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11 <book xmlns="http://docbook.org/ns/docbook" xmlns:mml="http://www.w3.org/1998/Math/MathML" version="5.0" xml:lang="en">
14 <title>DCP-o-matic users' manual</title>
15 <author><firstname>Carl</firstname><surname>Hetherington</surname></author>
18 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
19 <title>Introduction</title>
22 Hello, and welcome to DCP-o-matic!
25 <!-- ============================================================== -->
27 <title>What is DCP-o-matic?</title>
30 DCP-o-matic is a program to generate <ulink
31 url="http://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
32 Cinema Packages</ulink> (DCPs) from almost any video, audio and/or
33 subtitle source files. The resulting DCPs will play on modern digital
40 <!-- ============================================================== -->
42 <title>Licence</title>
45 DCP-o-matic is free and open-source and is licensed under the <ulink
46 url="http://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
53 <!-- ============================================================== -->
55 <title>Acknowledgements</title>
58 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
65 <!-- ============================================================== -->
66 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
67 <title>Installation</title>
70 <!-- ============================================================== -->
72 <title>Windows</title>
75 To install DCP-o-matic on Windows, download the installer from
76 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
77 and double-click it. Click through the installer wizard, and
78 DCP-o-matic will be installed onto your machine.
82 If you are using a 32-bit version of Windows, you will need the 32-bit
83 installer. For 64-bit Windows, either installer will work, but I
84 suggest you used the 64-bit version as it will allow DCP-o-matic to
85 use more memory. You may find that DCP-o-matic crashes if you run
86 many parallel encoding threads (more than 4) on the 32-bit
93 <!-- ============================================================== -->
95 <title>Mac OS X</title>
98 DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
99 higher. To install it, download the <code>.dmg</code> from <ulink
100 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink> and double
101 click to open it. Then drag the DCP-o-matics icon to your
102 <guilabel>Applications</guilabel> folder or wherever else you would
107 You do not have to install all the applications, but you must always
108 install <code>DCP-o-matic 2.app</code> as the other applications
114 <!-- ============================================================== -->
116 <title>Debian or Ubuntu Linux</title>
119 You can install DCP-o-matic on:
123 <listitem>Debian 7 (‘wheezy’)</listitem>
124 <listitem>Debian 8 (‘jessie’)</listitem>
125 <listitem>Debian unstable (‘sid’)</listitem>
126 <listitem>Ubuntu 12.04 (‘Precise Pangolin’)</listitem>
127 <listitem>Ubuntu 14.04 (‘Trusty Tahr’)</listitem>
128 <listitem>Ubuntu 15.10 (‘Wily Werewolf’)</listitem>
129 <listitem>Ubuntu 16.04 (‘Xenial Xerus’)</listitem>
133 using <code>.deb</code> packages: download the appropriate package
134 from <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
135 and double-click it. Debian or Ubuntu will install the necessary bits and
136 pieces and set DCP-o-matic up for you.
139 <!-- ============================================================== -->
142 <!-- ============================================================== -->
144 <title>Fedora Linux</title>
146 <para>There are <code>.rpm</code> packages for Fedora 22 and 23 on
147 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
150 <!-- ============================================================== -->
153 <!-- ============================================================== -->
155 <title>Centos Linux</title>
156 <para>There are <code>.rpm</code> packages for Centos 5, 6.5 and 7 on
157 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
160 <!-- ============================================================== -->
163 <!-- ============================================================== -->
165 <title>Arch Linux</title>
167 Packages for Arch Linux are available from <ulink
168 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
169 thanks to Stefan Karner.
174 <!-- ============================================================== -->
176 <title>Other Linux distributions</title>
179 Installation on other Linux systems (for which no packages are
180 available) is quite hard as it must be compiled from source. If you
181 can't download packages for your distribution, do let me know by
182 <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I will look
183 into providing packages on the website.
187 The following dependencies are required:
189 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
190 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
191 <listitem><ulink url="http://www.mega-nerd.com/SRC/">libsamplerate</ulink></listitem>
192 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
193 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
194 <listitem><ulink url="http://www.imagemagick.org/script/index.php">ImageMagick</ulink></listitem>
195 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
196 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
197 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
198 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
199 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
200 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
201 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
202 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
203 <listitem><ulink url="http://carlh.net/libdcp/">libdcp</ulink></listitem>
204 <listitem><ulink url="http://carlh.net/libsub/">libsub</ulink></listitem>
205 <listitem><ulink url="http://carlh.net/libcxml/">libcxml</ulink></listitem>
206 <listitem><ulink url="http://site.icu-project.org">libicu</ulink></listitem>
211 Once you have installed the development packages for the dependencies,
212 download the source code from <ulink
213 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>,
214 unpack it and run the following commands from inside the source
225 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
240 <!-- ============================================================== -->
241 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
242 <title>Creating a DCP from a video</title>
245 In this chapter we will see how to create a DCP from a video file using
246 DCP-o-matic. We will gloss over the details and look at the basics.
250 <title>Creating a new film</title>
253 Let's make a very simple DCP to see how DCP-o-matic works. First, we
254 need some content. Download the low-resolution trailer for the open
255 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
256 url="http://ftp.nluug.nl/ftp/graphics/blender/apricot/trailer/Sintel_Trailer1.480p.DivX_Plus_HD.mkv">their
257 website</ulink>. Generally one would want to use the
258 highest-resolution material available, but for this test we will use
259 the low-resolution version to save everyone's bandwidth bills.
263 Now, start DCP-o-matic and its window will open. First, we will
264 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
265 some pieces of content, along with some settings, which we will make into
266 a DCP. DCP-o-matic stores its data in a folder on your disk while it
267 creates the DCP. You can create a new film by selecting
268 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
269 shown in <xref linkend="fig-file-new"/>.
272 <figure id="fig-file-new">
273 <title>Creating a new film</title>
276 <imagedata fileref="screenshots/file-new&scs;"/>
282 This will open a dialogue box for the new film, as shown in <xref
283 linkend="fig-video-new-film"/>.
286 <figure id="fig-video-new-film">
287 <title>Dialogue box for creating a new film</title>
290 <imagedata fileref="screenshots/video-new-film&scs;"/>
296 In this dialogue box you can choose a name for the film. This will be
297 used to name the folder to store its data in, and also as the initial
298 name for the DCP itself. You can also choose whereabouts you want to create
299 the film. In the example from the figure, DCP-o-matic will create a
300 folder called ‘DCP Test’ inside my home folder (carl) into which it
301 will write its working files.
307 <!-- ============================================================== -->
309 <title>Adding content</title>
312 The next step is to add the content that you want to use. DCP-o-matic
313 can make DCPs from multiple pieces of content, but in this simple
314 example we will just use a single piece. Click the <guilabel>Add
315 file(s)...</guilabel> button, as shown in <xref
316 linkend="fig-add-file"/>, and a file chooser will open for you to
317 select the content file to use, as shown in <xref
318 linkend="fig-video-select-content-file"/>.
321 <figure id="fig-add-file">
322 <title>Adding content files</title>
325 <imagedata fileref="screenshots/add-file&scs;"/>
330 <figure id="fig-video-select-content-file">
331 <title>Selecting a video content file</title>
334 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
340 Select your content file and click <guilabel>Open</guilabel>. In this
341 case we are using the Sintel trailer that we downloaded earlier.
345 When you do this, DCP-o-matic will take a look at your file. After a
346 short while (when the progress bar at the bottom right of the window
347 has finished), you can look through your content using the slider to
348 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
351 <figure id="fig-examine-content">
352 <title>Examining the content</title>
355 <imagedata fileref="screenshots/examine-content&scs;"/>
361 Dragging the slider will move through your video. You can also click
362 the <guilabel>Play</guilabel> button to play the content back. <emphasis>Note
363 that there will be no sound</emphasis>, and playback might not be entirely
364 accurate (it may be slightly slower or faster than it should be, for
365 example). This player is really only intended for brief inspection of
366 content; if you need to check it more thoroughly, use another player
368 url="http://projects.gnome.org/totem/index.html">Totem</ulink>, <ulink
369 url="http://www.mplayerhq.hu/design7/news.html">mplayer</ulink> or
370 <ulink url="http://www.videolan.org/vlc/index.html">VLC</ulink>.
378 <!-- ============================================================== -->
380 <title>Making the DCP</title>
382 <para>In most cases, some adjustments would be made to DCP-o-matic's
383 settings once the content has been added. For our simple test,
384 however, the default values will suffice, so we can go straight onto
385 making the DCP.</para>
388 Choose <guilabel>Make DCP</guilabel> from the
389 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
390 This may take some time (many hours in some cases). While the job is
391 in progress, DCP-o-matic will update you on how it is getting on with
392 the progress bar in the bottom of its window, as shown in <xref
393 linkend="fig-making-dcp"/>.
396 <figure id="fig-making-dcp">
397 <title>Making the DCP</title>
400 <imagedata scale="50" fileref="screenshots/making-dcp&scs;"/>
406 When it has finished, the DCP will end up on your disk inside the
407 film's folder. You can then copy this to a projector via a USB
408 stick, hard-drive or network connection. See <xref
409 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
413 Alternatively, if you have a projector or Theatre Management System
414 (TMS) that is accessible via SCP or FTP across your network, you can upload
415 the content directly from DCP-o-matic. See the <xref
416 linkend="sec-prefs-tms" endterm="sec-prefs-tms-short"/> in <xref linkend="sec-prefs-tms"/>.
423 <!-- ============================================================== -->
424 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
425 <title>Creating a DCP from a still image</title>
428 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
429 for an advertisement or an on-screen announcement. This chapter shows you
434 As with DCPs made from video files, the first step is to create a new
435 ‘Film’; select <guilabel>New</guilabel> from the
436 <guilabel>File</guilabel> menu and the new film dialogue will open as
437 shown in <xref linkend="fig-still-new-film"/>.
440 <figure id="fig-still-new-film">
441 <title>Dialogue box for creating a new film</title>
444 <imagedata fileref="screenshots/still-new-film&scs;"/>
450 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
451 the content. As before, click <guilabel>Add file(s)...</guilabel>.
452 For our example, we will add a single image file, as shown in <xref
453 linkend="fig-still-select-content-file"/>.
456 <figure id="fig-still-select-content-file">
457 <title>Selecting a still content file</title>
460 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
466 Most of the default settings will be fine for a simple test. The one
467 thing that you might wish to change is the length of the still.
468 Select the <guilabel>Timing</guilabel> tab and you will see a
469 <guilabel>Play length</guilabel> setting, as shown in <xref
470 linkend="fig-timing-tab"/>.
473 <figure id="fig-timing-tab">
474 <title>The timing tab</title>
477 <imagedata fileref="screenshots/timing-tab&scs;"/>
483 This length is a ‘timecode’: it consists of four numbers.
484 The first is hours, the second minutes, the third seconds, and the
485 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
489 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
490 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
491 be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
492 to encode a single frame which it can then repeat.
498 <!-- ============================================================== -->
499 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
500 <title>Manipulating existing DCPs</title>
503 Frequently DCP-o-matic is used to take content in formats such as MP4
504 and convert it to JPEG2000 for a DCP. It can also be used
505 to take existing DCPs and modify them in various ways.
509 <title>Importing a DCP into DCP-o-matic</title>
512 If you want to do something to an existing DCP the first step is to
513 import it. Click <guilabel>Add folder...</guilabel> and select your
514 DCP's folder. It will be added to the DCP-o-matic project. If the
515 DCP is unencrypted you can preview it in the normal way, though
516 playback will be very slow as decoding of DCPs is almost as
517 computationally intensive as encoding them.
524 <title>Decrypting encrypted DCPs</title>
527 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
528 details). If you import an encrypted DCP you will need a key, in the
529 form of a Key Delivery Message (KDM), to decrypt it.
533 KDMs must be prepared by the organisation which created the DCP. They
534 contain the keys to decrypt the DCP wrapped up in such a way that only
535 the intended recipient can read them. You will need to provide the
536 organisation with a certificate which identifies your copy of
537 DCP-o-matic and allows them to create a KDM for you.
541 To get DCP-o-matic's decryption certificate, open the Preferences
542 dialogue (see <xref linkend="ch-preferences"/>) and go to the
543 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
544 decryption certificate...</guilabel> button at the bottom of this tab
545 and save the certificate. Send this certificate to the DCP creators
546 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
550 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
551 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and (all
552 being well) the DCP will be decrypted and become available for preview.
559 <title>Making a DCP from a DCP</title>
562 In many ways, using DCPs as <emphasis>content</emphasis> in
563 DCP-o-matic is the same as using any other content. There are a few
564 things to note, though.
569 <title>Re-use of existing data</title>
572 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
573 data from DCP content without modification. This has the advantage
574 that creation of the new DCP will be quick, as the time-consuming
575 JPEG2000 encoding is not necessary.
579 DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
580 the following content settings:
584 <listitem>Crop</listitem>
585 <listitem>Scaling</listitem>
586 <listitem>Subtitle burn-in</listitem>
587 <listitem>Fades</listitem>
588 <listitem>Colour conversion</listitem>
592 If you do change any of these settings on a piece of DCP content
593 DCP-o-matic will decode and then re-encode the JPEG2000 data.
600 <title>Making overlay files</title>
603 With its default settings, DCP-o-matic will take any data from DCP
604 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
607 <figure id="fig-dcp-copy">
608 <title>Creating a new DCP by copying an existing one</title>
609 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
613 This can be inefficient in some cases. Consider, for example, a film
614 which has ten different translations for which the subtitles are
615 different but video and audio are the same. If the video and audio
616 content takes up, say, 100Gb this means that the set of DCPs for every
617 translation would be about 1Tb with a lot of duplicated data.
621 The DCP format has a solution to this problem. One DCP can refer to
622 the ‘assets’ (picture, sound or subtitle) of another DCP.
623 For our translation example this means that we could have a
624 ‘base’ DCP (often called the OV or Original Version)
625 containing video, audio and one set of subtitles and then any number
626 of overlay DCPs (often called VF or Version Files) which refer to the
627 base version and replace the original subtitles with their own. <xref
628 linkend="fig-dcp-refer"/> shows this principle for one of our
629 translations. The DCP that we make refers to the original content
630 DCP's video and audio rather than containing a copy.
633 <figure id="fig-dcp-refer">
634 <title>Creating a new DCP by referring to an existing one</title>
635 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
639 To play back the subtitled DCP the projectionist ingests both the base
640 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
644 To make a DCP like this:
648 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
649 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
650 <listitem>Select the DCP in the content list</listitem>
651 <listitem>Tick the <guilabel>Refer to existing DCP</guilabel> checkbox
652 in the tabs for the parts of the DCP that you want to refer to in your
653 new DCP. For example, to refer to the Content DCP's video and audio you would select the <guilabel>Video</guilabel> tab, click <guilabel>Refer to existing DCP</guilabel> then select the <guilabel>Audio</guilabel> tab and do the same.</listitem>
654 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
664 <!-- ============================================================== -->
667 <!-- ============================================================== -->
668 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
669 <title>Content settings</title>
672 The previous chapters showed DCP generation using the default
673 settings. DCP-o-matic offers a range of features to adjust the
674 content that goes into your DCP, and this chapter describes those
679 <title>Adding and removing content</title>
682 At the top of the <guilabel>Content</guilabel> tab is a list of the
683 content that will go into our DCP. There can be as many pieces of
684 content as you like, and they can be of the following types:
688 <listitem>Movie — a file containing some video, probably some
689 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
692 <listitem>Sound — a file containing one or more channels of
693 audio; for example, a WAV or AIFF file.
696 <listitem>Still image — a file containing a single still image; for
697 example, a JPEG, PNG or TIFF file.
700 <listitem>Moving image — a directory containing many still
701 images which should be treated as the frames of a video.
704 <listitem>Subtitle — a file containing subtitle which will be
705 superimposed on the image of the DCP. These can be
706 <guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel> or <guilabel>.xml</guilabel>
709 <listitem>DCP — an existing DCP.</listitem>
713 To add one or more movie, sound, still-image or subtitle files, select
714 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
718 To add a directory (folder) of images or a DCP, choose <guilabel>Add
719 folder...</guilabel> and choose the directory from the selector. If
720 you select a folder of images DCP-o-matic will open a small dialogue
721 box where you can enter the frame rate that the image sequence should
726 You can remove a piece of content by clicking on its name and then
727 clicking the <guilabel>Remove</guilabel> button.
732 <!-- ============================================================== -->
734 <title>Adding existing DCPs</title>
736 <para>Adding existing DCPs to a DCP-o-matic film is a little different
737 to adding other types of content. Most content has to be converted to
738 JPEG2000, the compression scheme used by DCPs, which is a very
739 time-consuming process. Existing DCPs are already in JPEG2000 format
740 so do not require conversion. This means that, provided no settings
741 such as crop are used on the DCP content, picture and sound data will
742 be passed from existing to new DCP unaltered.
745 <para>Encrypted DCPs that are added as content will require a KDM
746 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
747 should ask the creator of the imported DCP to provide a KDM for
748 DCP-o-matic's decryption certificate, which can be obtained by
749 clicking <guilabel>Export DCP decryption certificate...</guilabel>
750 from the <guilabel>Keys</guilabel> tab of the
751 <guilabel>Preferences</guilabel> dialog (see <xref
752 linkend="sec-prefs-keys"/>).
757 <!-- ============================================================== -->
759 <title>Content Properties</title>
762 Below the content list are the controls to set content properties. To
763 adjust the properties for a piece of content, click its name in the
764 content list. The content property controls will then become active
765 for that piece of content.
769 If you want to change the properties for multiple pieces of content at
770 the same time, select the content in the list by clicking the first
771 piece then clicking the other pieces with <keycap>shift</keycap> key
772 held down. Note that not all settings can be changed in this way.
776 The content properties are split up into four sections:
777 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
778 <guilabel>Subtitles</guilabel> and <guilabel>Timing</guilabel>. Not
779 all of these sections will be active for all content types. The controls
780 in each section are described below.
786 <!-- ============================================================== -->
791 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
794 <figure id="fig-video-tab">
795 <title>Video settings tab</title>
798 <imagedata fileref="screenshots/video-tab&scs;"/>
804 <!-- ============================================================== -->
806 <title>Image type</title>
809 The first option on this tab is the ‘type’ of the video.
810 This specifies how DCP-o-matic should interpret the video's image.
811 <guilabel>2D</guilabel> is the default; this just takes the video
812 image as a standard 2D frame. The <guilabel>3D
813 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
814 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
817 <figure id="fig-3d-left-right">
818 <title>3D left/right image type</title>
821 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
827 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
828 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
829 linkend="fig-3d-top-bottom"/>.
832 <figure id="fig-3d-top-bottom">
833 <title>3D top/bottom image type</title>
836 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
842 Another option is <guilabel>3D alternate</guilabel> which takes the
843 first frame of the content as for the left eye, the second for the
844 right eye, the third for the left, and so on. Finally, you can
845 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
846 only</guilabel> if this content contains only the the left or right
847 eye images. This is useful when you have the left and right eye image
848 sets in different files; you can specify one content as <guilabel>3D
849 left only</guilabel> and another as <guilabel>3D right only</guilabel>
850 and DCP-o-matic will pick up the appropriate frames from each.
856 <!-- ============================================================== -->
858 <title>Filtering</title>
861 The ‘filters’ settings allow you to apply various video
862 filters to the image. These may be useful to try to improve
863 poor-quality sources like DVDs. You can set up the filters by clicking the
864 <guilabel>Edit</guilabel> button next to the filters entry in the
865 setup area of the DCP-o-matic window; this opens the filters selector
866 as shown in <xref linkend="fig-filters"/>.
869 <figure id="fig-filters">
870 <title>Filters selector</title>
873 <imagedata fileref="screenshots/filters&scs;"/>
879 After changing the filters setup, you will need to regenerate the DCP
880 to see the effect on the cinema screen. The preview in DCP-o-matic
881 will update itself whenever filters are changed, though of course this
882 image is much smaller and of lower resolution than a projected image!
888 <!-- ============================================================== -->
890 <title>Colour conversion</title>
893 The <guilabel>Colour conversion</guilabel> setting specifies what
894 colour transforms and gamma correction DCP-o-matic will use when
895 converting the selected content into the XYZ colourspace for the DCP.
899 The easiest way to select the required conversion is to choose one of
900 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
901 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
902 know which preset you should use, refer to the suggestions in <xref
903 linkend="tab-colour-conversion"/>.
906 <table id="tab-colour-conversion">
907 <title>Suggested colour conversion settings</title>
908 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
909 <colspec colwidth='1*'/>
910 <colspec colwidth='5*'/>
913 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs</entry>.
916 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
919 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
922 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
929 For other required colour conversions, and if you know what you are
930 doing, you can choose <guilabel>Custom</guilabel> which will open the full
931 colour conversion editing dialogue box:
934 <figure id="fig-colour-conversion">
935 <title>Dialogue box for custom colour conversion</title>
938 <imagedata fileref="screenshots/colour-conversion&scs;"/>
944 Alternatively, choose <guilabel>None</guilabel> if your source files
945 are already in the XYZ colour space and require no conversion.
949 DCP-o-matic's colour conversion processes are discussed in much more
950 detail in a separate document <ulink
951 url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
956 <!-- ============================================================== -->
958 <title>Other settings</title>
961 The <guilabel>crop</guilabel> settings can be used to crop your content,
962 which can be used to remove black borders from round the edges of DVD
963 images, for example. The specified number of pixels will be trimmed
964 from each edge, and the content image in the right of the window will
965 be updated to show the effect of the crop.
969 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
970 settings can be used to apply linear fades into and out of a piece of
971 content. Specify the time for each, clicking <guilabel>Set</guilabel>
972 after making any changes.
976 The <guilabel>Scale to</guilabel> option governs the shape that
977 DCP-o-matic will scale the content's image into. Select the aspect
978 ratio that your content should be presented in.
983 <!-- ============================================================== -->
985 <title>Video description</title>
988 At the bottom of the video tab is a short description of what will
989 happen to your video with the current settings. In the example of
990 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
991 video file is 1920x1080 pixels and it has square pixels (a pixel
992 aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since
993 the controls specify ‘16.9’ for the ratio, DCP-o-matic
994 does not scale the image but pads it to the DCP's container ratio of
995 1.85:1. For a 2K DCP this is 1998x1080 pixels.
999 This description also gives the frame rate of the content and what
1000 will happen to it when it is played at the DCP's frame rate. See
1001 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
1002 frame-rate conversion.
1010 <!-- ============================================================== -->
1012 <title>Audio</title>
1015 The <guilabel>Audio</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-audio-tab"/>.
1018 <figure id="fig-audio-tab">
1019 <title>Audio settings tab</title>
1022 <imagedata fileref="screenshots/audio-tab&scs;"/>
1028 <!-- ============================================================== -->
1030 <title>The audio map</title>
1033 The section at the bottom of the audio tab is the ‘audio
1034 map’. This governs how sound from the content will be arranged
1039 Down the left-hand side of the map is the list of audio channels in
1040 the currently-selected piece of content. These are labelled with two
1041 numbers; the first is the stream index within the content and the
1042 second is the channel number within that stream. Some content will
1043 have different streams for different languages or audio mixes. Along
1044 the top is each channel in the DCP. A green box means that the
1045 corresponding content channel will be copied into the corresponding
1050 When content channels are copied into DCP channels they can be done
1051 with variable gain. If, for example, you want to copy a channel
1052 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1053 two channels into one, you may want to use a gain of -6dB on each one
1054 to prevent clipping when the two channels are added.
1058 The green boxes of the audio mapping view tell you (very roughly) how
1059 much gain is applied to each channel. A full-height box means 0dB
1060 (i.e. unity) gain. Any less height indicates lower gain.
1064 To map one channel to another with 0dB gain, click in the empty box
1065 and it will turn green to reflect the mapping. A second click will
1066 turn the mapping back off. To set some other gain, right-click on the
1067 box to open the gain menu. This allows you to set
1068 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1069 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1070 <guilabel>Edit</guilabel> which allows you to set the required gain
1075 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1078 <figure id="fig-audio-map-eg1">
1079 <title>Audio map example 1</title>
1082 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1088 Here, we have two channels in the source which are mapped to left and
1089 right, respectively, in the DCP. The full green boxes show that the
1090 mapping is at unity gain (0dB) in each case. Imagine that we modify
1091 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1094 <figure id="fig-audio-map-eg2">
1095 <title>Audio map example 2</title>
1098 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1104 We now have the content's streams mapped to left and right and also
1105 mixed together and placed in the DCP's centre channel. The smaller
1106 green boxes on the centre mappings show that those channels are added
1107 with some non-unity gain; you can see by hovering the mouse pointer
1108 over those boxes that the gain for content channels 1 and 2 is -6dB
1109 when being sent to the centre channel and 0dB when being sent to left
1113 <figure id="fig-audio-map-eg3">
1114 <title>Audio map example 3</title>
1117 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1123 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1124 shows the mapping of a 5.1 source into a 5.1 DCP.
1130 <!-- ============================================================== -->
1132 <title>Other controls</title>
1135 ‘Audio Gain’ is used to alter the volume of the
1136 soundtrack. The specified gain (in dB) will be applied to each sound
1137 channel of your content before it is written to the DCP.
1141 If you use a sound processor that DCP-o-matic knows about, it can help
1142 you calculate changes in gain that you should apply. Say, for
1143 example, that you make a test DCP and find that you have to run it at
1144 volume 5 instead of volume 7 to get a good sound level in the screen.
1145 If this is the case, click the <guilabel>Calculate...</guilabel>
1146 button next to the audio gain entry, and the dialogue box in <xref
1147 linkend="fig-calculate-audio-gain"/> will open.
1150 <figure id="fig-calculate-audio-gain">
1151 <title>Calculating audio gain</title>
1154 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1160 For our example, put 5 in the first box and 7 in the second and click
1161 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1162 that it should apply to make this happen. Then you can re-make the
1163 DCP (this will be reasonably fast, as the video data will already have
1164 been done) and it should play back at the correct volume with 7 on
1165 your sound-rack fader.
1169 Current versions of DCP-o-matic only know about the Dolby CP650 and
1170 CP750. If you use a different sound processor, and know the gain
1171 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1176 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1177 between audio and video. A positive delay will move the audio later
1178 with respect to the video, and a negative delay will move it earlier.
1185 <!-- ============================================================== -->
1187 <title>Subtitles</title>
1190 The subtitles tab contains settings related to subtitles in your
1191 content, as shown in <xref linkend="fig-subtitles-tab"/>.
1194 <figure id="fig-subtitles-tab">
1195 <title>Subtitle settings tab</title>
1198 <imagedata fileref="screenshots/subtitles-tab&scs;"/>
1204 DCP-o-matic can either:
1208 <listitem>Extract subtitles that are embedded in video files, or</listitem>
1209 <listitem>Use subtitles from SubRip (<code>.srt</code>), SubStation
1210 Alpha (<code>.ssa</code>) or DCP XML files. You may find the great
1212 url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
1213 for creating such files.</listitem>
1217 Embedded subtitles are usually represented using a set of bitmaps,
1218 especially on files that have come from DVD or BluRay. Such subtitles
1219 can (currently) only be ‘burnt’ into the DCP (that is,
1220 they are included in the image and not overlaid by the projector).
1224 With SubRip, SubStation Alpha or DCP subtitles you have the choice to
1225 either burn-in or include the subtitles as 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 Subtitles</guilabel> check-box to enable
1261 the subtitles in the selected content.
1265 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1266 burn these subtitles into the image; if this is not ticked the
1267 subtitles will be included separately in the DCP to be rendered by the
1268 projector. This check-box will always be ticked if you are using
1269 embedded ‘image’ subtitles.
1273 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1274 controls move the subtitles around within the image. The offsets are
1275 expressed as a percentage of the video frame size; 100% X offset is
1276 the entire width of the frame, and 100% Y offset is the entire height.
1277 Hence, to move the subtitles down by half the frame height you would
1278 use a Y offset of 50%.
1282 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1283 controls scale the subtitles. Scale values of 1 make the subtitles
1284 the same size (relative to the size of the image) as they are on the
1285 original. Values lower than 1 make them smaller, and values higher
1286 make them larger. You can stretch the subtitles in either direction
1287 by specifying different values for X and Y scale. Subtitles from DVD
1288 and Blu Ray sources are frequently larger (relative to the video
1289 frame) than those typically used for DCP, so it is often useful to
1290 scale such subtitles down using these controls.
1294 The <guilabel>Stream</guilabel> control changes the subtitle stream
1295 that is used when the content has more than one.
1299 If you are using non-embedded (text) subtitles you can see the
1300 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1301 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1305 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1306 change how the subtitles look.
1312 <!-- ============================================================== -->
1314 <title>Timing</title>
1317 The timing tab contains settings related to the timing of your
1318 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1321 <figure id="fig-timing-tab-detail">
1322 <title>Timing settings tab</title>
1325 <imagedata fileref="screenshots/timing-tab&scs;"/>
1331 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1332 These are expressed as four numbers, as shown in <xref
1333 linkend="fig-timecode"/>.
1336 <figure id="fig-timecode">
1337 <title>Timecode</title>
1340 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1346 <guilabel>Position</guilabel> is the time at which this piece of
1347 content should start within the DCP. In most cases, this will be
1348 <code>0:0:0:0</code> to make the content start at the beginning of the
1353 <guilabel>Full length</guilabel> is the length of the piece of
1354 content. This can only be set for still-image content: for video or
1355 sound content, it is fixed by the nature of the content file. If
1356 still-image content is being used you can set the length for which it
1357 should be displayed using this control.
1361 <guilabel>Trim from start</guilabel> specifies the amount that should be trimmed from the start of the content.
1365 <guilabel>Trim from end</guilabel> specifies the amount that should be trimmed from the end of the content.
1369 <guilabel>Play length</guilabel> indicates how long this piece of
1370 content will be once the trims have been applied. This will be equal
1371 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1375 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1376 still-image content. It can also be used to override the detected
1377 frame rate of other content if DCP-o-matic has got it wrong.
1381 Each timecode control has a <guilabel>Set</guilabel> which you should
1382 click when you have entered a new value for a timecode. The
1383 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1384 any changes to the corresponding timecode.
1390 <!-- ============================================================== -->
1392 <title>Video processing pipeline</title>
1395 This section gives a little more detail about how DCP-o-matic process
1396 video as it takes it from a source and puts it into a DCP.
1400 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1401 image which is letterboxed with 36 black pixels each at the top and
1402 bottom, and the video content within the letterbox should be presented
1403 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1404 happen with a trailer). The source image is shown in <xref
1405 linkend="fig-pipeline1"/>.
1408 <figure id="fig-pipeline1">
1409 <title>Example image to demonstrate video processing</title>
1412 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1418 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1422 <listitem>Crop</listitem>
1423 <listitem>Scale</listitem>
1424 <listitem>Place in container</listitem>
1428 First, some amount of the image can be cropped. This is almost always
1429 used to remove black borders (letterboxing and/or pillarboxing) around
1434 In our example image, we would use 36 pixels of crop from the top and
1435 bottom. This would give the new image shown in <xref
1436 linkend="fig-pipeline2"/>.
1439 <figure id="fig-pipeline2">
1440 <title>Example image after cropping</title>
1443 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1449 The next step is to scale the image. Since this content should be
1450 presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select
1451 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1452 option in the <guilabel>Video</guilabel> tab and
1453 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1454 option in the <guilabel>DCP</guilabel> tab.
1457 <para>The <guilabel>Scale to</guilabel> option should always be set to
1458 the aspect ratio at which the content should be seen. The
1459 <guilabel>Container</guilabel> option should be set to the preset that
1460 you want to use on the projector. Of course, these two settings will
1465 Given the scaling and container information, DCP-o-matic will look at
1466 the DCP's container size, and then scale the source image up until one
1467 or both of its dimensions (width, height or both) fits the size of the
1468 container, all the while preserving the desired aspect ratio.
1472 In our example here, the DCP's container is specified as 1.85:1 (so
1473 that the DCP will play back correctly using the projector's
1474 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1475 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1476 result in the image hitting the sides of the container first, at a
1477 size of 1998 x 836. This gives us a new version of the image as shown
1478 in <xref linkend="fig-pipeline3"/>.
1481 <figure id="fig-pipeline3">
1482 <title>Example image after cropping and scaling</title>
1485 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1491 The final step is to place the image into the DCP. In this case,
1492 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1493 we have set the <guilabel>container</guilabel> in the
1494 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1495 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1496 be some black bars at the top and bottom of the image. DCP-o-matic
1497 shares out this black equally, as shown in <xref
1498 linkend="fig-pipeline3"/>.
1501 <figure id="fig-pipeline4">
1502 <title>Example image in the DCP</title>
1505 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1514 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1515 <title>DCP settings</title>
1518 This chapter describes the settings that apply to the whole DCP. The
1519 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1520 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1523 <figure id="fig-dcp-tab">
1524 <title>DCP settings tab</title>
1527 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1533 The first thing here is the name. This is generally set to the title
1534 of the film that is being encoded. If <guilabel>Use ISDCF
1535 name</guilabel> is not ticked, the name that you specify will be used
1536 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1537 is ticked, the name that you enter will be used as part of a
1538 ISDCF-compliant name.
1542 Underneath the name field is a preview of the name that the DCP will
1543 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1544 name</guilabel> check-box. The ISDCF name will be composed using details
1545 of your content's soundtrack, the current date and other things that
1546 can be specified in the ISDCF name details dialogue box, which you can
1547 open by clicking on the <guilabel>Details</guilabel> button.
1551 If you want to take the ISDCF-compliant name that DCP-o-matic
1552 generates and modify it, click <guilabel>Copy as name</guilabel> and
1553 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1554 You can then edit it as you wish. The DCP name should not matter (in
1555 that it should not affect how the DCP ingests or plays) but
1556 projectionists will appreciate it if you use the standard naming
1557 scheme as it makes it easier to identify details of the content.
1561 The <guilabel>Content Type</guilabel> option can be
1562 ‘feature’, ‘trailer’ or whatever; select the
1563 required type from the drop-down list. On some projection systems
1564 this will affect where your content appears in the projector's server
1565 user interface, so take care to select an appropriate type.
1569 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1570 is signed. This is rarely important; if in doubt, tick it.
1574 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1575 should be encrypted or not. If this is ticked, the DCP will require a
1576 KDM to play back. Encryption is discussed in <xref
1577 linkend="ch-encryption"/>.
1581 If you use encryption DCP-o-matic will generate a random encryption
1582 key for you. To specify your own key, click the
1583 <guilabel>Edit..</guilabel> button next to the key.
1587 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1588 controls specify how the DCP will be split up into
1589 ‘reels’. See <xref linkend="sec-reels"/> below.
1593 The <guilabel>Standard</guilabel> option specifies which of the two
1594 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1595 more modern of the two).
1599 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1600 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1604 At the bottom of the DCP tab are a further two tabs, one each to
1605 contain the settings for the DCP's video and audio parts.
1609 The <guilabel>Container</guilabel> option sets the ratio of the image
1610 in the DCP. If this ratio is different to the ratio used for any
1611 content, DCP-o-matic will pad the content with black. In simple cases
1612 this should be set to the same ratio as that for the the primary piece
1613 of video content. Alternatively, you might want to pillarbox a small
1614 format into a Flat container: in this case, select the small format
1615 for the content's ratio and ‘Flat’ for the DCP.
1619 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1620 your DCP. This can be a little tricky to get right. Ideally, you
1621 want it to be the same as the video content that you are using. If it
1622 is not the same, DCP-o-matic must resort to some tricks to alter your
1623 content to fit the specified frame rate. Frame rates are discussed in
1624 more detail in <xref linkend="ch-frame-rates"/>.
1628 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1629 to what DCP-o-matic thinks is the best given the content that you have
1634 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1635 is checked. A 3D DCP will then be created, and any 2D content will be
1636 made 3D compatible by repeating the same frame for both left and right
1637 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1638 Real-D etc.) but not on a 2D system.
1642 The <guilabel>Resolution</guilabel> tab allows you to choose the
1643 resolution for your DCP. Use 2K unless you have content that is of
1644 high enough resolution to be worth presenting in 4K.
1648 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1649 the final image files used within the DCP will be. Larger numbers
1650 will give better quality, but correspondingly larger DCPs. The
1651 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1652 Most commercial DCPs use bit rates between 75 and 125 MBit/s.
1656 The <guilabel>Audio Channels</guilabel> control sets the number of
1657 audio channels that the DCP will have. If the DCP has any channels
1658 for which there is no content audio they will be replaced by silence.
1659 You can only set an even number of channels here, since that is
1660 required by the DCI standard. If you want an odd number of channels,
1661 set the DCP channel count to one greater than you need and the
1662 unused channel will be filled with silence.
1666 The <guilabel>Processor</guilabel> control allows you to select a
1667 process to apply to the audio before it goes into the DCP. Three processes are currently provided:
1671 <listitem>Mid-side decode — this will take a L/R
1672 stereo input and extract the common part (corresponding to the
1673 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1674 The remaining L/R parts will be kept in the L/R channels of the DCP.
1675 This may be useful to make near-field L/R mixes more compatible with
1676 cinema audio systems.</listitem>
1677 <listitem>Stereo to 5.1 up-mixer A — this will take a stereo input and up-mix it to ‘fake’ 5.1. The input L/R are treated as follows:
1679 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1680 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1681 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1682 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1683 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1684 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1687 This upmixing algorithm is due to Gérald Maruccia.
1690 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1692 <listitem>DCP L is input L.</listitem>
1693 <listitem>DCP R is input R.</listitem>
1694 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1695 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1696 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1701 <!-- ============================================================== -->
1702 <section xml:id="sec-reels">
1703 <title>Reels</title>
1706 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1707 way as a 35mm reel is a section of a film. A DCP can be split up into
1708 any number of reels and the joins (the equivalent to 35mm splices)
1709 between the reels are seamless.
1713 There is no reason why you can't just use a single reel for the whole
1714 of your DCP, as there is no limit on their length. Many people choose
1719 There are, however, some possible advantages of splitting things up
1725 The picture, sound and subtitle data of the DCP will be
1726 split up into more smaller files on disk, rather than fewer larger
1727 files. This can be useful if the DCP is to be transferred on storage
1728 that have file size limits. The FAT32 filesystem, for example, can
1729 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1730 not be transferred using a FAT32-formatted disk. If that DCP were
1731 split up into two 3Gb reels it could be transferred.
1734 It is easier to re-use DCP components if they are in reels. Consider,
1735 for example, a film company who wants to put a 5 second ident onto the
1736 beginning of DCPs that they distribute. If they receive a feature
1737 film DCP they can modify it to add their ident as a separate reel.
1738 This is easier than attaching the picture data in the DCP.
1743 DCP-o-matic offers three options for setting up the reels in your DCP:
1744 single reel, split by video content or custom.
1748 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1749 This is a perfectly good option if you have no particular reason to
1754 <guilabel>Split by video content</guilabel> puts each piece of source
1755 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1758 <figure id="fig-reels-by-video">
1759 <title>Making reels using split by video content</title>
1760 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1764 Here we have three video files (<code>ident.mp4</code>,
1765 <code>feature.ts</code> and <code>cred.mov</code>). With
1766 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1767 reel to hold each video file.
1771 <guilabel>Custom</guilabel> splits reels by the size of the files that
1772 will make up their video content. With <guilabel>Custom</guilabel>
1773 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1779 <!-- ============================================================== -->
1781 <title>Show audio</title>
1784 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1785 to examine the audio in your content and plot a graph of its level
1786 over time. This can be useful for getting a rough idea of how loud
1787 the sound will be in the cinema auditorium. A typical plot is shown
1788 in <xref linkend="fig-audio-plot"/>
1791 <figure id="fig-audio-plot">
1792 <title>Audio plot</title>
1795 <imagedata fileref="screenshots/audio-plot&scs;"/>
1801 The plot gives the audio level (vertical axis, in dB) with time
1802 (horizontal axis). 0dB represents full scale, so if there is anything
1803 near this you are in danger of clipping the projector's audio outputs.
1807 There are two plot types: the peak level and the RMS, which can be
1808 shown or hidden using the check-boxes on the right hand side of the
1813 The channel check-boxes will show or hide the plot(s) for
1814 the corresponding channels in the DCP.
1818 The smoothing slider applies a variable degree of temporal smoothing
1819 to the plots, which can make them easier to read in some cases.
1823 Obviously the audio plot is no substitute for listening in an
1824 auditorium, but it can be useful to get levels in the right rough area.
1831 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1832 <title>Encryption</title>
1835 It is not required that DCPs be encrypted, but they can be. This
1836 chapter discusses the basic principles of DCP encryption, and how
1837 DCP-o-matic can create encrypted DCPs and KDMs for them.
1841 <!-- ============================================================== -->
1843 <title>Basics</title>
1846 DCPs can be encrypted. This means that the picture and sound data are
1847 encoded in such a way that only cinemas ‘approved’ by the
1848 DCP's creators can read them. In particular, this means copies of the
1849 DCP can be distributed by insecure means: if an ne'er-do-well called
1850 Mallory obtains a hard drive containing an encrypted DCP, there is no
1851 way that he can play it. Only those cinemas who receive a correct key
1852 delivery message (KDM) can play the DCP.
1856 <!-- ============================================================== -->
1858 <title>How it works (in a nutshell)</title>
1861 This section attempts to summarise how DCP encryption works. You can
1862 skip it if you like. You may need some knowledge of encryption
1863 methods to understand it.
1867 We suppose that we are trying to send a DCP to
1868 Alice's cinema without a troublemaker called Mallory being able to
1873 There are two main families of encryption techniques. The first,
1874 symmetric-key encryption, allows us to encode some data using some
1875 numeric key. After encoding, no-one can decode the data unless they
1880 The first step in a DCP encryption is to encode its data with some key
1881 using symmetric-key encryption. The encrypted DCP can then be sent
1882 anywhere, safe in the knowledge that even if Mallory got hold of a
1883 copy, he could not decrypt it.
1887 Alice, however, needs to know the key so she can play the DCP in her
1888 cinema. A simple approach might be for us to send Alice the key.
1889 However, if Mallory can intercept the DCP, he might also be able to
1890 intercept our communication of the key to Alice. Furthermore, if Alice
1891 happened to know Mallory, she could just send him a copy of the key.
1895 The clever bit in the process requires the use of public-key
1896 encryption. With this technique we can encrypt a block of data using
1897 some ‘public’ key. That data can then only be decrypted
1898 using a corresponding private key which is
1899 <emphasis>different</emphasis> to the public key. The private and
1900 public keys form a pair which are related mathematically, but it is
1901 extremely hard (or rather, virtually impossible) to derive the private
1902 key from the public key.
1906 Public-key encryption allows us to distribute the DCP's key to Alice
1907 securely. The manufacturer of Alice's projector generates a public
1908 and private key. They hide the private key deep inside the bowels of
1909 the projector (inside an integrated circuit) where no-one can read it.
1910 They then make the public key available to anyone who is interested.
1914 We take our DCP's symmetric key and encrypt it using the public key of
1915 Alice's projector. We send the result to Alice over email (using a
1916 format called a Key Delivery Message, or KDM). Her projector then
1917 decrypts our message using its private key, yielding the magic
1918 symmetric key which can decrypt the DCP.
1922 If is fine if Mallory intercepts our email to Alice, since the only
1923 key which can decrypt the message is the private key buried inside
1924 Alice's projector. The projector manufacturer is very careful that
1925 no-one ever finds out what this key is. Our DCP is secure: only Alice
1926 can play it back, since only her projector knows the key (even Alice
1934 <!-- ============================================================== -->
1936 <title>Encryption using DCP-o-matic</title>
1939 There are two steps to distributing an encrypted DCP. First, the
1940 DCP's data must be encrypted, and secondly KDMs must be generated for
1941 those cinemas that are allowed to play the DCP.
1945 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
1946 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
1947 encrypt the DCP that it makes using a random key that DCP-o-matic
1948 generates. The key will be written to the film's metadata file, which
1949 should be kept secure.
1953 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
1954 ticked will not play on any projector as-is (it will be marked as
1955 ‘locked’, or whatever the projector manufacturer's term
1960 The second part of distributions is to generate KDMs for the cinemas
1961 that you wish to allow to play your DCP. There are two approaches to
1962 this within DCP-o-matic: using the project, or using a DKDM. These
1963 approaches are now described in turn.
1967 <title>Creating KDMs from a DCP-o-matic project</title>
1970 You can create KDMs from inside a DCP-o-matic project using the
1971 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
1972 menu. This will open the KDM dialogue box, as shown in <xref
1973 linkend="fig-kdm"/>.
1976 <figure id="fig-kdm">
1977 <title>KDM dialog</title>
1980 <imagedata fileref="screenshots/kdm&scs;"/>
1986 In order to generate KDMs for a particular projector, you need to know
1987 its <emphasis>certificate</emphasis>. These are usually made
1988 available by the projector manufacturers as text files with a
1989 <code>.pem</code> extension.
1993 DCP-o-matic can store these certificates along with details of their
1994 cinemas and screens within those cinemas. Each screen has a
1995 certificate for its projector (and optionally certificates for other
1996 trusted devices, such as the sound processor). DCP-o-matic can
1997 generate KDMs for any screens that it knows about.
2001 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
2002 a dialogue box into which you can enter the cinema's name, and
2003 optionally an email address. This email address can be used to
2004 get DCP-o-matic to deliver KDMs via email.
2008 Once you have added a cinema, select it by clicking on its name, then
2009 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2010 allows you to enter a name for the screen and load in its certificate
2011 from a file. The certificate should be in SHA256 PEM format.
2015 Alternatively, certificates for projection systems made by some
2016 manufacturers can be downloaded from databases provided by the
2017 manufacturer. Currently this is supported for Doremi and Dolby
2018 equipment. If you are targeting a screen with equipment by one of
2019 these manufacturers you can click <guilabel>Download</guilabel> then
2020 enter the serial number of the server in the screen and click
2021 <guilabel>Download</guilabel> again and, all being well, the certificate
2026 Using the download system you will need to know the serial number of
2027 the media server in use in the screen. Most cinema projection or
2028 technical departments will know these serial numbers.
2032 Note that the reliability of the manufacturers' certificate databases
2033 cannot be guaranteed. It is vital that KDMs are tested by the
2034 destination cinema will in advance of show time to identify any
2039 Once you have set up all the screens that you need KDMs for, select
2040 the CPL that you want to create the KDM for. You can use the
2041 drop-down list to select the CPLs in the current film project, or load
2042 a CPL from somewhere else. Select the cinemas and/or screens that you
2043 want KDMs for and fill in the start and end dates and times.
2047 You must also select the type of KDM that you want to generate. If in
2048 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2052 Finally, choose what you want to do with the KDMs. They can be
2053 written to disk, to a location that you can specify by clicking
2054 <guilabel>Browse</guilabel>. Alternatively, if you choose
2055 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2056 emailed to the appropriate cinema email addresses. Click OK to
2063 <title>Creating KDMs using a DKDM</title>
2067 It can be inconvenient to need a whole DCP-o-matic project just to
2068 create KDMs for its film. Perhaps you want to archive the project to
2069 save space, or create KDMs on a different machine. In such situations
2070 it is easier to use a DKDM. This is a normal KDM, but instead of
2071 being targeted at a projection system (to allow it to decrypt the
2072 content) it is targeted at a particular users's certificate. This
2073 means that the certificate owner can create new KDMs for other users.
2074 The DKDM holds everything that is required to create further KDMs.
2078 Sometimes it is useful to create DKDMs that can be used by
2079 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2080 any point in the future, use DCP-o-matic's standalone KDM creator to
2081 make KDMs for the DKDM's film for any cinema.
2085 In other cases a DKDM is sent to a 3rd party so that they can create
2086 KDMs for your films. This can be useful if, for example, you have a
2087 distributor who provides 24-hour KDM support to cinemas and can create
2088 KDMs for anybody that requires them at short notice.
2092 To create a DKDM for DCP-o-matic, open your encrypted project and
2093 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2094 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2095 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2096 be available in the KDM creator. This is a separate program which you
2097 can start from the same place that you start the ‘Normal’
2098 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2101 <figure id="fig-kdm-creator">
2102 <title>The KDM creator</title>
2105 <imagedata fileref="screenshots/kdm-creator&scs;"/>
2111 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2112 to be created for, the date range, the DCP that the KDMs are for and
2113 the destination for the KDMs and click <guilabel>Create
2118 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2119 which you have clicked <guilabel>Make DKDM for
2120 DCP-o-matic</guilabel>in the main DCP-o-matic program. If you have
2121 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2122 specifying the file containing the DKDM.
2126 If another organisation wants to send you a DKDM they will ask you for
2127 a target certificate. You can get DCP-o-matic's target certificate by
2128 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2129 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2137 <title>Encryption overview</title>
2139 <figure id="fig-encryption-overview">
2140 <title>Overview of encryption</title>
2143 <imagedata fileref="diagrams/crypt&dia;"/>
2153 <!-- ============================================================== -->
2154 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2155 <title>Preferences</title>
2158 DCP-o-matic provides a few preferences which can be used to modify its
2159 behaviour. This chapter explains those options.
2163 <!-- ============================================================== -->
2165 <title>The preferences dialogue</title>
2168 The preferences dialogue is opened by choosing
2169 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2170 menu. The dialogue is split into seven tabs.
2173 <!-- ============================================================== -->
2175 <title>General</title>
2178 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2181 <figure id="fig-prefs-general">
2182 <title>General preferences</title>
2185 <imagedata fileref="screenshots/prefs-general&scs;"/>
2191 <!-- ============================================================== -->
2193 <title>Language</title>
2196 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2197 a language from the list, that language will be used for DCP-o-matic.
2198 You will need to restart DCP-o-matic to see the new language.
2202 The translations for DCP-o-matic have been contributed by helpful
2203 users. If your language is not on the last, head to <ulink
2204 url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2205 read about how to contribute a translation.
2210 <!-- ============================================================== -->
2212 <title>Threads</title>
2215 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2216 to speed things up. Set this value to the number of threads
2217 DCP-o-matic should use. This should normally be the number of
2218 processors (or processor cores) in your machine. DCP-o-matic will try
2219 to set this up correctly when you run it for the first time.
2224 <!-- ============================================================== -->
2226 <title>Cinema and screen database file</title>
2229 This option allows you to change the file that DCP-o-matic uses to
2230 store details of the cinemas and screens used to make KDMs.
2236 <title>Integrated loudness</title>
2239 If <guilabel>Find integrated loudness, true peak and loudness range
2240 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2241 work when analysing audio. Leave this ticked if the extra parameters
2242 are useful to you. If not, untick it and audio analysis will be
2248 <!-- ============================================================== -->
2250 <title>Updates</title>
2253 The <guilabel>Check for updates on startup</guilabel> option, if
2254 enabled, will tell DCP-o-matic to check on <ulink
2255 url="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2256 newer versions of DCP-o-matic then the one you are running. If so, a
2257 dialogue box will open with a link to download the new version.
2262 The <guilabel>Check for testing updates as well as stable
2263 ones</guilabel> option will also check for test updates as well as
2264 those that are formally ‘released’. This is useful if you
2265 like to live on the bleeding edge!
2269 <!-- ============================================================== -->
2271 <title>Issuer and creator</title>
2274 With these controls you can set the issuer and creator strings that
2275 will be put into the DCPs which you create.
2281 <!-- ============================================================== -->
2283 <title>Defaults</title>
2286 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2289 <figure id="fig-prefs-defaults">
2290 <title>Defaults preferences</title>
2293 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2299 The options in this tab simply allow you to set up default values for
2300 various properties of new films.
2305 <!-- ============================================================== -->
2307 <title>Servers</title>
2310 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2313 <figure id="fig-prefs-servers">
2314 <title>Servers preferences</title>
2317 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2323 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2324 locate encoding servers automatically (see <xref
2325 linkend="ch-servers"/>).
2329 Instead of this (or in addition) servers can be specified explicitly.
2330 To add a server, click <guilabel>Add...</guilabel> and enter the host
2331 name or IP address of the server to use.
2337 <!-- ============================================================== -->
2338 <section xml:id="sec-prefs-keys">
2342 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) holds options
2343 related to the keys and certificates used in some parts of DCP
2347 <figure id="fig-prefs-keys">
2348 <title>Keys preferences</title>
2351 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2357 At the top of the tab is the chain of certificates that will be used
2358 to sign DCPs and KDMs. DCP-o-matic creates a random chain when you
2359 first run it and if you are happy to use this chain you can ignore the
2360 preferences. Otherwise, you can add or remove certificates from the
2361 chain using the <guilabel>Add...</guilabel> and
2362 <guilabel>Remove</guilabel> buttons.
2366 If you want DCP-o-matic to re-create the certificate chain (using new,
2367 random certificates) click <guilabel>Re-make
2368 certificates...</guilabel> and specify your organisation and common
2369 names in the dialogue box that opens.
2373 Underneath the certificate chain is the private key that corresponds
2374 to the leaf certificate in the chain. You can specify your own
2375 private key by clicking <guilabel>Load...</guilabel>. You must do
2376 this if you change the leaf certificate, so that the leaf private key
2377 corresponds to the public key held in the leaf certificate.
2381 Underneath the details of the certificate chain and private key for
2382 signing of DCPs and KDMs is a second chain and key which is used by
2383 DCP-o-matic when you import an encrypted DCP as a piece of content.
2384 The leaf certificate of this chain contains the public key that should
2385 be used when targeting a KDM at DCP-o-matic.
2389 If you want to import an encrypted DCP you will need to give the
2390 decryption certificate to the distributor of the DCP so that they can
2391 generate a DKDM for you. You can save this certificate to disk by
2392 clicking <guilabel>Export DCP decryption certificate...</guilabel>. As
2393 with the signing chain, DCP-o-matic will create a certificate chain
2394 and private key for you. You can also choose to load your own
2395 certificates and key or re-make the chain and key with new, random
2401 <!-- ============================================================== -->
2402 <section xml:id="sec-prefs-tms">
2404 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2407 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2408 options for specifying details about your theatre management system
2409 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2410 you can upload DCPs directly from DCP-o-matic to the TMS using the
2411 <guilabel>Send DCP to TMS</guilabel> option in the
2412 <guilabel>Jobs</guilabel> menu.
2415 <figure id="fig-prefs-tms">
2416 <title>TMS preferences</title>
2419 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2425 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2426 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2427 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2428 FTP. Do let us know if you use any other type of TMS with the
2429 <guilabel>Send DCP to TMS</guilabel> feature.
2433 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2434 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2435 should be uploaded to (which will be relative to the home directory of
2436 the SSH or FTP user). Finally, the user name and password are the
2437 credentials required to log into the TMS via SSH or FTP.
2441 Note that for this to work on Doremi servers you will need to set the
2442 <code>PasswordAuthentication</code> option in your server's
2443 <code>sshd_config</code> to <code>yes</code>.
2449 <!-- ============================================================== -->
2451 <title>KDM email</title>
2454 The KDM email is shown in <xref linkend="fig-prefs-kdm-email"/>.
2457 <figure id="fig-prefs-kdm-email">
2458 <title>KDM email preferences</title>
2461 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2467 This is a template for the email that is used to send KDMs out to
2468 cinemas. You can change it to say whatever you like. A few
2469 ‘magic’ strings will be replaced by information from the
2470 KDM that is being sent:
2474 <title>‘Magic’ KDM strings</title>
2475 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2478 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2481 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2484 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2487 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2490 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2497 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2503 <!-- ============================================================== -->
2504 <section xml:id="sec-prefs-advanced">
2505 <title>Advanced</title>
2506 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
2509 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
2512 <figure id="fig-prefs-advanced">
2513 <title>Advanced preferences</title>
2516 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
2522 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
2523 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
2524 are advised to leave this at 250Mbit/s in normal use for maximum DCP
2529 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
2530 the DCP video frame rates that DCP-o-matic will create. This may be
2531 useful for experimentation. Again, you are strongly advised to leave
2532 this unticked for normal use.
2536 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
2537 JPEG2000 data only on encoding servers and not on the host. We
2538 suggest you leave this un-ticked unless you have a good reason to do otherwise.
2542 The four checkboxes labelled <guilabel>Log</guilabel> control what
2543 sort of messages DCP-o-matic writes to its log file when creating a
2544 DCP. It is useful to leave <guilabel>General</guilabel>,
2545 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
2546 as this makes the log files useful for tracking down bugs.
2550 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
2551 to allow developers to investigate and optimize the speed of
2552 DCP-o-matic. It will significantly increase the size of the log files
2553 that are generated, so in normal use it is best to leave this
2561 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
2562 <title>Frame rates</title>
2565 In an ideal world, a DCP would be created using content at the same
2566 video frame and audio sampling rates as the DCP. This is not,
2567 however, always possible.
2571 <!-- ============================================================== -->
2573 <title>DCP frame rate limitations</title>
2576 There are some limitations to video and audio frame rates in DCPs. This is
2577 complicated by the fact that not all projectors will play DCPs at the
2578 same frame rates. It is possible to create a DCP which one projector will
2579 play fine, but another (of a different type) will refuse to play, or
2580 even refuse to ingest.
2584 <!-- ============================================================== -->
2586 <title>Guaranteed rates</title>
2589 The only rates that are (pretty much) guaranteed to work on all DCI
2590 projectors are 24 frames per second (fps) for video and 48kHz or 96kHz
2591 for audio. If you are sending your DCPs to unknown places it wise to
2592 consider using these rates if at all possible.
2598 <!-- ============================================================== -->
2600 <title>Other often-supported rates</title>
2602 Many projectors now in the wild support additional video frame rates:
2608 <!-- ============================================================== -->
2610 <title>Adapting content to fit the DCP rate</title>
2613 DCP-o-matic has a few tricks to allow you to use content that is not
2614 in one of the ‘approved’ rates.
2618 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
2619 with minimal loss in quality.
2623 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
2624 with a non-supported content rate is to run it at the wrong speed, and
2625 to adjust the audio to keep it in sync.
2628 <para>Let us consider the example of a 25fps source for which you want
2629 to create a 24fps DCP. DCP-o-matic will put the frames from the
2630 source directly into the DCP without modification, but will tell the
2631 projector to play them back at 24fps. This means that the DCP's video
2632 will run slightly slower than the original.
2636 If DCP-o-matic did nothing else, the result of this would be that the
2637 audio would be running at the original speed with the video running
2638 slowly. Hence the audio would drift slowly out of sync. To avoid
2639 this, DCP-o-matic also resamples the audio such that the projector
2640 will play it too slow by the same amount. Hence it will sound
2641 slightly different but will remain in sync with the video.
2645 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
2652 <!-- ============================================================== -->
2654 <title>Setting up</title>
2657 The <guilabel>Frame Rate</guilabel> control in the
2658 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
2659 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
2660 what DCP-o-matic thinks is the best for your content. With this
2661 button, DCP-o-matic assumes that the whole range of frame rates (24,
2662 25, 30 and 48fps) are allowable.
2666 After this, the <guilabel>Video</guilabel> tab for each piece of
2667 content will give a summary of what DCP-o-matic is doing with that
2672 If you want to experiment with other non-standard frame rates, you can
2673 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
2674 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
2675 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
2676 use this only on your own equipment, and only for experimentation
2685 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
2686 <title>Encoding servers</title>
2689 One way to increase the speed of DCP encoding is to use more
2690 than one machine at the same time. An instance of DCP-o-matic can
2691 offload some of the time-consuming JPEG2000 encoding to any number of
2692 other machines on a network. To do this, one ‘master’
2693 machine runs DCP-o-matic, and the ‘server’ machines run
2694 a small program called <code>dcpomatic_server</code>.
2698 The master and server machines do not need to be the same type, so you
2699 can mix Windows PCs, Macs and Linux machines as you wish.
2703 <!-- ============================================================== -->
2705 <title>Running the servers</title>
2708 There are two options for the encoding server;
2709 <code>dcpomatic_server_cli</code>, which runs on the command line, and
2710 <code>dcpomatic_server</code>, which has a simple GUI. The command line
2711 version is well-suited to headless servers, especially on Linux, and
2712 the GUI version works best on Windows where it will put an icon in the
2717 To run the command line version, simply enter:
2721 dcpomatic2_server_cli
2725 at a command prompt. If you are running the program on a machine with
2726 a multi-core processor, you can run multiple parallel encoding threads
2727 by doing something like:
2731 dcpomatic2_server_cli -t 4
2735 to run 4 threads in parallel.
2739 To run the GUI version on windows, run the ‘DCP-o-matic encode
2740 server’ from the start menu. An icon will appear in the system
2741 tray; right-click it to open a menu from whence you can quit the
2742 server or open a window to show its status.
2745 <para>If you would rather not bother installing DCP-o-matic on your
2746 server computers, the other option is to use the live-CD
2747 image that you can download from the <ulink
2748 url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
2750 <para>Either burn the image to CD, or write it to a USB stick (using
2751 something like <ulink
2752 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
2753 PC from the CD or USB stick and it becomes a DCP-o-matic server
2754 without touching your standard operating system install.
2759 <!-- ============================================================== -->
2761 <title>Setting up DCP-o-matic</title>
2764 DCP-o-matic periodically looks on the local network for servers. Any
2765 that it finds are given work to do during encodes. Selecting
2766 <guilabel>Encoding Servers</guilabel> from the
2767 <guilabel>Tools</guilabel> menu brings up a window which shows that
2768 servers that DCP-o-matic has found.
2773 <!-- ============================================================== -->
2775 <title>Some notes about encode servers</title>
2778 DCP-o-matic does not mind if servers come and go; if a server
2779 disappears, DCP-o-matic will stop sending work to it, and will check
2780 it every minute or so in case it has come back online.
2784 You will probably find that using a 1Gb/s or faster network will
2785 provide a significant speed-up compared to a 100Mb/s network.
2792 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2793 <title>Generated files</title>
2796 DCP-o-matic generates a number of files as it makes a DCP. <xref
2797 linkend="fig-file-structure"/> shows the files that might be generated
2798 after you have created a DCP for a film called ‘DCP Test’.
2801 <figure id="fig-file-structure">
2802 <title>Creating a new film</title>
2805 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
2811 The <code>DCP Test</code> folder is the one that you specify when you
2812 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
2813 menu. Everything is stored inside this folder.
2817 DCP-o-matic generates some working files as it goes along. These are as follows:
2820 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
2821 along. This can be useful for debugging purposes if something goes
2824 <listitem><code>metadata</code> stores the settings that you have made
2825 for this film: things like cropping, output format and so on.</listitem>
2827 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
2828 video data as it encodes it.</listitem>
2830 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
2832 <listitem><code>info</code> contains details of each video frame that
2833 DCP-o-matic has written so far. This is used when an encoding
2834 operation is interrupted and DCP-o-matic must resume it.</listitem>
2839 Following this is the DCP itself:
2840 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
2841 contains some small XML files, which describe the DCP, and two large
2842 MXF files, which contain the DCP's audio and video data. This folder
2843 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
2844 to the cinema which is showing your DCP.
2850 <title>Loose ends</title>
2853 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
2857 <!-- ============================================================== -->
2859 <title>Resuming encodes</title>
2862 If you cancel a DCP encoding run half-way through, or your computer
2863 crashes... fear not. DCP-o-matic takes care to ensure that, in most
2864 cases, it can resume encoding from where it left off. When you
2865 re-start a DCP creation, using the same settings are a previous run,
2866 DCP-o-matic will first check that the existing picture frames are
2867 correct, and then resume from where it left off. The checking of
2868 existing frames does take some time, but it is much faster than
2869 running a full re-encode.
2873 This resumption is achieved by writing a digest (hash) to disk for
2874 every image frame that is written. On resumption, the existing MXF
2875 file for image data is read and its contents checked against the
projects / dcpomatic.git / blob