931 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="shortcuts.xml"/>
3935 <!-- ============================================================== -->
3936 <chapter xml:id="ch-config" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3937 <title>Configuration files</title>
3939 <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>
3942 <listitem>Windows: <code>c:\Users\your_user_name\AppData\Local\dcpomatic</code></listitem>
3943 <listitem>OS X: <code>/Users/your_user_Name/Library/Preferences/com.dcpomatic/2</code></listitem>
3944 <listitem>Linux: <code>~/.config/dcpomatic2</code></listitem>
3947 <para>Possible XML tags are as follows:</para>
3949 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="config.xml"/>
3955 <!-- LocalWords: dbcent DCP matic Hetherington DCPs KDMs GPL XP sid
3957 <!-- LocalWords: matic's jessie Tahr Xenial Xerus Centos Mageia GTK
3959 <!-- LocalWords: Karner FFmpeg libsndfile libsamplerate OpenSSL waf
3961 <!-- LocalWords: libopenjpeg libssh wxWidgets libxml xmlsec libzip
3963 <!-- LocalWords: asdcplib libdcp libsub libcxml sstream sudo Sintel
3965 <!-- LocalWords: dcpomatic TMS SCP timecode DCP's unencrypted OV Gb
3967 <!-- LocalWords: Decrypting KDM decrypt decrypted MOV VOB WAV AIFF
3969 <!-- LocalWords: PNG srt ssa xml wav Lfe XYZ colourspace sRGB RGB
3971 <!-- LocalWords: colourspaces pdf fader CP Doremi CaptiView SubRip
3973 <!-- LocalWords: SubStation BluRay
projects / dcpomatic.git / blob