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11 <book xmlns="http://docbook.org/ns/docbook" xmlns:mml="http://www.w3.org/1998/Math/MathML" version="5.0" xml:lang="en">
14 <title>DCP-o-matic users' manual</title>
15 <author><firstname>Carl</firstname><surname>Hetherington</surname></author>
18 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
19 <title>Introduction</title>
22 Hello, and welcome to DCP-o-matic!
25 <!-- ============================================================== -->
27 <title>What is DCP-o-matic?</title>
29 <para>DCP-o-matic is a set of programs to allow you to:</para>
32 <listitem>Create <ulink
33 url="https://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
34 Cinema Packages</ulink> (DCPs) from video, audio, subtitle and closed-caption files.</listitem>
35 <listitem>Play and verify DCPs.</listitem>
36 <listitem>Create KDMs for DCPs.</listitem>
37 <listitem>Write cinema-format drives containing DCPs.</listitem>
43 <!-- ============================================================== -->
45 <title>Licence</title>
48 DCP-o-matic is free and open-source and is licensed under the <ulink
49 url="https://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
56 <!-- ============================================================== -->
58 <title>Acknowledgements</title>
61 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
66 <!-- ============================================================== -->
68 <title>This manual</title>
71 This manual presents bits of DCP-o-matic's user interface (such as menu items or buttons) <guilabel>like this</guilabel>.
75 Notes of an advanced nature are presented like this. Ignore them unless you want to know the details.
82 <!-- ============================================================== -->
83 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
84 <title>Installation</title>
87 <!-- ============================================================== -->
89 <title>Windows</title>
92 To install DCP-o-matic on Windows, download the installer from
93 <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
94 and double-click it. Click through the installer wizard, and
95 DCP-o-matic will be installed onto your machine.
99 If you are using a 32-bit version of Windows, you will need the 32-bit
100 installer. For 64-bit Windows, either installer will work, but I
101 suggest you use the 64-bit version as it will allow DCP-o-matic to
102 use more memory. You may find that DCP-o-matic crashes if you run
103 many parallel encoding threads (more than 4) on the 32-bit
110 <!-- ============================================================== -->
115 DCP-o-matic will run on macOS version 10.10 (Yosemite) and
116 higher. DCP-o-matic is split into seven separate applications, each of
117 which can be installed by downloading the <code>.dmg</code>,
118 double-clicking to open and then dragging the icon to your
119 <guilabel>Applications</guilabel> folder.
123 If you don't know which parts of DCP-o-matic to install, start
124 with the first (main) part.
129 <!-- ============================================================== -->
131 <title>Debian, Ubuntu and Mint Linux</title>
133 <para>There are <code>.deb</code> packages for Debian, Ubuntu and Mint on
134 <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
137 <!-- ============================================================== -->
140 <!-- ============================================================== -->
142 <title>Fedora, Centos and Mageia Linux</title>
144 <para>There are <code>.rpm</code> packages for Fedora, Centos and Mageia on
145 <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
148 <!-- ============================================================== -->
150 <!-- ============================================================== -->
152 <title>Arch Linux</title>
154 Packages for Arch Linux are available from <ulink
155 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
156 thanks to Stefan Karner.
165 Since DCP-o-matic is open-source you can also build it yourself, though this can be quite a difficult process (especially on Windows and macOS). There are instructions for how to do it on
166 <ulink url="https://dcpomatic.com/development">
167 https://dcpomatic.com/
176 <!-- ============================================================== -->
177 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
178 <title>Creating a DCP from a video</title>
181 In this chapter we will see how to create a DCP from a video file using
182 DCP-o-matic. We will gloss over the details and look at the basics.
186 <title>Creating a new film</title>
189 Let's make a very simple DCP to see how DCP-o-matic works. First, we
190 need some content. Download the low-resolution trailer for the open
191 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
192 url="https://download.blender.org/durian/trailer/Sintel_Trailer.480p.DivX_Plus_HD.mkv">their
193 website</ulink>. Generally one would want to use the
194 highest-resolution material available, but for this test we will use
195 the low-resolution version to save everyone's bandwidth bills.
199 Now, start DCP-o-matic and its window will open. First, we will
200 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
201 some pieces of content, along with some settings, which we will make into
202 a DCP. DCP-o-matic stores its data in a folder on your disk while it
203 creates the DCP. You can create a new film by selecting
204 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
205 shown in <xref linkend="fig-file-new"/>.
208 <figure id="fig-file-new">
209 <title>Creating a new film</title>
212 <imagedata fileref="screenshots/file-new&scs;"/>
218 This will open a dialogue box for the new film, as shown in <xref
219 linkend="fig-video-new-film"/>.
222 <figure id="fig-video-new-film">
223 <title>Dialogue box for creating a new film</title>
226 <imagedata fileref="screenshots/new-film&scs;"/>
232 In this dialogue box you can choose a name for the film. This will be
233 used to name the folder to store its data in, and also as the initial
234 name for the DCP itself. You can also choose whereabouts you want to create
235 the film. In the example from the figure, DCP-o-matic will create a
236 folder called ‘DCP Test’ inside my existing folder <code>DCP</code> into which it
237 will write its working files.
243 <!-- ============================================================== -->
245 <title>Adding content</title>
248 The next step is to add the content that you want to use. DCP-o-matic
249 can make DCPs from multiple pieces of content, but in this example we
250 will use a single piece. Click the <guilabel>Add
251 file(s)...</guilabel> button, as shown in <xref
252 linkend="fig-add-file"/>, and a file chooser will open for you to
253 select the content file to use, as shown in <xref
254 linkend="fig-video-select-content-file"/>.
257 <figure id="fig-add-file">
258 <title>Adding content files</title>
261 <imagedata fileref="screenshots/add-file&scs;"/>
266 <figure id="fig-video-select-content-file">
267 <title>Selecting a video content file</title>
270 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
276 Select your content file and click <guilabel>Open</guilabel>. In this
277 case we are using the Sintel trailer that we downloaded earlier.
281 When you do this, DCP-o-matic will take a look at your file. After a
282 short while (when the progress bar at the bottom right of the window
283 has finished), you can look through your content using the slider to
284 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
287 <figure id="fig-examine-content">
288 <title>Examining the content</title>
291 <imagedata fileref="screenshots/examine-content&scs;"/>
297 Dragging the slider will move through your video. You can also click
298 the <guilabel>Play</guilabel> button to play the content back.
306 <!-- ============================================================== -->
308 <title>Making the DCP</title>
310 <para>In most cases, some adjustments would be made to DCP-o-matic's
311 settings once the content has been added. For our simple test,
312 however, the default values will suffice, so we can go straight onto
313 making the DCP.</para>
316 Choose <guilabel>Make DCP</guilabel> from the
317 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
318 This may take some time (many hours in some cases). While the job is
319 in progress, DCP-o-matic will update you on how it is getting on with
320 the progress bar in the bottom of its window, as shown in <xref
321 linkend="fig-making-dcp"/>.
324 <figure id="fig-making-dcp">
325 <title>Making the DCP</title>
328 <imagedata fileref="screenshots/making-dcp&scs;"/>
334 When it has finished, the DCP will end up on your disk inside the
335 film's folder. You can then copy this to a projector via a USB
336 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 will 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 subtitle 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>
649 <listitem>DCP — an existing DCP.</listitem>
653 To add one or more movie, sound, still-image or subtitle files, select
654 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
658 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"/>.
661 <table id="tab-audio-file-naming">
662 <title>Audio file naming</title>
663 <tgroup cols='3' align='left' colsep='1' rowsep='1'>
667 <entry>Examples</entry>
668 <entry>Channel</entry>
673 <entry><code>L</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
674 <entry>film-L.wav my_movie_L_final.wav</entry>
678 <entry><code>R</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
679 <entry>film-R.wav my_movie_R_final.wav</entry>
683 <entry><code>C</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
684 <entry>film-C.wav my_movie_C_final.wav</entry>
685 <entry>Centre</entry>
688 <entry><code>Lfe</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
689 <entry>film-Lfe.wav my_movie_Lfe_final.wav</entry>
690 <entry>LFE (sub)</entry>
693 <entry><code>Ls</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
694 <entry>film-Ls.wav my_movie_Ls_final.wav</entry>
695 <entry>Left surround</entry>
698 <entry><code>Rs</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
699 <entry>film-Rs.wav my_movie_Rs_final.wav</entry>
700 <entry>Right surround</entry>
707 To add a directory (folder) of images, choose <guilabel>Add
708 folder...</guilabel> and choose the directory from the selector.
709 DCP-o-matic will open a small dialogue box where you can enter the
710 frame rate that the image sequence should be run at.
714 To add a DCP, choose <guilabel>Add DCP...</guilabel> and choose the
715 DCP's directory from the selector.
719 You can remove a piece of content by clicking on its name and then
720 clicking the <guilabel>Remove</guilabel> button.
725 <!-- ============================================================== -->
727 <title>Adding existing DCPs</title>
729 <para>Adding existing DCPs to a DCP-o-matic film is a little different
730 to adding other types of content. Most content has to be converted to
731 JPEG2000, the compression scheme used by DCPs, which is a very
732 time-consuming process. Existing DCPs are already in JPEG2000 format
733 so do not require conversion. This means that, provided no settings
734 such as crop are used on the DCP content, picture and sound data will
735 be passed from existing to new DCP unaltered.
738 <para>Encrypted DCPs that are added as content will require a KDM
739 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
740 should ask the creator of the imported DCP to provide a KDM for
741 DCP-o-matic's decryption certificate, which can be obtained by
742 clicking <guilabel>Export DCP decryption certificate...</guilabel>
743 from the <guilabel>Keys</guilabel> tab of the
744 <guilabel>Preferences</guilabel> dialog (see <xref
745 linkend="sec-prefs-keys"/>).
750 <!-- ============================================================== -->
752 <title>Content Properties</title>
755 Below the content list are the controls to set content properties. To
756 adjust the properties for a piece of content, click its name in the
757 content list. The content property controls will then become active
758 for that piece of content.
762 If you want to change the properties for multiple pieces of content at
763 the same time, select the content in the list by clicking the first
764 piece then clicking the other pieces with <keycap>shift</keycap> key
765 held down. Note that not all settings can be changed in this way.
769 The content properties are split up into four sections:
770 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
771 <guilabel>Timed text</guilabel> and <guilabel>Timing</guilabel>. Not
772 all of these sections will be active for all content types. The controls
773 in each section are described below.
779 <!-- ============================================================== -->
784 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
787 <figure id="fig-video-tab">
788 <title>Video settings tab</title>
791 <imagedata fileref="screenshots/video-tab&scs;"/>
797 <!-- ============================================================== -->
799 <title>Use this DCP's video as OV and make VF</title>
802 This option is only applicable if the selected content is an existing
803 DCP. It allows you make a VF DCP, using the video content from the
804 existing DCP by referencing it (rather than copying). See <xref
805 linkend="sec-overlay"/>.
810 <!-- ============================================================== -->
812 <title>Image type</title>
815 The next option on this tab is the ‘type’ of the video.
816 This specifies how DCP-o-matic should interpret the video's image.
817 <guilabel>2D</guilabel> is the default; this just takes the video
818 image as a standard 2D frame. The <guilabel>3D
819 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
820 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
823 <figure id="fig-3d-left-right">
824 <title>3D left/right image type</title>
827 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
833 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
834 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
835 linkend="fig-3d-top-bottom"/>.
838 <figure id="fig-3d-top-bottom">
839 <title>3D top/bottom image type</title>
842 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
848 Another option is <guilabel>3D alternate</guilabel> which takes the
849 first frame of the content as for the left eye, the second for the
850 right eye, the third for the left, and so on. Finally, you can
851 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
852 only</guilabel> if this content contains only the the left or right
853 eye images. This is useful when you have the left and right eye image
854 sets in different files; you can specify one content as <guilabel>3D
855 left only</guilabel> and another as <guilabel>3D right only</guilabel>
856 and DCP-o-matic will pick up the appropriate frames from each.
862 <!-- ============================================================== -->
864 <title>Colour conversion</title>
867 The <guilabel>Colour conversion</guilabel> setting specifies what
868 colour transforms and gamma correction DCP-o-matic will use when
869 converting the selected content into the XYZ colourspace for the DCP.
873 The easiest way to select the required conversion is to choose one of
874 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
875 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
876 know which preset you should use, refer to the suggestions in <xref
877 linkend="tab-colour-conversion"/>.
880 <table id="tab-colour-conversion">
881 <title>Suggested colour conversion settings</title>
882 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
883 <colspec colwidth='1*'/>
884 <colspec colwidth='5*'/>
887 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs.</entry>
890 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
893 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
896 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
903 For other required colour conversions, and if you know what you are
904 doing, you can choose <guilabel>Custom</guilabel> which will open the full
905 colour conversion editing dialogue box:
908 <figure id="fig-colour-conversion">
909 <title>Dialogue box for custom colour conversion</title>
912 <imagedata fileref="screenshots/colour-conversion&scs;"/>
918 Alternatively, choose <guilabel>None</guilabel> if your source files
919 are already in the XYZ colour space and require no conversion.
923 DCP-o-matic's colour conversion processes are discussed in much more
924 detail in a separate document <ulink
925 url="https://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
930 <!-- ============================================================== -->
932 <title>Other settings</title>
935 The <guilabel>crop</guilabel> settings can be used to crop your
936 content, which is often used to remove black borders from the edges of
937 the image. The specified number of pixels will be trimmed from each
938 edge, and the content image in the right of the window will be updated
939 to show the effect of the crop.
943 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
944 settings can be used to apply linear fades into and out of a piece of
945 content. Specify the time for each, clicking <guilabel>Set</guilabel>
946 after making any changes.
950 The <guilabel>Scale to</guilabel> option governs the shape that
951 DCP-o-matic will scale the content's image into. Select the aspect
952 ratio that your content should be presented in.
957 <!-- ============================================================== -->
959 <title>Video description</title>
962 At the bottom of the video tab is a short description of what will
963 happen to your video with the current settings. In the example of
964 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
965 video file is 2048x872 pixels and it has square pixels (a pixel
966 aspect ratio of 1.00) hence its display aspect ratio is 2.35:1. Since
967 the controls specify ‘2.35’ for the ratio, DCP-o-matic
968 does not scale the image but pads it to the DCP's container ratio of
969 1.85:1. For a 2K DCP this is 1998x1080 pixels.
973 This description also gives the frame rate of the content and what
974 will happen to it when it is played at the DCP's frame rate. See
975 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
976 frame-rate conversion.
984 <!-- ============================================================== -->
989 The <guilabel>Audio</guilabel> tab controls properties of the sound, as shown in <xref linkend="fig-audio-tab"/>.
992 <figure id="fig-audio-tab">
993 <title>Audio settings tab</title>
996 <imagedata fileref="screenshots/audio-tab&scs;"/>
1001 <!-- ============================================================== -->
1003 <title>The audio map</title>
1006 The section at the bottom of the audio tab is the ‘audio
1007 map’. This governs how sound from the content will be arranged
1012 Down the left-hand side of the map is the list of audio channels in
1013 the currently-selected piece of content. These are labelled with two
1014 numbers; the first is the stream index within the content and the
1015 second is the channel number within that stream. Some content will
1016 have different streams for different languages or audio mixes. Along
1017 the top is each channel in the DCP. A green box means that the
1018 corresponding content channel will be copied into the corresponding
1023 When content channels are copied into DCP channels they can be done
1024 with variable gain. If, for example, you want to copy a channel
1025 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1026 two channels into one, you may want to use a gain of -6dB on each one
1027 to prevent clipping when the two channels are added.
1031 The green boxes of the audio mapping view tell you (very roughly) how
1032 much gain is applied to each channel. A full-height box means 0dB
1033 (i.e. unity) gain. Any less height indicates lower gain.
1037 To map one channel to another with 0dB gain, click in the empty box
1038 and it will turn green to reflect the mapping. A second click will
1039 turn the mapping back off. To set some other gain, right-click on the
1040 box to open the gain menu. This allows you to set
1041 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1042 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1043 <guilabel>Edit</guilabel> which allows you to set the required gain
1048 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1051 <figure id="fig-audio-map-eg1">
1052 <title>Audio map example 1</title>
1055 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1061 Here, we have two channels in the source which are mapped to left and
1062 right, respectively, in the DCP. The full green boxes show that the
1063 mapping is at unity gain (0dB) in each case. Imagine that we modify
1064 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1067 <figure id="fig-audio-map-eg2">
1068 <title>Audio map example 2</title>
1071 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1077 We now have the content's streams mapped to left and right and also
1078 mixed together and placed in the DCP's centre channel. The smaller
1079 green boxes on the centre mappings show that those channels are added
1080 with some non-unity gain; you can see by hovering the mouse pointer
1081 over those boxes that the gain for content channels 1 and 2 is -6dB
1082 when being sent to the centre channel and 0dB when being sent to left
1086 <figure id="fig-audio-map-eg3">
1087 <title>Audio map example 3</title>
1090 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1096 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1097 shows the mapping of a 5.1 source into a 5.1 DCP.
1103 <!-- ============================================================== -->
1105 <title>Other controls</title>
1108 The <guilabel>Use this DCP's audio as OV and make VF</guilabel>
1109 checkbox is only applicable if the selected content is an existing
1110 DCP. It allows you to make a VF DCP, using the audio content from the
1111 existing DCP by referencing it (rather than copying). See <xref
1112 linkend="sec-overlay"/>.
1116 <guilabel>Show graphs of audio levels</guilabel> will analyse the
1117 audio of the selected content and plot it on a graph. See <xref
1118 linkend="sec-show-audio"/> for more details.
1122 ‘Audio Gain’ is used to alter the volume of the
1123 soundtrack. The specified gain (in dB) will be applied to each sound
1124 channel of your content before it is written to the DCP.
1128 If you use a sound processor that DCP-o-matic knows about, it can help
1129 you calculate changes in gain that you should apply. Say, for
1130 example, that you make a test DCP and find that you have to run it at
1131 volume 5 instead of volume 7 to get a good sound level in the screen.
1132 If this is the case, click the <guilabel>Calculate...</guilabel>
1133 button next to the audio gain entry, and the dialogue box in <xref
1134 linkend="fig-calculate-audio-gain"/> will open.
1137 <figure id="fig-calculate-audio-gain">
1138 <title>Calculating audio gain</title>
1141 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1147 For our example, put 5 in the first box and 7 in the second and click
1148 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1149 that it should apply to make this happen. Then you can re-make the
1150 DCP (this will be reasonably fast, as the video data will already have
1151 been done) and it should play back at the correct volume with 7 on
1152 your sound-rack fader.
1156 Current versions of DCP-o-matic only know about the Dolby CP650 and
1157 CP750. If you use a different sound processor, and know the gain
1158 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1163 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1164 between audio and video. A positive delay will move the audio later
1165 with respect to the video, and a negative delay will move it earlier.
1172 <!-- ============================================================== -->
1174 <title>Timed text (subtitles and closed captions)</title>
1177 The timed text tab contains settings related to subtitles and closed captions in your
1178 content, as shown in <xref linkend="fig-timed-text-tab"/>.
1181 <figure id="fig-timed-text-tab">
1182 <title>Timed text settings tab</title>
1185 <imagedata fileref="screenshots/timed-text-tab&scs;"/>
1191 Depending on where timed text comes from it can sometimes be used as
1192 either an open subtitle (to be overlaid onto the cinema screen and
1193 seen by everybody) or as a closed caption (to be displayed to
1194 individual viewers using a special system such as the Doremi
1199 DCP-o-matic can either:
1203 <listitem>Extract timed text that is embedded in video files, or</listitem>
1204 <listitem>Use timed text from SubRip (<code>.srt</code>), SubStation
1205 Alpha (<code>.ssa</code> or <code>.ass</code>) or DCP XML files. You may find the great
1207 url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
1208 for creating such files.</listitem>
1212 Embedded timed text is usually represented using a set of bitmaps,
1213 especially on files that have come from DVD or BluRay. Such text can
1214 be used as a subtitle, but not a closed caption (since the closed
1215 captioning system requires the text to be delivered as
1216 character codes rather than an image).
1219 <para>In contrast, SubRip, SubStation Alpha or DCP text can be used as either a subtitle or a closed caption.</para>
1222 With subtitles you have the further choice of whether to burn the
1223 subtitles into the image or include them as a separate subtitle
1224 ‘asset’ within your DCP (in which case the projector
1225 overlays them onto the image on playback). The difference between
1226 burn-in and overlay is illustrated by <xref linkend="fig-burn-in"/>
1227 and <xref linkend="fig-discrete"/>.
1230 <figure id="fig-burn-in">
1231 <title>Burnt-in subtitles</title>
1234 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1239 <figure id="fig-discrete">
1240 <title>Separate subtitles</title>
1243 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1249 The advantage of separate subtitles is that the same video content can
1250 be used for DCPs in many different languages. This means that only a
1251 small text file needs to be changed for each target language, rather
1252 than a large video file. It also means that the time-consuming video
1253 encoding need only be done once for the project rather than once for
1258 Select the <guilabel>Use as</guilabel> check-box to enable the timed
1259 text in the selected content, then choose what you want to use the
1260 text for: open subtitles or closed captions.
1264 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1265 burn subtitles into the image; if this is not ticked the
1266 subtitles will be included separately in the DCP to be rendered by the
1271 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1272 controls move subtitles around within the image. These controls have
1273 no effect for closed captions. The offsets are expressed as a
1274 percentage of the video frame size; 100% X offset is the entire width
1275 of the frame, and 100% Y offset is the entire height. Hence, to move
1276 the subtitles down by half the frame height you would use a Y offset
1281 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1282 controls scale subtitles. These controls have no effect for closed
1283 captions. Scale values of 1 make the subtitles the same size
1284 (relative to the size of the image) as they are on the original.
1285 Values lower than 1 make them smaller, and values higher make them
1286 larger. You can stretch the subtitles in either direction by
1287 specifying different values for X and Y scale. Subtitles from DVD and
1288 Blu Ray sources are frequently larger (relative to the video frame)
1289 than those typically used for DCP, so it is often useful to scale such
1290 subtitles down using these controls.
1294 The <guilabel>Line spacing</guilabel> control adjusts the line spacing
1295 of the subtitles. This only works for subtitles that did not come from bitmaps.
1299 The <guilabel>Stream</guilabel> control changes the subtitle stream
1300 that is used when the content has more than one.
1304 If you are using non-image (text) subtitles or closed captions you can see the
1305 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1306 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1310 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1311 change how the subtitles look. Some of the controls in the
1312 <guilabel>Appearance</guilabel> only apply to burnt-in subtitles, as
1313 only limited control is available for subtitles rendered by the
1320 <!-- ============================================================== -->
1322 <title>Timing</title>
1325 The timing tab contains settings related to the timing of your
1326 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1329 <figure id="fig-timing-tab-detail">
1330 <title>Timing settings tab</title>
1333 <imagedata fileref="screenshots/timing-tab&scs;"/>
1339 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1340 These are expressed as four numbers, as shown in <xref
1341 linkend="fig-timecode"/>.
1344 <figure id="fig-timecode">
1345 <title>Timecode</title>
1348 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1354 <guilabel>Position</guilabel> is the time at which this piece of
1355 content should start within the DCP. In most cases, this will be
1356 <code>0:0:0:0</code> to make the content start at the beginning of the
1361 <guilabel>Full length</guilabel> is the length of the piece of
1362 content. This can only be set for still-image content: for video or
1363 sound content, it is fixed by the nature of the content file. If
1364 still-image content is being used you can set the length for which it
1365 should be displayed using this control.
1369 <guilabel>Trim from start</guilabel> specifies the amount that should
1370 be trimmed from the start of the content. You can set this amount to
1371 trim up to the current preview position by clicking <guilabel>Trim up
1372 to current position</guilabel>.
1376 <guilabel>Trim from end</guilabel> specifies the amount that should be
1377 trimmed from the end of the content. You can set this amount to trim
1378 after the current preview position by clicking <guilabel>Trim after to
1379 current position</guilabel>.
1383 <guilabel>Play length</guilabel> indicates how long this piece of
1384 content will be once the trims have been applied. This will be equal
1385 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1389 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1390 still-image content. It can also be used to override the detected
1391 frame rate of other content if DCP-o-matic has got it wrong.
1395 Each timecode control has a <guilabel>Set</guilabel> which you should
1396 click when you have entered a new value for a timecode. The
1397 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1398 any changes to the corresponding timecode.
1404 <!-- ============================================================== -->
1406 <title>Timeline</title>
1409 The timeline window gives an overview of all the pieces of content
1410 in your film, and how they are arranged. You can open the
1411 timeline by clicking the <guilabel>Timeline...</guilabel> button
1412 next to the content list. This will open a window like the one in <xref linkend="fig-timeline1"/>.
1415 <figure id="fig-timeline1">
1416 <title>Timeline</title>
1419 <imagedata fileref="screenshots/timeline1&scs;"/>
1425 The horizontal axis represents time, and you can see the time codes (in
1426 hours:minutes:seconds) along the bottom of the window. Pieces of
1427 content are represented with rectangles in the main part of the
1428 window. Content containing different types of data (e.g. a MP4
1429 file with video, audio and subtitles) have a rectangle for each
1434 Within the timeline you can select content by clicking, and drag
1435 it to change its position. Right-clicking a piece of content will
1436 open the content menu.
1440 The toolbar at the top of the window offers the following tools:
1444 <listitem>Select — to select and move content.</listitem>
1445 <listitem>Zoom in — to drag out an area that you want to see more closely.</listitem>
1446 <listitem>Zoom out — to zoom out so that the window shows the whole film.</listitem>
1447 <listitem>Snap — when enabled, content will snap to other content when you drag it close.</listitem>
1448 <listitem>Sequence — when enabled, content will be kept in sequence, without gaps, even if some content is removed.</listitem>
1452 <!-- ============================================================== -->
1454 <title>Video processing pipeline</title>
1457 This section gives a little more detail about how DCP-o-matic process
1458 video as it takes it from a source and puts it into a DCP.
1462 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1463 image which is letterboxed with 36 black pixels each at the top and
1464 bottom, and the video content within the letterbox should be presented
1465 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1466 happen with a trailer). The source image is shown in <xref
1467 linkend="fig-pipeline1"/>.
1470 <figure id="fig-pipeline1">
1471 <title>Example image to demonstrate video processing</title>
1474 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1480 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1484 <listitem>Crop</listitem>
1485 <listitem>Scale</listitem>
1486 <listitem>Place in container</listitem>
1490 First, some amount of the image can be cropped. This is almost always
1491 used to remove black borders (letterboxing and/or pillarboxing) around
1496 In our example image, we would use 36 pixels of crop from the top and
1497 bottom. This would give the new image shown in <xref
1498 linkend="fig-pipeline2"/>.
1501 <figure id="fig-pipeline2">
1502 <title>Example image after cropping</title>
1505 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1511 The next step is to scale the image. Since this content should be
1512 presented in a 2.39:1 (scope) aspect ratio inside a 1.85:1 (flat) DCP we would select
1513 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1514 option in the <guilabel>Video</guilabel> tab and
1515 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1516 option in the <guilabel>DCP</guilabel> tab.
1519 <para>The <guilabel>Scale to</guilabel> option should always be set to
1520 the aspect ratio at which the content should be seen. The
1521 <guilabel>Container</guilabel> option should be set to the preset that
1522 you want to use on the projector. Of course, these two settings will
1527 Given the scaling and container information, DCP-o-matic will look at
1528 the DCP's container size, and then scale the source image up until one
1529 or both of its dimensions (width, height or both) fits the size of the
1530 container, all the while preserving the desired aspect ratio.
1534 In our example here, the DCP's container is specified as 1.85:1 (so
1535 that the DCP will play back correctly using the projector's
1536 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1537 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1538 result in the image hitting the sides of the container first, at a
1539 size of 1998 x 836. This gives us a new version of the image as shown
1540 in <xref linkend="fig-pipeline3"/>.
1543 <figure id="fig-pipeline3">
1544 <title>Example image after cropping and scaling</title>
1547 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1553 The final step is to place the image into the DCP. In this case,
1554 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1555 we have set the <guilabel>container</guilabel> in the
1556 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1557 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1558 be some black bars at the top and bottom of the image. DCP-o-matic
1559 shares out this black equally, as shown in <xref
1560 linkend="fig-pipeline3"/>.
1563 <figure id="fig-pipeline4">
1564 <title>Example image in the DCP</title>
1567 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1576 <title>Copy and paste settings</title>
1579 Once you have set up a piece of content it is possible to copy the
1580 settings you have applied to another piece of content. To do this,
1581 select the content to copy from and choose <guilabel>Copy</guilabel>
1582 from the <guilabel>Edit</guilabel> menu. Then select the content to
1583 copy to and choose <guilabel>Paste</guilabel>. A dialogue box will
1584 open to allow you to choose which settings you want to copy. Clicking
1585 <guilabel>OK</guilabel> will apply the copied settings.
1592 <title>Advanced content settings</title>
1595 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>
1596 This opens the dialogue box shown in <xref linkend="fig-advanced-content"/>.
1599 <figure id="fig-advanced-content">
1600 <title>Advanced content dialogue</title>
1603 <imagedata fileref="screenshots/advanced-content&scs;"/>
1609 <!-- ============================================================== -->
1611 <title>Video filters</title>
1614 The <guilabel>Video filters</guilabel> setting allows you to apply various
1615 filters to the image. These may be useful to try to improve
1616 poor-quality sources like DVDs. You can set up the filters by clicking the
1617 <guilabel>Edit</guilabel> button next to the filters entry; this opens the filters selector
1618 as shown in <xref linkend="fig-filters"/>.
1621 <figure id="fig-filters">
1622 <title>Filters selector</title>
1625 <imagedata fileref="screenshots/filters&scs;"/>
1634 <title>Override frame rate</title>
1637 The <guilabel>Override detected video frame rate</guilabel> setting has some different effects depending on the type of content
1642 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
1643 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
1644 override value to 25 to force DCP-o-matic to do the right thing.
1648 On audio, subtitle and caption content this setting behaves slightly differently. It sets the video frame rate that the content
1649 in question was intended to work with. As an example, consider a project with a 23.976fps video source and some separate audio files.
1650 Perhaps those audio files have been mastered alongside a 24fps version of your video. By default, DCP-o-matic will see the 23.976fps
1651 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
1652 it stays in sync with the video.
1656 In this case, though, that is not what you want, since the audio is already ‘fixed’ to work alongside 24fps video. If you
1657 override the video frame rate of the <emphasis>audio</emphasis> content to 24fps this will stop DCP-o-matic altering it.
1661 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.
1662 In that case, you should override the video frame rate of the <emphasis>subtitle</emphasis> content to the one that it was prepared for.
1663 This will mean that DCP-o-matic can get the relative timing right.
1667 Do <emphasis>not</emphasis> use this setting to change the DCP frame rate. Doing so will result in strange effects and sync problems.
1673 <title>Video has burnt-in subtitles</title>
1675 Details about subtitle language are stored in various places within the DCP metadata. If a piece of video content already has subtitles
1676 burnt into the image you can tell DCP-o-matic the language that they are in by clicking the <guilabel>Edit...</guilabel> button.
1682 <title>Ignore this content's video</title>
1684 Tick this if you have some content which includes video along with other things (such as audio or subtitles) and you do
1685 <emphasis>not</emphasis> want the video to appear in the DCP.
1695 <!-- ============================================================== -->
1696 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1697 <title>DCP settings</title>
1700 This chapter describes the settings that apply to the whole DCP. The
1701 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1702 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1705 <figure id="fig-dcp-tab">
1706 <title>DCP settings tab</title>
1709 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1715 The first thing here is the name. This is generally set to the title
1716 of the film that is being encoded. If <guilabel>Use ISDCF
1717 name</guilabel> is not ticked, the name that you specify will be used
1718 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1719 is ticked, the name that you enter will be used as part of a
1720 ISDCF-compliant name.
1724 Underneath the name field is a preview of the name that the DCP will
1725 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1726 name</guilabel> check-box. The ISDCF name will be composed using details
1727 of your content's soundtrack, the current date and other things that
1728 can be specified in the ISDCF name details dialogue box, which you can
1729 open by clicking on the <guilabel>Details</guilabel> button.
1733 If you want to take the ISDCF-compliant name that DCP-o-matic
1734 generates and modify it, click <guilabel>Copy as name</guilabel> and
1735 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1736 You can then edit it as you wish. The DCP name should not matter (in
1737 that it should not affect how the DCP ingests or plays) but
1738 projectionists will appreciate it if you use the standard naming
1739 scheme as it makes it easier to identify details of the content.
1743 The <guilabel>Content Type</guilabel> option can be
1744 ‘feature’, ‘trailer’ or whatever; select the
1745 required type from the drop-down list. On some projection systems
1746 this will affect where your content appears in the projector's server
1747 user interface, so take care to select an appropriate type.
1751 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1752 is signed. This is rarely important; if in doubt, tick it.
1756 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1757 should be encrypted or not. If this is ticked, the DCP will require a
1758 KDM to play back. Encryption is discussed in <xref
1759 linkend="ch-encryption"/>.
1763 If you use encryption DCP-o-matic will generate a random encryption
1764 key for you. To specify your own key, click the
1765 <guilabel>Edit..</guilabel> button next to the key.
1769 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1770 controls specify how the DCP will be split up into
1771 ‘reels’. See <xref linkend="sec-reels"/>.
1775 The <guilabel>Standard</guilabel> option specifies which of the two
1776 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1777 more modern of the two).
1781 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1782 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1786 At the bottom of the DCP tab are a further two tabs, one each to
1787 contain the settings for the DCP's video and audio parts.
1791 The <guilabel>Container</guilabel> option sets the ratio of the image
1792 in the DCP. If this ratio is different to the ratio used for any
1793 content, DCP-o-matic will pad the content with black. In simple cases
1794 this should be set to the same ratio as that for the the primary piece
1795 of video content. Alternatively, you might want to pillarbox a small
1796 format into a Flat container: in this case, select the small format
1797 for the content's ratio and ‘Flat’ for the DCP.
1801 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1802 your DCP. This can be a little tricky to get right. Ideally, you
1803 want it to be the same as the video content that you are using. If it
1804 is not the same, DCP-o-matic must resort to some tricks to alter your
1805 content to fit the specified frame rate. Frame rates are discussed in
1806 more detail in <xref linkend="ch-frame-rates"/>.
1810 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1811 to what DCP-o-matic thinks is the best given the content that you have
1816 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1817 is checked. A 3D DCP will then be created, and any 2D content will be
1818 made 3D compatible by repeating the same frame for both left and right
1819 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1820 Real-D etc.) but not on a 2D system.
1824 The <guilabel>Resolution</guilabel> tab allows you to choose the
1825 resolution for your DCP. Use 2K unless you have content that is of
1826 high enough resolution to be worth presenting in 4K.
1830 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1831 the final image files used within the DCP will be. Larger numbers
1832 will give better quality, but correspondingly larger DCPs. The
1833 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1834 Most commercial DCPs use bit rates between 75 and 125 Mbit/s.
1838 <guilabel>Re-encode JPEG2000 data from input</guilabel> governs
1839 whether or not JPEG2000-encoded data from a piece of content (usually
1840 a DCP) will be re-used in the output data as-is or whether it will be
1841 decoded and re-encoded by DCP-o-matic. If the option is enabled
1842 DCP-o-matic will decompress any JPEG2000 data it finds and re-encode
1843 it. This is useful if you want to reduce the bitrate of a DCP.
1844 Usually you will achieve better quality and quicker results by leaving
1845 this option switched off.
1849 The <guilabel>Audio Channels</guilabel> control sets the number of
1850 audio channels that the DCP will have. If the DCP has any channels
1851 for which there is no content audio they will be replaced by silence.
1852 You can only set an even number of channels here, since that is
1853 required by the DCI standard. If you want an odd number of channels,
1854 set the DCP channel count to one greater than you need and the
1855 unused channel will be filled with silence.
1859 The <guilabel>Processor</guilabel> control allows you to select a
1860 process to apply to the audio before it goes into the DCP. Three processes are currently provided:
1864 <listitem>Mid-side decode — this will take a L/R
1865 stereo input and extract the common part (corresponding to the
1866 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1867 The remaining L/R parts will be kept in the L/R channels of the DCP.
1868 This may be useful to make near-field L/R mixes more compatible with
1869 cinema audio systems.</listitem>
1870 <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:
1872 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1873 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1874 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1875 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1876 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1877 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1880 This upmixing algorithm is due to Gérald Maruccia.
1883 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1885 <listitem>DCP L is input L.</listitem>
1886 <listitem>DCP R is input R.</listitem>
1887 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1888 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1889 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1894 The up-mixers are not particularly advanced and should be used with care. You are strongly advised to check how the DCPs sound in a cinema if you have used one of DCP-o-matic's upmixers.
1896 <!-- ============================================================== -->
1897 <section xml:id="sec-reels">
1898 <title>Reels</title>
1901 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1902 way as a 35mm reel is a section of a film. A DCP can be split up into
1903 any number of reels and the joins (the equivalent to 35mm splices or changeovers)
1904 between the reels are seamless.
1908 There is no reason why you can't just use a single reel for the whole
1909 of your DCP, as there is no limit to their length. Many people choose
1914 There are, however, some possible advantages of splitting things up
1920 The picture, sound and subtitle data of the DCP will be
1921 split up into more smaller files on disk, rather than fewer larger
1922 files. This can be useful if the DCP is to be transferred on storage
1923 that have file size limits. The FAT32 filesystem, for example, can
1924 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1925 not be transferred using a FAT32-formatted disk. If that DCP were
1926 split up into two 3Gb reels it could be transferred.
1929 It is easier to re-use DCP components if they are in reels. Consider,
1930 for example, a film company who wants to put a 5 second ident onto the
1931 beginning of DCPs that they distribute. If they receive a feature
1932 film DCP they can modify it to add their ident as a separate reel.
1933 This is easier than attaching the picture data to the feature's existing data.
1938 DCP-o-matic offers three options for setting up the reels in your DCP:
1939 <guilabel>single reel</guilabel>, <guilabel>split by video content</guilabel> or <guilabel>custom</guilabel>.
1943 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1944 This is a perfectly good option if you have no particular reason to
1949 <guilabel>Split by video content</guilabel> puts each piece of source
1950 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1953 <figure id="fig-reels-by-video">
1954 <title>Making reels using split by video content</title>
1955 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1959 Here we have three video files (<code>ident.mp4</code>,
1960 <code>feature.ts</code> and <code>cred.mov</code>). With
1961 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1962 reel to hold each video file.
1966 <guilabel>Custom</guilabel> splits reels by the size of the files that
1967 will make up their video content. With <guilabel>Custom</guilabel>
1968 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1974 <!-- ============================================================== -->
1975 <section xml:id="sec-show-audio">
1976 <title>Show audio</title>
1979 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1980 to examine the audio in your content and plot a graph of its level
1981 over time. This can be useful for getting a rough idea of how loud
1982 the sound will be in the cinema auditorium. A typical plot is shown
1983 in <xref linkend="fig-audio-plot"/>
1986 <figure id="fig-audio-plot">
1987 <title>Audio plot</title>
1990 <imagedata fileref="screenshots/audio-plot&scs;"/>
1996 The plot gives the audio level (vertical axis, in dB) with time
1997 (horizontal axis). 0dB represents full scale, so if there is anything
1998 near this you are in danger of clipping the projector's audio outputs.
2002 There are two plot types: the peak level and the RMS, which can be
2003 shown or hidden using the check-boxes on the right hand side of the
2008 The channel check-boxes will show or hide the plot(s) for
2009 the corresponding channels in the DCP.
2013 The smoothing slider applies a variable degree of temporal smoothing
2014 to the plots, which can make them easier to read in some cases.
2018 Obviously the audio plot is no substitute for listening in an
2019 auditorium, but it can be useful to get levels in the right rough area.
2027 <!-- ============================================================== -->
2028 <chapter xml:id="ch-templates" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2029 <title>Templates</title>
2032 If you frequently make DCPs with similar settings you may find it
2033 useful to use templates.
2037 Say, for example, you often make 4K feature DCPs from video files in
2038 ’scope at 25fps. You can speed up this process by following
2043 <listitem>Create a film with any content and set it up how you like;
2044 in our example, set the content to scale to DCP, the DCP resolution
2045 to 4K, and so on.</listitem>
2046 <listitem>Choose <guilabel>Save as template...</guilabel> from the <guilabel>File</guilabel> menu.</listitem>
2047 <listitem>Enter a name for your template.</listitem>
2051 Then in the future you can create a new film, tick the
2052 <guilabel>Template</guilabel> box and choose your previously-saved
2053 template. The basic film's settings will come from your template, and
2054 when you add some content it will take on the settings of the
2055 first similarly-typed piece of content in your template.
2059 For example, if the template has a piece of video content and some
2060 subtitles, any video that you add to the new film will take on the
2061 settings of the video in the template. Similarly, any subtitles that
2062 you add will take on the settings of the subtitles from the template.
2066 The following settings from the <guilabel>DCP</guilabel> tab are saved
2071 <listitem>“Use ISDCF name” checkbox</listitem>
2072 <listitem>Content type (FTR, TLR etc.)</listitem>
2073 <listitem>Container</listitem>
2074 <listitem>Resolution</listitem>
2075 <listitem>JPEG200 bandwidth</listitem>
2076 <listitem>Video frame rate</listitem>
2077 <listitem>Signed and encrypted checkboxes</listitem>
2078 <listitem>Audio channels</listitem>
2079 <listitem>Standard (Interop / SMPTE)</listitem>
2080 <listitem>Audio processor</listitem>
2081 <listitem>Reel type and length</listitem>
2082 <listitem>Upload after make DCP checkbox</listitem>
2086 In addition to this, the settings (but not the filenames) of any
2087 content in the template are stored, as discussed above. The status of
2088 the <guilabel>Keep video and subtitles in sequence</guilabel> checkbox
2089 from the timeline is also preserved.
2095 <!-- ============================================================== -->
2096 <chapter xml:id="ch-export" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2097 <title>Export</title>
2100 As well as creating DCPs from the content you specify, DCP-o-matic
2101 can also export projects to ProRes and MP4 files. This is most
2102 often useful to convert DCPs to a file that is smaller and easier to play back.
2106 To convert a DCP to ProRes or MP4, the first step is start a new
2107 project and import the DCP (see <xref
2108 linkend="ch-manipulating-existing-dcps"/>). Then, choose
2109 <guilabel>Export...</guilabel> from the <guilabel>Jobs</guilabel>
2110 menu to open the export dialogue, as shown in <xref linkend="fig-export"/>.
2113 <figure id="fig-export">
2114 <title>Export dialogue</title>
2117 <imagedata fileref="screenshots/export&scs;"/>
2123 From this dialogue you can select the required output format,
2124 output file and, in the case of MP4, the quality of the output
2125 file. Higher quality files will, of course, be larger.
2129 You can also choose whether to mix down multichannel sources to stereo and whether you want to write separate reels to separate files.
2133 <!-- ============================================================== -->
2134 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2135 <title>Encryption</title>
2138 DCP's do not have to be encrypted, but they can be. This
2139 chapter discusses the basic principles of DCP encryption, and how
2140 DCP-o-matic can create encrypted DCPs and KDMs for them.
2144 <!-- ============================================================== -->
2146 <title>Basics</title>
2149 DCPs can be encrypted. This means that the picture and sound data are
2150 encoded in such a way that only cinemas ‘approved’ by the
2151 DCP's creators can read them. In particular, this means copies of the
2152 DCP can be distributed by insecure means: if a bad person called
2153 Mallory obtains a hard drive containing an encrypted DCP, there is no
2154 way that he can play it. Only those cinemas who receive a correct key
2155 delivery message (KDM) can play the DCP.
2159 <!-- ============================================================== -->
2161 <title>How it works</title>
2164 This section attempts to summarise how DCP encryption works. You can
2165 skip it if you like. You may need some knowledge of encryption
2166 methods to understand it.
2170 We suppose that we are trying to send a DCP to
2171 Alice's cinema without an attacker called Mallory being able to
2176 There are two main families of encryption techniques. The first,
2177 symmetric-key encryption, allows us to encode some data using some
2178 numeric key. After encoding, no-one can decode the data unless they
2183 The first step in a DCP encryption is to encode its data with a random key
2184 using symmetric-key encryption. The encrypted DCP can then be sent
2185 anywhere, safe in the knowledge that even if Mallory got hold of a
2186 copy, he could not decrypt it.
2190 Alice, however, needs to know the key so she can play the DCP in her
2191 cinema. A simple approach might be for us to send Alice the key.
2192 However, if Mallory can intercept the DCP, he might also be able to
2193 intercept our communication of the key to Alice. Furthermore, if Alice
2194 happened to know Mallory, she could just send him a copy of the key.
2198 The clever bit in the process requires the use of public-key
2199 encryption. With this technique we can encrypt a block of data using
2200 some ‘public’ key. That data can then only be decrypted
2201 using a corresponding private key which is
2202 <emphasis>different</emphasis> to the public key. The private and
2203 public keys form a pair which are related mathematically, but it is
2204 extremely hard (or rather, virtually impossible) to derive the private
2205 key from the public key.
2209 Public-key encryption allows us to distribute the DCP's key to Alice
2210 securely. The manufacturer of Alice's projector generates a public
2211 and private key. They hide the private key inside the projector where
2212 no-one can read it. They then make the public key available to anyone
2217 DCP-o-matic has a similar arrangement except that it stores its
2218 private keys in the user's configuration file. See <xref
2219 linkend="sec-decrypting"/> for details of how to share DCP-o-matic's
2220 certificate so that others can make encrypted DCPs for DCP-o-matic.
2224 We take our DCP's symmetric key and encrypt it using the public key of
2225 Alice's projector. We send the result to Alice over email (using a
2226 format called a Key Delivery Message, or KDM). Her projector then
2227 decrypts our message using its private key, yielding the magic
2228 symmetric key which can decrypt the DCP.
2232 If is fine if Mallory intercepts our email to Alice, since the only
2233 key which can decrypt the message is the private key buried inside
2234 Alice's projector. The projector manufacturer is very careful that
2235 no-one ever finds out what this key is. Our DCP is secure: only Alice
2236 can play it back, since only her projector knows the key (even Alice
2244 <!-- ============================================================== -->
2246 <title>Encryption using DCP-o-matic</title>
2249 There are two steps to distributing an encrypted DCP. First, the
2250 DCP's data must be encrypted, and secondly KDMs must be generated for
2251 those cinemas that are allowed to play the DCP.
2255 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
2256 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
2257 encrypt the DCP that it makes using a random key that DCP-o-matic
2258 generates. The key will be written to the film's metadata file, which
2259 should be kept secure.
2263 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
2264 ticked will not play on any projector as-is (it will be marked as
2265 ‘locked’, or whatever the projector manufacturer's term
2270 The second part of distributions is to generate KDMs for the cinemas
2271 that you wish to allow to play your DCP. There are two approaches to
2272 this within DCP-o-matic: using the project, or using a DKDM. These
2273 approaches are now described in turn.
2277 <title>Creating KDMs from a DCP-o-matic project</title>
2280 You can create KDMs from inside a DCP-o-matic project using the
2281 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
2282 menu. This will open the KDM dialogue box, as shown in <xref
2283 linkend="fig-kdm"/>.
2286 <figure id="fig-kdm">
2287 <title>KDM dialog</title>
2290 <imagedata scale="35" fileref="screenshots/kdm&scs;"/>
2296 In order to generate KDMs for a particular projector, you need to know
2297 its <emphasis>certificate</emphasis>. These are usually made
2298 available by the projector manufacturers as text files with a
2299 <code>.pem</code> extension.
2303 DCP-o-matic can store these certificates along with details of their
2304 cinemas and screens within those cinemas. Each screen has a
2305 certificate for its projector (and optionally certificates for other
2306 trusted devices, such as the sound processor). DCP-o-matic can
2307 generate KDMs for any screens that it knows about.
2311 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
2312 a dialogue box into which you can enter the cinema's name, and
2313 optionally an email address. This email address can be used to
2314 get DCP-o-matic to deliver KDMs via email.
2318 Once you have added a cinema, select it by clicking on its name, then
2319 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2320 allows you to enter a name for the screen and load in its certificate
2321 from a file. The certificate should be in SHA256 PEM format.
2325 Alternatively, certificates for projection systems made by some
2326 manufacturers can be downloaded from databases provided by the
2327 manufacturer. Currently this is supported for Doremi, Dolby, Barco,
2328 Christie and GDC equipment (through downloading Barco, Christie or GDC
2329 certificates requires you to have an appropriate account set up in
2330 DCP-o-matic's preferences). If you are targeting a screen with
2331 equipment by one of these manufacturers you can click
2332 <guilabel>Download</guilabel> then enter the serial number of the
2333 server in the screen and click <guilabel>Download</guilabel> again
2334 and, all being well, the certificate will be fetched. Most cinema
2335 projection or technical departments will know these serial numbers.
2339 Note that the reliability of the manufacturers' certificate databases
2340 cannot be guaranteed. It is vital that KDMs are tested by the
2341 destination cinema will in advance of show time to identify any
2346 Once you have set up all the screens that you need KDMs for, select
2347 the CPL that you want to create the KDM for. You can use the
2348 drop-down list to select the CPLs in the current film project, or load
2349 a CPL from somewhere else. Select the cinemas and/or screens that you
2350 want KDMs for and fill in the start and end dates and times.
2354 You must also select the type of KDM that you want to generate. If in
2355 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2359 The differences between the three KDM types are fairly subtle.
2360 <guilabel>DCI Specific</guilabel> and <guilabel>DCI Any</guilabel> add
2361 a <code><ContentAuthenticator></code> tag to the KDM which
2362 allows the exhibitor to check that the DCP and KDM have come from a
2363 bona-fide source. In addition, <guilabel>DCI Specific</guilabel> adds
2364 information on trusted devices to the KDM. This allows the KDM
2365 creator to specify devices (such as sound processors) that are allowed
2366 to use keys delivered by the KDM. At present it is not clear how
2367 widely the <guilabel>DCI Specific</guilabel> and <guilabel>DCI
2368 Any</guilabel> features are supported (or even tolerated) by servers
2369 so you are advised to use <guilabel>Modified Transitional
2374 Finally, choose what you want to do with the KDMs. They can be
2375 written to disk, to a location that you can specify by clicking
2376 <guilabel>Browse</guilabel>. Alternatively, if you choose
2377 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2378 emailed to the appropriate cinema email addresses. Click
2379 <guilabel>Make KDMs</guilabel> to generate the KDMs.
2385 <title>Creating KDMs using a DKDM</title>
2389 It can be inconvenient to need a whole DCP-o-matic project just to
2390 create KDMs for its film. Perhaps you want to archive the project to
2391 save space, or create KDMs on a different machine. In such situations
2392 it is easier to use a DKDM. This is a normal KDM, but instead of
2393 being targeted at a projection system (to allow it to decrypt the
2394 content) it is targeted at a particular user's certificate. This
2395 means that the certificate owner can create new KDMs for other users.
2396 The DKDM holds everything that is required to create further KDMs.
2400 Sometimes it is useful to create DKDMs that can be used by
2401 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2402 any point in the future, use DCP-o-matic's standalone KDM creator to
2403 make KDMs for the DKDM's film for any cinema.
2407 In other cases a DKDM is sent to a 3rd party so that they can create
2408 KDMs for your films. This can be useful if, for example, you have a
2409 distributor who provides 24-hour KDM support to cinemas and can create
2410 KDMs for anybody that requires them at short notice.
2414 To create a DKDM for DCP-o-matic, open your encrypted project and
2415 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2416 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2417 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2418 be available in the KDM creator. This is a separate program which you
2419 can start from the same place that you start the ‘normal’
2420 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2423 <figure id="fig-kdm-creator">
2424 <title>The KDM creator</title>
2427 <imagedata scale="30" fileref="screenshots/kdm-creator&scs;"/>
2433 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2434 to be created for, the date range, the DCP that the KDMs are for and
2435 the destination for the KDMs and click <guilabel>Create
2440 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2441 which you have clicked <guilabel>Make DKDM for
2442 DCP-o-matic</guilabel> in the main DCP-o-matic program. If you have
2443 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2444 specifying the file containing the DKDM.
2448 If another organisation wants to send you a DKDM they will ask you for
2449 a target certificate. You can get DCP-o-matic's target certificate by
2450 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2451 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2459 <title>Encryption keys</title>
2462 You must be careful when using encryption not to lose important keys.
2466 If you are making KDMs from a DCP-o-matic film you
2467 <emphasis>must</emphasis> ensure that you have a backup of the
2468 <code>metadata.xml</code> file from the project, as well as the DCP
2473 If you are using a DKDM you <emphasis>must</emphasis> ensure that you
2474 have a backup of DCP-o-matic's <code>config.xml</code> file, since it
2475 contains the only key which can decrypt the DKDM. The
2476 <code>config.xml</code> file location depends on your operating
2477 system; possible locations are listed in <xref linkend="ch-config"/>.
2483 <title>Should I encrypt?</title>
2486 The question of whether encryption is appropriate for a given
2487 project is a tricky one.
2491 On the one hand, if you distribute an unencrypted DCP it is easy for
2492 anybody to take it and do whatever they want with its contents.
2493 They could use DCP-o-matic to convert it to a MP4, show it in
2494 their cinema, or even edit and redistribute it in ways that you
2499 Encryption prevents this, but brings its own problems. It will be
2500 impossible for a cinema to screen your DCP unless they have the
2501 correct KDM. This is easy enough if things work as they should,
2502 but problems can occur. For example, cinemas may substitute
2503 broken playout servers with new ones without telling you: then the
2504 KDM that you sent them will be invalid, and a new one required.
2505 If the cinema can't get in touch with you, or somebody else who
2506 can create a new KDM, they can't screen your DCP. Often these
2507 problems are only discovered very close to showtime, with little
2512 If you are distributing encrypted DCPs widely it is worth thinking
2513 about who will make the KDMs, and who will provide quick-response
2514 technical support. It may be a good idea to engage a company who can
2515 provide such services.
2522 <title>Encryption overview</title>
2524 <figure id="fig-encryption-overview">
2525 <title>Overview of encryption</title>
2528 <imagedata fileref="diagrams/crypt&dia;"/>
2538 <!-- ============================================================== -->
2539 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2540 <title>Preferences</title>
2543 DCP-o-matic provides preferences which can be used to modify its
2544 behaviour. They are described in this chapter.
2548 Preferences can be edited by choosing
2549 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2550 menu. This opens a dialogue which is split into eleven tabs.
2553 <!-- ============================================================== -->
2555 <title>General</title>
2558 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2561 <figure id="fig-prefs-general">
2562 <title>General preferences</title>
2565 <imagedata fileref="screenshots/prefs-general&scs;"/>
2571 <!-- ============================================================== -->
2573 <title>Language</title>
2576 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2577 a language from the list, that language will be used for DCP-o-matic.
2578 You will need to restart DCP-o-matic to see the new language.
2582 The translations for DCP-o-matic have been contributed by helpful
2583 users. If your language is not on the last, head to <ulink
2584 url="https://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2585 find out how to contribute a translation.
2590 <!-- ============================================================== -->
2592 <title>Interface complexity</title>
2595 Choose <guilabel>Simple</guilabel> to see a cut-down, simplified
2596 interface or <guilabel>Full</guilabel> to see DCP-o-matic's full
2602 <!-- ============================================================== -->
2604 <title>Number of threads DCP-o-matic should use</title>
2607 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2608 to speed things up. Set this value to the number of threads
2609 DCP-o-matic should use. This should normally be the number of
2610 processors (or processor cores) in your machine. DCP-o-matic will try
2611 to set this up correctly when you run it for the first time.
2617 <!-- ============================================================== -->
2619 <title>Number of threads DCP-o-matic encode server should use</title>
2622 This is the number of threads that the encode server should use when
2623 it is running and helping another copy of DCP-o-matic to speed up its
2630 <!-- ============================================================== -->
2632 <title>Configuration file</title>
2635 This is the location of DCP-o-matic's configuration file on disk. You
2636 can use this to share configuration between several copies of
2637 DCP-o-matic, across a network share, for instance.
2641 <!-- ============================================================== -->
2643 <title>Cinema and screen database file</title>
2646 This option allows you to change the file that DCP-o-matic uses to
2647 store details of the cinemas and screens used to make KDMs.
2652 <!-- ============================================================== -->
2654 <title>Play sound via</title>
2657 The checkbox to the left of <guilabel>Play sound</guilabel> enables or
2658 disables DCP-o-matic use of sound. On some machines there will be
2659 multiple options in the drop-down menu to decide how the sound should
2664 <!-- ============================================================== -->
2666 <title>Integrated loudness</title>
2669 If <guilabel>Find integrated loudness, true peak and loudness range
2670 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2671 work when analysing audio. Leave this ticked if the extra parameters
2672 are useful to you. If not, untick it and audio analysis will be
2678 <!-- ============================================================== -->
2680 <title>Automatically analyse content audio</title>
2683 If this checkbox is ticked an audio analysis will be run whenever content is added that contains sound.
2687 <!-- ============================================================== -->
2689 <title>Updates</title>
2692 The <guilabel>Check for updates on startup</guilabel> option, if
2693 enabled, will tell DCP-o-matic to check on <ulink
2694 url="https://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2695 newer versions of DCP-o-matic then the one you are running. If so, a
2696 dialogue box will open with a link to download the new version.
2700 The <guilabel>Check for testing updates as well as stable
2701 ones</guilabel> option will also check for test updates as well as
2702 those that are formally ‘released’. This is useful if you
2703 like to live on the bleeding edge!
2707 <!-- ============================================================== -->
2709 <title>Issuer and creator</title>
2712 With these controls you can set the issuer and creator strings that
2713 will be put into the DCPs which you create. The issuer is typically your name
2714 (or your organisation's name) and the creator is typically the name of the tool
2715 used to make the DCP (e.g. DCP-o-matic).
2721 <!-- ============================================================== -->
2723 <title>Defaults</title>
2726 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2729 <figure id="fig-prefs-defaults">
2730 <title>Defaults preferences</title>
2733 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2739 The options in this tab simply allow you to set up default values for
2740 various properties of new films.
2745 <!-- ============================================================== -->
2747 <title>Servers</title>
2750 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2753 <figure id="fig-prefs-servers">
2754 <title>Servers preferences</title>
2757 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2763 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2764 locate encoding servers automatically (see <xref
2765 linkend="ch-servers"/>).
2769 Instead of this (or in addition) servers can be specified explicitly.
2770 To add a server, click <guilabel>Add...</guilabel> and enter the host
2771 name or IP address of the server to use.
2777 <!-- ============================================================== -->
2778 <section xml:id="sec-prefs-keys">
2782 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) has controls
2783 related to the keys and certificates used in some parts of DCP
2787 <figure id="fig-prefs-keys">
2788 <title>Keys preferences</title>
2791 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2797 <guilabel>Export KDM decryption certificate...</guilabel> allows you
2798 to save the certificate that DCP-o-matic uses when decrypting KDMs
2799 that you give it. Use this option if somebody wants to make a KDM for
2800 you and asks for your certificate.
2804 <guilabel>Export all KDM decryption settings...</guilabel> exports a
2805 file which contains all the DCP-o-matic settings related to the use of
2806 KDMs supplied by other people. Use this button and <guilabel>Import
2807 all KDM decryption settings...</guilabel> to transfer settings between
2808 different copies of DCP-o-matic so that they can both use the same
2813 The two <guilabel>Advanced...</guilabel> buttons open advanced
2814 dialogue boxes for detailed manipulation of DCP-o-matic's certificate
2821 <title>Advanced keys settings</title>
2824 At the top of the <guilabel>Advanced</guilabel> dialogue for signing
2825 DCPs and KDMs is the chain of certificates that will be used to sign
2826 DCPs and KDMs. DCP-o-matic creates a random chain when you first run
2827 it and if you are happy to use this chain you can ignore the
2828 preferences. Otherwise, you can add or remove certificates from the
2829 chain using the <guilabel>Add...</guilabel> and
2830 <guilabel>Remove</guilabel> buttons.
2834 If you want DCP-o-matic to re-create the certificate chain (using new,
2835 random certificates) click <guilabel>Re-make
2836 certificates and key...</guilabel> and specify your organisation and common
2837 names in the dialogue box that opens.
2841 Underneath the certificate chain is the private key that corresponds
2842 to the leaf certificate in the chain. You can specify your own
2843 private key by clicking <guilabel>Import...</guilabel>. You must do
2844 this if you change the leaf certificate, so that the leaf private key
2845 corresponds to the public key held in the leaf certificate.
2849 At the top of the <guilabel>Advanced</guilabel> dialogue for decrypting DCPs is the chain and key which is used by
2850 DCP-o-matic when you import an encrypted DCP as a piece of content.
2851 The leaf certificate of this chain contains the public key that should
2852 be used when targeting a KDM at DCP-o-matic.
2856 Clicking <guilabel>Export chain...</guilabel> will
2857 export the whole certificate chain.
2862 <!-- ============================================================== -->
2863 <section xml:id="sec-prefs-tms">
2865 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2868 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2869 options for specifying details about your theatre management system
2870 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2871 you can upload DCPs directly from DCP-o-matic to the TMS using the
2872 <guilabel>Send DCP to TMS</guilabel> option in the
2873 <guilabel>Jobs</guilabel> menu.
2876 <figure id="fig-prefs-tms">
2877 <title>TMS preferences</title>
2880 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2886 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2887 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2888 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2889 FTP. Do let us know if you use any other type of TMS with the
2890 <guilabel>Send DCP to TMS</guilabel> feature.
2894 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2895 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2896 should be uploaded to (which will be relative to the home directory of
2897 the SSH or FTP user). Finally, the user name and password are the
2898 credentials required to log into the TMS via SSH or FTP.
2902 Note that for this to work on Doremi servers you will need to set the
2903 <code>PasswordAuthentication</code> option in your server's
2904 <code>sshd_config</code> to <code>yes</code>.
2910 <!-- ============================================================== -->
2912 <title>Email</title>
2915 The Email tab is shown in <xref linkend="fig-prefs-email"/>.
2918 <figure id="fig-prefs-email">
2919 <title>Email preferences</title>
2922 <imagedata fileref="screenshots/prefs-email&scs;"/>
2928 These settings are used when DCP-o-matic sends emails.
2932 <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.
2937 <!-- ============================================================== -->
2939 <title>KDM email</title>
2942 The KDM email tab is shown in <xref linkend="fig-prefs-kdm-email"/>.
2945 <figure id="fig-prefs-kdm-email">
2946 <title>KDM email preferences</title>
2949 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2955 This is a template for the email that is used to send KDMs out to
2956 cinemas. You can change it to say whatever you like. A few
2957 ‘magic’ strings will be replaced by information from the
2958 KDM that is being sent; these strings are shown in <xref linkend="tab-kdm-magic"/>.
2961 <table id="tab-kdm-magic">
2962 <title>‘Magic’ KDM strings</title>
2963 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2966 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2969 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2972 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2975 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2978 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2985 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2990 <!-- ============================================================== -->
2992 <title>Notifications</title>
2995 The Notifications tab is shown in <xref linkend="fig-prefs-notifications"/>.
2998 <figure id="fig-prefs-notifications">
2999 <title>Notifications preferences</title>
3002 <imagedata fileref="screenshots/prefs-notifications&scs;"/>
3008 DCP-o-matic can notify the user when jobs have completed. These
3009 notifications can be either or both of a message box on-screen (if
3010 <guilabel>Message box</guilabel> is ticked) and email (if
3011 <guilabel>Email</guilabel> is ticked). If you enable email
3012 notifications you can fill in the details of the emails you want to
3017 The bottom box in the tab is the contents of the email that should
3018 be sent. DCP-o-matic will replace the ‘magic’ strings
3019 <code>$JOB_NAME</code> and <code>$JOB_STATUS</code> in the with the
3020 details of the job that has completed.
3026 <!-- ============================================================== -->
3028 <title>Cover sheet</title>
3031 The DCP cover sheet configuration is shown in <xref linkend="fig-prefs-cover-sheet"/>.
3034 <figure id="fig-prefs-cover-sheet">
3035 <title>DCP cover sheet preferences</title>
3038 <imagedata fileref="screenshots/prefs-cover-sheet&scs;"/>
3044 This is a template for the cover sheet that is written next to every DCP that DCP-o-matic creates. You can change it to say whatever you like. A few
3045 ‘magic’ strings will be replaced by information from the
3046 DCP that has been made:
3050 <title>‘Magic’ cover sheet strings</title>
3051 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
3054 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
3057 <entry><code>$TYPE</code></entry><entry>DCP content type (e.g. feature, trailer...)</entry>
3060 <entry><code>$CONTAINER</code></entry><entry>The container ratio (e.g. flat, scope...)</entry>
3063 <entry><code>$AUDIO</code></entry><entry>Details of the audio channels</entry>
3066 <entry><code>$AUDIO_LANGUAGE</code></entry><entry>Audio language</entry>
3069 <entry><code>$SUBTITLE_LANGUAGE</code></entry><entry>Subtitle language</entry>
3072 <entry><code>$LENGTH</code></entry><entry>DCP length in hours, minutes and seconds</entry>
3075 <entry><code>$SIZE</code></entry><entry>DCP size in gigabytes</entry>
3082 The <guilabel>Reset to default text</guilabel> will replace the current cover sheet with DCP-o-matic's default.
3088 <!-- ============================================================== -->
3089 <section xml:id="sec-prefs-advanced">
3090 <title>Advanced</title>
3091 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
3094 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
3097 <figure id="fig-prefs-advanced">
3098 <title>Advanced preferences</title>
3101 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
3107 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
3108 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
3109 are advised to leave this at 250Mbit/s in normal use for maximum DCP
3114 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
3115 the DCP video frame rates that DCP-o-matic will create. This may be
3116 useful for experimentation. Again, you are strongly advised to leave
3117 this unticked for normal use.
3121 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
3122 JPEG2000 data only on encoding servers and not on the host. We
3123 suggest you leave this unticked unless you have a good reason to do otherwise.
3127 With the filename format fields you can adjust the filenames that are
3128 used for metadata (CPL and PKL files) and assets (MXF and subtitle
3129 files). Below each field there is a list of the ‘magic’
3130 values that you can use in the format and an example of a filename
3131 that you might see with your current settings.
3135 The four checkboxes labelled <guilabel>Log</guilabel> control what
3136 sort of messages DCP-o-matic writes to its log file when creating a
3137 DCP. It is useful to leave <guilabel>General</guilabel>,
3138 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
3139 as this makes the log files useful for tracking down bugs.
3143 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
3144 to allow developers to investigate and optimise the speed of
3145 DCP-o-matic. It will significantly increase the size of the log files
3146 that are generated, so in normal use it is best to leave this
3153 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
3154 <title>Frame rates</title>
3157 In an ideal world, a DCP would be created using content at the same
3158 video frame and audio sampling rates as the DCP. This is not,
3159 however, always possible.
3163 <!-- ============================================================== -->
3165 <title>DCP frame rate limitations</title>
3168 There are some limitations to video and audio frame rates in DCPs. This is
3169 complicated by the fact that not all projectors will play DCPs at the
3170 same frame rates. It is possible to create a DCP which one projector will
3171 play fine, but another (of a different type) will refuse to play.
3175 <!-- ============================================================== -->
3177 <title>Guaranteed rates</title>
3180 The only rates that are guaranteed to work on all DCI projectors are
3181 24 frames per second (fps) for video and 48kHz for audio. If you are
3182 sending DCPs to unknown places it is wise to consider using these
3183 rates if at all possible.
3189 <!-- ============================================================== -->
3191 <title>Other often-supported rates</title>
3193 Many projectors now in the wild support additional video frame rates:
3194 25, 30, 48, 50 and 60 fps.
3199 <!-- ============================================================== -->
3201 <title>Adapting content to fit the DCP rate</title>
3204 DCP-o-matic has a few tricks to allow you to use content that is not
3205 in one of the ‘approved’ rates.
3209 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
3210 with minimal loss in quality.
3214 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
3215 with a non-supported content rate is to run it at the wrong speed, and
3216 to adjust the audio to keep it in sync.
3219 <para>Let us consider the example of a 25fps source for which you want
3220 to create a 24fps DCP. DCP-o-matic will put the frames from the
3221 source directly into the DCP without modification, but will tell the
3222 projector to play them back at 24fps. This means that the DCP's video
3223 will run slightly slower than the original.
3227 If DCP-o-matic did nothing else, the result of this would be that the
3228 audio would be running at the original speed with the video running
3229 slowly. Hence the audio would drift slowly out of sync. To avoid
3230 this, DCP-o-matic also resamples the audio such that the projector
3231 will play it too slow by the same amount. Hence it will sound
3232 slightly different but will remain in sync with the video.
3236 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
3243 <!-- ============================================================== -->
3245 <title>Setting up</title>
3248 The <guilabel>Frame Rate</guilabel> control in the
3249 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
3250 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
3251 what DCP-o-matic thinks is the best for your content. With this
3252 button, DCP-o-matic assumes that the most commonly-working frame rates (24,
3253 25 and 30fps) are allowed.
3257 After this, the <guilabel>Video</guilabel> tab for each piece of
3258 content will give a summary of what DCP-o-matic is doing with that
3263 If you want to experiment with other non-standard frame rates, you can
3264 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
3265 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
3266 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
3267 use this only on your own equipment, and only for experimentation
3276 <!-- ============================================================== -->
3277 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
3278 <title>Encoding servers</title>
3281 One way to increase the speed of DCP encoding is to use more
3282 than one machine at the same time. An instance of DCP-o-matic can
3283 offload some of the time-consuming JPEG2000 encoding to any number of
3284 other machines on a network. To do this, one ‘master’
3285 machine runs DCP-o-matic, and the ‘server’ machines run
3286 a small program called <code>dcpomatic_server</code>.
3290 The master and server machines do not need to be the same type, so you
3291 can mix Windows PCs, Macs and Linux machines as you wish.
3295 <!-- ============================================================== -->
3297 <title>Running the servers</title>
3300 There are two options for the encoding server;
3301 <code>dcpomatic_server_cli</code>, which runs on the command line, and
3302 <code>dcpomatic_server</code>, which has a simple GUI. The command line
3303 version is well-suited to headless servers, especially on Linux, and
3304 the GUI version works best on Windows where it will put an icon in the
3309 To run the command line version, simply enter:
3313 dcpomatic2_server_cli
3317 at a command prompt. If you are running the program on a machine with
3318 a multi-core processor, you can run multiple parallel encoding threads
3319 by doing something like:
3323 dcpomatic2_server_cli -t 4
3327 to run 4 threads in parallel.
3331 To run the GUI version on windows, run the ‘DCP-o-matic encode
3332 server’ from the start menu. An icon will appear in the system
3333 tray; right-click it to open a menu from whence you can quit the
3334 server or open a window to show its status.
3337 <para>If you would rather not bother installing DCP-o-matic on your
3338 server computers, the other option is to use the live-CD
3339 image that you can download from the <ulink
3340 url="https://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
3342 <para>Either burn the image to CD, or write it to a USB stick (using
3343 something like <ulink
3344 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
3345 PC from the CD or USB stick and it becomes a DCP-o-matic server
3346 without touching your standard operating system install.
3351 <!-- ============================================================== -->
3353 <title>Setting up DCP-o-matic</title>
3356 DCP-o-matic periodically looks on the local network for servers. Any
3357 that it finds are given work to do during encodes. Selecting
3358 <guilabel>Encoding Servers</guilabel> from the
3359 <guilabel>Tools</guilabel> menu brings up a window which shows that
3360 servers that DCP-o-matic has found.
3365 <!-- ============================================================== -->
3367 <title>Some notes about encode servers</title>
3370 DCP-o-matic does not mind if servers come and go; if a server
3371 disappears, DCP-o-matic will stop sending work to it, and will check
3372 it every minute or so in case it has come back online.
3376 You will probably find that using a 1Gb/s or faster network will
3377 provide a significant speed-up compared to a 100Mb/s network.
3384 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3385 <title>Generated files</title>
3388 DCP-o-matic generates a number of files as it makes a DCP. <xref
3389 linkend="fig-file-structure"/> shows the files that might be generated
3390 after you have created a DCP for a film called ‘DCP Test’.
3393 <figure id="fig-file-structure">
3394 <title>Creating a new film</title>
3397 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
3403 The <code>DCP Test</code> folder is the one that you specify when you
3404 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
3405 menu. Everything is stored inside this folder.
3409 DCP-o-matic generates some working files as it goes along. These are as follows:
3412 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
3413 along. This can be useful for debugging purposes if something goes
3416 <listitem><code>metadata</code> stores the settings that you have made
3417 for this film: things like cropping, output format and so on.</listitem>
3419 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
3420 video data as it encodes it.</listitem>
3422 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
3424 <listitem><code>info</code> contains details of each video frame that
3425 DCP-o-matic has written so far. This is used when an encoding
3426 operation is interrupted and DCP-o-matic must resume it.</listitem>
3431 Following this is the DCP itself:
3432 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
3433 contains some small XML files, which describe the DCP, and two large
3434 MXF files, which contain the DCP's audio and video data. It may also
3435 contain subtitles in either XML or MXF format. This folder
3436 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
3437 to the cinema which is showing your DCP.
3444 <title>Command-line tools</title>
3447 DCP-o-matic includes some tools which allow DCP creation from the
3448 command line or from scripting languages. This chapter covers the
3453 There are three command-line tools in DCP-o-matic.
3454 <code>dcpomatic2_create</code> creates film directories, with the
3455 associated metadata, from a list of content files. Then
3456 <code>dcpomatic2_cli</code> runs the transcode process on these
3457 film directories. Finally, <code>dcpomatic2_kdm_cli</code> can be
3458 used to create KDMs.
3462 Some applications will benefit from setting up the films using the
3463 main DCP-o-matic GUI and then using <code>dcpomatic2_cli</code> to
3464 do the encode. This allows, for example, setup on a relatively
3465 low-powered machine before running the encode on a higher-powered
3470 <title><code>dcpomatic2_create</code></title>
3473 The syntax for <code>dcpomatic2_create</code> is:
3477 <code>dcpomatic2_create [OPTION] <CONTENT> [[OPTION] <CONTENT> ...]</code>
3481 <code>[CONTENT]</code> are the files or folders that you want to use in the
3484 <listitem>‘Movie’ files in almost any common format (e.g. MP4, MOV, MKV, etc.)</listitem>
3485 <listitem>A folder containing and image sequence in almost any common format (e.g. TIFF, DPX etc.)</listitem>
3486 <listitem>Sound files (e.g. WAV, MP3, AIFF)</listitem>
3487 <listitem>Subtitles files (e.g. <code>.srt</code>, DCP XML, <code>.ssa</code> etc.)</listitem>
3495 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_create.xml"/>
3498 For example, to setup a film using a MP4 file you might do:
3502 <code>dcpomatic2_create -o my_film --container-ratio 185 --content-ratio 185 -c FTR -n "My Film" Stuff.mp4</code>
3506 This will create a folder called <code>my_film</code> which is ready for a DCP to be made by <code>dcpomatic2_cli</code>.
3510 <code>dcpomatic2_create</code> will use any default settings that you have configured in the main DCP-o-matic preferences.
3515 <title><code>dcpomatic2_cli</code></title>
3518 The syntax for <code>dcpomatic2_cli</code> is:
3522 <code>dcpomatic2_cli [OPTION] [FILM]</code>
3525 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_cli.xml"/>
3528 For example, to encode a film called <code>my_film</code> you might do:
3532 <code>dcpomatic2_cli my_film</code>
3537 <title><code>dcpomatic2_kdm_cli</code></title>
3540 The syntax for <code>dcpomatic2_kdm_cli</code> is:
3544 <code>dcpomatic2_kdm_cli [OPTION] <FILM|CPL-ID></code>
3547 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_kdm_cli.xml"/>
3554 <!-- ============================================================== -->
3556 <title>Loose ends</title>
3559 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
3563 <!-- ============================================================== -->
3565 <title>Resuming encodes</title>
3568 If you cancel a DCP encoding run half-way through, or your computer
3569 crashes... fear not. DCP-o-matic takes care to ensure that, in most
3570 cases, it can resume encoding from where it left off. When you
3571 re-start a DCP creation, using the same settings are a previous run,
3572 DCP-o-matic will first check that the existing picture frames are
3573 correct, and then resume from where it left off. The checking of
3574 existing frames does take some time, but it is much faster than
3575 running a full re-encode.
3579 This resumption is achieved by writing a digest (hash) to disk for
3580 every image frame that is written. On resumption, the existing MXF
3581 file for image data is read and its contents checked against the
3589 <!-- ============================================================== -->
3590 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3591 <title>Common tasks</title>
3594 This chapter describes how to carry out some commonly-required tasks
3595 with DCP-o-matic. The full details are elsewhere in the manual: here
3596 we just discuss different approaches to these tasks and how to carry
3601 <title>Adding subtitles to an existing DCP</title>
3604 You have three options:
3608 <listitem>Make a “Version File” (VF) DCP.</listitem>
3609 <listitem>Make a complete DCP with projector-added subtitles.</listitem>
3610 <listitem>Make a complete DCP with burnt-in subtitles.</listitem>
3614 Making a VF DCP is usually the best option. This will be a very small
3615 DCP which contains only the subtitles: it refers to your existing DCP
3616 for the picture and sound. The projectionist will ingest both the
3617 existing and VF DCPs and play back the VF. The advantages of this
3618 approach are that the VF is very quick to generate, and small in size,
3619 making it easy to distribute. This is especially useful if you have
3620 to make VF DCPs in many different languages.
3624 Making a complete DCP with projector-added subtitles gives you a new,
3625 single DCP which the projectionist can ingest and play. It will be
3626 the same size as your existing DCP, and fairly quick to create. This
3627 approach relies on the projector (or server) to create the subtitles
3628 and overlay them on the image, which mostly works well but is not
3629 100% reliable.
3633 Making a complete DCP with burnt-in subtitles gives you a new, single DCP
3634 but with the subtitles rendered by DCP-o-matic and copied into your
3635 image. This is slower to create than a DCP with projector-added
3636 subtitles as every video frame with a subtitle must be re-encoded.
3637 The advantage of this approach is that it is less likely to go wrong,
3638 especially if you are using unusual subtitle positioning or character
3643 <title>Making a VF DCP</title>
3646 <listitem>Start a new DCP-o-matic film.</listitem>
3647 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3648 <listitem>Go to the <guilabel>DCP</guilabel> tab and choose <guilabel>Split by video content</guilabel> for <guilabel>Reel type</guilabel>.</listitem>
3649 <listitem>Go to the <guilabel>Video</guilabel> and
3650 <guilabel>Audio</guilabel> tabs in turn and tick the <guilabel>Use this DCP's audio as OV and make VF</guilabel> checkboxes.</listitem>
3651 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3652 <listitem>Check the subtitle appearance in the preview; it will be
3653 slow to respond as it is having to decompress images from the existing
3655 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3661 <title>Making a complete DCP with projector-added subtitles</title>
3664 <listitem>Start a new DCP-o-matic film.</listitem>
3665 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3666 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3667 <listitem>Check the subtitle appearance in the preview; it will be
3668 slow to respond as it is having to decompress images from the existing
3669 DCP. Adjust the appearance using controls in the
3670 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3671 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3677 <title>Making a complete DCP with burnt-in subtitles</title>
3680 <listitem>Start a new DCP-o-matic film.</listitem>
3681 <listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
3682 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3683 <listitem>Go to the <guilabel>Subtitle</guilabel> tab and tick the <guilabel>Burn subtitles into image</guilabel> checkbox.</listitem>
3684 <listitem>Check the subtitle appearance in the preview; it will be
3685 slow to respond as it is having to decompress images from the existing
3686 DCP. Adjust the appearance using controls in the
3687 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3688 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3695 <title>Adding soundtracks or subtitles in different languages</title>
3698 If you have a film that is to be dubbed or subtitled in several
3699 languages, the best approach with DCP-o-matic is as follows:
3703 <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>
3704 <listitem>For each language, make a new Version File (VF) DCP which refers to the OV.</listitem>
3708 Once you have done this, you send the OV DCP to every cinema and then
3709 the appropriate VF to each cinema depending on what language they want
3710 to play the film in. The projectionist ingests both DCPs and then plays the VF.
3714 The advantage of this approach is that the VF DCPs are much smaller
3715 than the OV since they only have the language-specific parts. If you
3716 are just changing the subtitles you can often ship the OV by normal
3717 transport means (e.g. a hard drive or high-speed download) and send
3722 The full details of OV and VF files are discussed in <xref linkend="sec-overlay"/>. The steps can be summarised as follows:
3726 <listitem>Create a new DCP-o-matic project for the OV, as normal, adding video and perhaps sound. Make the DCP.</listitem>
3727 <listitem>Create a new DCP-o-matic project for the VF.</listitem>
3728 <listitem>Use <guilabel>Add folder...</guilabel> to add your OV DCP to the project.</listitem>
3729 <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>
3730 <listitem>Do the same in the <guilabel>Audio</guilabel> tab if your OV has audio.</listitem>
3731 <listitem>Add your language-specific audio and/or subtitles and Make DCP.</listitem>
3738 <chapter xml:id="ch-player" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3739 <title>Playing and verifying DCPs</title>
3741 <para>DCP-o-matic includes a DCP player, and although it requires a
3742 very high-speed CPU to play DCPs in full resolution, it can also
3743 play DCPs at reduced resolutions with slower CPUs.</para>
3745 <para>To use the player, start <guilabel>DCP-o-matic
3746 Player</guilabel>, and load a DCP using the
3747 <guilabel>Open</guilabel> option on the <guilabel>File</guilabel>
3750 <para>If you load a VF and/or encrypted DCP you can add your OV
3751 and/or KDM using the appropriate options on the
3752 <guilabel>File</guilabel> menu.</para>
3754 <para>During playback the <guilabel>Performance</guilabel> area at
3755 the bottom right of the window will give details of how many frames
3756 are being dropped; these are frames that were not decoded from the
3757 DCP quickly enough. If this number is high you can increase
3758 performance at the cost of rendering quality by choosing an option
3759 from the <guilabel>View</guilabel> menu. If you set the player to
3760 decode at less than full resolution the DCP's data will be decoded
3761 at this lower resolution, which is quicker than decoding at full
3766 The player also offers a simple DCP validator. To check a DCP,
3767 open it and then select <guilabel>Verify DCP</guilabel> from the
3768 <guilabel>Tools</guilabel> menu. This will run some basic checks to see if the DCP meets the required standards.
3773 <!-- ============================================================== -->
3774 <chapter xml:id="ch-config" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3775 <title>Configuration files</title>
3777 <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>
3780 <listitem>Windows: <code>c:\Users\your_user_name\AppData\Local\dcpomatic</code></listitem>
3781 <listitem>OS X: <code>/Users/your_user_Name/Library/Preferences/com.dcpomatic/2</code></listitem>
3782 <listitem>Linux: <code>~/.config/dcpomatic2</code></listitem>
3785 <para>Possible XML tags are as follows:</para>
3787 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="config.xml"/>
3793 <!-- LocalWords: dbcent DCP matic Hetherington DCPs KDMs GPL XP sid
3795 <!-- LocalWords: matic's jessie Tahr Xenial Xerus Centos Mageia GTK
3797 <!-- LocalWords: Karner FFmpeg libsndfile libsamplerate OpenSSL waf
3799 <!-- LocalWords: libopenjpeg libssh wxWidgets libxml xmlsec libzip
3801 <!-- LocalWords: asdcplib libdcp libsub libcxml sstream sudo Sintel
3803 <!-- LocalWords: dcpomatic TMS SCP timecode DCP's unencrypted OV Gb
3805 <!-- LocalWords: Decrypting KDM decrypt decrypted MOV VOB WAV AIFF
3807 <!-- LocalWords: PNG srt ssa xml wav Lfe XYZ colourspace sRGB RGB
3809 <!-- LocalWords: colourspaces pdf fader CP Doremi CaptiView SubRip
3811 <!-- LocalWords: SubStation BluRay
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