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11 <book xmlns="http://docbook.org/ns/docbook" xmlns:mml="http://www.w3.org/1998/Math/MathML" version="5.0" xml:lang="en">
14 <title>DCP-o-matic users' manual</title>
15 <author><firstname>Carl</firstname><surname>Hetherington</surname></author>
18 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
19 <title>Introduction</title>
22 Hello, and welcome to DCP-o-matic!
25 <!-- ============================================================== -->
27 <title>What is DCP-o-matic?</title>
30 DCP-o-matic is a program to generate <ulink
31 url="http://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
32 Cinema Packages</ulink> (DCPs) from almost any video, audio and/or
33 subtitle source files. The resulting DCPs will play on modern digital
40 <!-- ============================================================== -->
42 <title>Licence</title>
45 DCP-o-matic is free and open-source and is licensed under the <ulink
46 url="http://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
53 <!-- ============================================================== -->
55 <title>Acknowledgements</title>
58 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
65 <!-- ============================================================== -->
66 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
67 <title>Installation</title>
70 <!-- ============================================================== -->
72 <title>Windows</title>
75 To install DCP-o-matic on Windows, download the installer from
76 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
77 and double-click it. Click through the installer wizard, and
78 DCP-o-matic will be installed onto your machine.
82 If you are using a 32-bit version of Windows, you will need the 32-bit
83 installer. For 64-bit Windows, either installer will work, but I
84 suggest you used the 64-bit version as it will allow DCP-o-matic to
85 use more memory. You may find that DCP-o-matic crashes if you run
86 many parallel encoding threads (more than 4) on the 32-bit
93 <!-- ============================================================== -->
95 <title>Mac OS X</title>
98 DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
99 higher. To install it, download the <code>.dmg</code> from <ulink
100 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink> and double
101 click to open it. Then drag the DCP-o-matic icon to your
102 <guilabel>Applications</guilabel> folder or wherever else you would
108 <!-- ============================================================== -->
110 <title>Debian or Ubuntu Linux</title>
113 You can install DCP-o-matic on:
117 <listitem>Debian 7 (‘wheezy’)</listitem>
118 <listitem>Debian 8 (‘jessie’)</listitem>
119 <listitem>Debian unstable (‘sid’)</listitem>
120 <listitem>Ubuntu 12.04 (‘Precise Pangolin’)</listitem>
121 <listitem>Ubuntu 14.04 (‘Trusty Tahr’)</listitem>
122 <listitem>Ubuntu 15.04 (‘Vivid Vervet’)</listitem>
123 <listitem>Ubuntu 15.10 (‘Wily Werewolf’)</listitem>
127 using <code>.deb</code> packages: download the appropriate package
128 from <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
129 and double-click it. Debian or Ubuntu will install the necessary bits and
130 pieces and set DCP-o-matic up for you.
133 <!-- ============================================================== -->
136 <!-- ============================================================== -->
138 <title>Fedora Linux</title>
140 <para>There are <code>.rpm</code> packages for Fedora 22 and 23 on
141 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
144 <!-- ============================================================== -->
147 <!-- ============================================================== -->
149 <title>Centos Linux</title>
150 <para>There are <code>.rpm</code> packages for Centos 6.5 and 7 on
151 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
154 <!-- ============================================================== -->
157 <!-- ============================================================== -->
159 <title>Arch Linux</title>
161 Packages for Arch Linux are available from <ulink
162 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
163 thanks to Stefan Karner.
168 <!-- ============================================================== -->
170 <title>Other Linux distributions</title>
173 Installation on other Linux systems (for which no packages are
174 available) is quite hard; you will have to compile it from source. If
175 you are using distribution for which no packages are available, do let
176 me know by <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I
177 will look into providing packages on the website.
181 The following dependencies are required:
183 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
184 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
185 <listitem><ulink url="http://www.mega-nerd.com/SRC/">libsamplerate</ulink></listitem>
186 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
187 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
188 <listitem><ulink url="http://www.imagemagick.org/script/index.php">ImageMagick</ulink></listitem>
189 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
190 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
191 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
192 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
193 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
194 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
195 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
196 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
197 <listitem><ulink url="http://carlh.net/libdcp/">libdcp</ulink></listitem>
198 <listitem><ulink url="http://carlh.net/libsub/">libsub</ulink></listitem>
199 <listitem><ulink url="http://carlh.net/libcxml/">libcxml</ulink></listitem>
200 <listitem><ulink url="http://site.icu-project.org">libicu</ulink></listitem>
205 Once you have installed the development packages for the dependencies,
206 download the source code from <ulink
207 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>,
208 unpack it and run the following commands from inside the source
219 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
234 <!-- ============================================================== -->
235 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
236 <title>Creating a video DCP</title>
239 In this chapter we will see how to create a video DCP using
240 DCP-o-matic. We will gloss over the details and look at the basics.
244 <title>Creating a new film</title>
247 Let's make a very simple DCP to see how DCP-o-matic works. First, we
248 need some content. Download the low-resolution trailer for the open
249 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
250 url="http://ftp.nluug.nl/ftp/graphics/blender/apricot/trailer/Sintel_Trailer1.480p.DivX_Plus_HD.mkv">their
251 website</ulink>. Generally, of course, one would want to use the
252 highest-resolution material available, but for this test we will use
253 the low-resolution version to save everyone's bandwidth bills.
257 Now, start DCP-o-matic and its window will open. First, we will
258 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
259 some pieces of content, along with some settings, which we will make into
260 a DCP. DCP-o-matic stores its data in a folder on your disk while it
261 creates the DCP. You can create a new film by selecting
262 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
263 shown in <xref linkend="fig-file-new"/>.
266 <figure id="fig-file-new">
267 <title>Creating a new film</title>
270 <imagedata fileref="screenshots/file-new&scs;"/>
276 This will open a dialogue box for the new film, as shown in <xref
277 linkend="fig-video-new-film"/>.
280 <figure id="fig-video-new-film">
281 <title>Dialogue box for creating a new film</title>
284 <imagedata fileref="screenshots/video-new-film&scs;"/>
290 In this dialogue box you can choose a name for the film. This will be
291 used to name the folder to store its data in, and also as the initial
292 name for the DCP itself. You can also choose whereabouts you want to create
293 the film. In the example from the figure, DCP-o-matic will create a
294 folder called ‘DCP Test’ inside my home folder (carl) into which it
295 will write its working files.
301 <!-- ============================================================== -->
303 <title>Adding content</title>
306 The next step is to add the content that you want to use. DCP-o-matic
307 can make DCPs from multiple pieces of content, but in this simple
308 example we will just use a single piece. Click the <guilabel>Add
309 file(s)...</guilabel> button, as shown in <xref
310 linkend="fig-add-file"/>, and a file chooser will open for you to
311 select the content file to use, as shown in <xref
312 linkend="fig-video-select-content-file"/>.
315 <figure id="fig-add-file">
316 <title>Adding content files</title>
319 <imagedata fileref="screenshots/add-file&scs;"/>
324 <figure id="fig-video-select-content-file">
325 <title>Selecting a video content file</title>
328 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
334 Select your content file and click <guilabel>Open</guilabel>. In this
335 case we are using the Sintel trailer that we downloaded earlier.
339 When you do this, DCP-o-matic will take a look at your file. After a
340 short while (when the progress bar at the bottom right of the window
341 has finished), you can look through your content using the slider to
342 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
345 <figure id="fig-examine-content">
346 <title>Examining the content</title>
349 <imagedata fileref="screenshots/examine-content&scs;"/>
355 Dragging the slider will move through your video. You can also click
356 the <guilabel>Play</guilabel> button to play the content back. <emphasis>Note
357 that there will be no sound</emphasis>, and playback might not be entirely
358 accurate (it may be slightly slower or faster than it should be, for
359 example). This player is really only intended for brief inspection of
360 content; if you need to check it more thoroughly, use another player
362 url="http://projects.gnome.org/totem/index.html">Totem</ulink>, <ulink
363 url="http://www.mplayerhq.hu/design7/news.html">mplayer</ulink> or
364 <ulink url="http://www.videolan.org/vlc/index.html">VLC</ulink>.
372 <!-- ============================================================== -->
374 <title>Making the DCP</title>
376 <para>In most cases, some adjustments would be made to DCP-o-matic's
377 settings once the content has been added. For our simple test,
378 however, the default values will suffice, so we can go straight onto
379 making the DCP.</para>
382 Choose <guilabel>Make DCP</guilabel> from the
383 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
384 This may take some time (many hours in some cases). While the job is
385 in progress, DCP-o-matic will update you on how it is getting on with
386 the progress bar in the bottom of its window, as shown in <xref
387 linkend="fig-making-dcp"/>.
390 <figure id="fig-making-dcp">
391 <title>Making the DCP</title>
394 <imagedata scale="50" fileref="screenshots/making-dcp&scs;"/>
400 When it has finished, the DCP will end up on your disk inside the
401 film's folder. You can then copy this to a projector via a USB
402 stick, hard-drive or network connection. See <xref
403 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
407 Alternatively, if you have a projector or Theatre Management System
408 (TMS) that is accessible via SCP across your network, you can upload
409 the content directly from DCP-o-matic. See the <xref
410 linkend="sec-prefs-tms" endterm="sec-prefs-tms-short"/> in <xref linkend="sec-prefs-tms"/>.
417 <!-- ============================================================== -->
418 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
419 <title>Creating a still-image DCP</title>
422 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
423 for an advertisement or an on-screen announcement. This chapter shows you
428 As with video DCPs, the first step is to create a new
429 ‘Film’; select <guilabel>New</guilabel> from the
430 <guilabel>File</guilabel> menu and the new film dialogue will open as
431 shown in <xref linkend="fig-still-new-film"/>.
434 <figure id="fig-still-new-film">
435 <title>Dialogue box for creating a new film</title>
438 <imagedata fileref="screenshots/still-new-film&scs;"/>
444 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
445 the content. As before, click <guilabel>Add file(s)...</guilabel>.
446 For our example, we will add a single image file, as shown in <xref
447 linkend="fig-still-select-content-file"/>.
450 <figure id="fig-still-select-content-file">
451 <title>Selecting a still content file</title>
454 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
460 As with video DCPs, most of the default settings will be fine for a
461 simple test. The one thing that you might wish to change is the
462 length of the still. Select the <guilabel>Timing</guilabel> tab and
463 you will see a <guilabel>Play length</guilabel> setting, as shown in <xref
464 linkend="fig-timing-tab"/>.
467 <figure id="fig-timing-tab">
468 <title>The timing tab</title>
471 <imagedata fileref="screenshots/timing-tab&scs;"/>
477 This length is a ‘timecode’: it consists of four numbers.
478 The first is hours, the second minutes, the third seconds, and the
479 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
483 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
484 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
485 be much quicker than creating a video DCP, as DCP-o-matic only needs
486 to encode a single frame which it can then repeat.
492 <!-- ============================================================== -->
493 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
494 <title>Manipulating existing DCPs</title>
497 Frequently DCP-o-matic is used to take content in formats such as MP4
498 and convert it to JPEG2000 for a DCP. Alternatively, it can be used
499 to take existing DCPs and modify them in various ways.
503 <title>Importing a DCP into DCP-o-matic</title>
506 If you want to do something to an existing DCP the first step is to
507 import it. Click <guilabel>Add folder...</guilabel> and select your
508 DCP's folder. It will be added to the DCP-o-matic project. If the
509 DCP is unencrypted you can preview it in the normal way, though
510 playback will be very slow as decoding of DCPs is almost as
511 computationally intensive as encoding them.
518 <title>Decrypting encrypted DCPs</title>
521 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
522 details). If you import an encrypted DCP you will need a key, in the
523 form of a Key Delivery Message (KDM), to decrypt it.
527 KDMs must be prepared by the organisation which created the DCP. They
528 contain the keys to decrypt the DCP wrapped up in such a way that only
529 the intended recipient can read them. You will need to provide the
530 organisation with a certificate which identifies your copy of
531 DCP-o-matic and allows them to create a KDM for you.
535 To get DCP-o-matic's decryption certificate, open the Preferences
536 dialogue (see <xref linkend="ch-preferences"/>) and go to the
537 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
538 decryption certificate...</guilabel> button at the bottom of this tab
539 and save the certificate. Send this certificate to the DCP creators
540 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
544 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
545 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and (all
546 being well) the DCP will be decrypted and become available for preview.
553 <title>Making a DCP from a DCP</title>
556 In many ways, using DCPs as <emphasis>content</emphasis> in
557 DCP-o-matic is the same as using any other content. There are a few
558 things to note, though.
563 <title>Re-use of existing data</title>
566 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
567 data from DCP content without modification. This has the advantage
568 that creation of the new DCP will be quick, as the time-consuming
569 JPEG2000 encoding is not necessary.
573 DCP-o-matic can do this if you avoid changes to the following content
578 <listitem>Crop</listitem>
579 <listitem>Scaling</listitem>
580 <listitem>Subtitle burn-in</listitem>
581 <listitem>Fades</listitem>
582 <listitem>Colour conversion</listitem>
586 If you do change any of these settings on a piece of DCP content
587 DCP-o-matic will decode and then re-encode the JPEG2000 data.
594 <title>Making overlay files</title>
597 With its default settings, DCP-o-matic will take any data from DCP
598 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
601 <figure id="fig-dcp-copy">
602 <title>Creating a new DCP by copying an existing one</title>
603 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
607 This can be inefficient in some cases. Consider, for example, a film
608 which has ten different translations for which the subtitles are
609 different but video and audio are the same. If the video and audio
610 content takes up, say, 100Gb this means that the set of DCPs for every
611 translation would be about 1Tb with a lot of duplicated data.
615 The DCP format has a solution to this problem. One DCP can refer to
616 the ‘assets’ (picture, sound or subtitle) of another DCP.
617 For our translation example this means that we could have a
618 ‘base’ DCP (often called the OV or Original Version)
619 containing video, audio and one set of subtitles and then any number
620 of overlay DCPs (often called VF or Version Files) which refer to the
621 base version and replace the original subtitles with their own. <xref
622 linkend="fig-dcp-refer"/> shows this principle for one of our
623 translations. The DCP that we make refers to the original content
624 DCP's video and audio rather than containing a copy.
627 <figure id="fig-dcp-refer">
628 <title>Creating a new DCP by referring to an existing one</title>
629 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
633 To play back the subtitled DCP the projectionist ingests both the base
634 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
638 To make a DCP like this:
642 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
643 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
644 <listitem>Select the DCP in the content list</listitem>
645 <listitem>Tick the <guilabel>Refer to existing DCP</guilabel> checkbox
646 in the tabs for the parts of the DCP that you want to refer to in your
647 new DCP. For example, to refer to the ‘Content DCP’'s video and audio you would select the <guilabel>Video</guilabel> tab, click <guilabel>Refer to existing DCP</guilabel> then select the <guilabel>Audio</guilabel> tab and do the same.</listitem>
648 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
658 <!-- ============================================================== -->
661 <!-- ============================================================== -->
662 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
663 <title>Content settings</title>
666 The previous chapters showed DCP generation using the default
667 settings. DCP-o-matic offers a range of features to adjust the
668 content that goes into your DCP, and this chapter describes those
673 <title>Adding and removing content</title>
676 At the top of the <guilabel>Content</guilabel> tab is a list of the
677 content that will go into our DCP. There can be as many pieces of
678 content as you like, and they can be of the following types:
682 <listitem>Movie — a file containing some video, probably some
683 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
686 <listitem>Sound — a file containing one or more channels of
687 audio; for example, a WAV or AIFF file.
690 <listitem>Still image — a file containing a single still image; for
691 example, a JPEG, PNG or TIFF file.
694 <listitem>Moving image — a directory containing many still
695 images which should be treated as the frames of a video.
698 <listitem>Subtitle — a file containing subtitle which will be
699 superimposed on the image of the DCP. These can be
700 <guilabel>.srt</guilabel> or <guilabel>.xml</guilabel>
703 <listitem>DCP — an existing DCP.</listitem>
707 To add one or more movie, sound, still-image or subtitle files, select
708 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
712 To add a directory (folder) of images or a DCP, choose <guilabel>Add
713 folder...</guilabel> and choose the directory from the selector. If
714 you select a folder of images DCP-o-matic will open a small dialogue
715 box where you can enter the frame rate that the image sequence should
720 You can remove a piece of content by clicking on its name and then
721 clicking the <guilabel>Remove</guilabel> button.
726 <!-- ============================================================== -->
728 <title>Adding existing DCPs</title>
730 <para>Adding existing DCPs to a DCP-o-matic film is a little different
731 to adding other types of content. Most content has to be converted to
732 JPEG2000, the compression scheme used by DCPs, which is a very
733 time-consuming process. Existing DCPs are already in JPEG2000 format
734 so do not require conversion. This means that, provided no settings
735 such as crop are used on the DCP content, picture and sound data will
736 be passed from existing to new DCP unaltered.
739 <para>Encrypted DCPs that are added as content will require a KDM
740 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
741 should ask the creator of the imported DCP to provide a KDM for
742 DCP-o-matic's decryption certificate, which can be obtained by
743 clicking <guilabel>Export DCP decryption certificate...</guilabel>
744 from the <guilabel>Keys</guilabel> tab of the
745 <guilabel>Preferences</guilabel> dialog (see <xref
746 linkend="sec-prefs-keys"/>).
751 <!-- ============================================================== -->
753 <title>Content Properties</title>
756 Below the content list are the controls to set content properties. To
757 adjust the properties for a piece of content, click its name in the
758 content list. The content property controls will then become active
759 for that piece of content.
763 If you want to change the properties for multiple pieces of content at
764 the same time, select the content in the list by clicking the first
765 piece then clicking the other pieces with <keycap>shift</keycap> key
766 held down. Note that not all settings can be changed in this way.
770 The content properties are split up into four sections:
771 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
772 <guilabel>Subtitles</guilabel> and <guilabel>Timing</guilabel>. Not
773 all of these sections will be active for all content types. The controls
774 in each section are described below.
780 <!-- ============================================================== -->
785 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
788 <figure id="fig-video-tab">
789 <title>Video settings tab</title>
792 <imagedata fileref="screenshots/video-tab&scs;"/>
798 <!-- ============================================================== -->
800 <title>Image type</title>
803 The first option on this tab is the ‘type’ of the video.
804 This specifies how DCP-o-matic should interpret the video's image.
805 <guilabel>2D</guilabel> is the default; this just takes the video
806 image as a standard 2D frame. The <guilabel>3D
807 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
808 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
811 <figure id="fig-3d-left-right">
812 <title>3D left/right image type</title>
815 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
821 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
822 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
823 linkend="fig-3d-top-bottom"/>.
826 <figure id="fig-3d-top-bottom">
827 <title>3D top/bottom image type</title>
830 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
836 Another option is <guilabel>3D alternate</guilabel> which takes the
837 first frame of the content as for the left eye, the second for the
838 right eye, the third for the left, and so on. Finally, you can
839 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
840 only</guilabel> if this content contains only the the left or right
841 eye images. This is useful when you have the left and right eye image
842 sets in different files; you can specify one content as <guilabel>3D
843 left only</guilabel> and another as <guilabel>3D right only</guilabel>
844 and DCP-o-matic will pick up the appropriate frames from each.
850 <!-- ============================================================== -->
852 <title>Filtering</title>
855 The ‘filters’ settings allow you to apply various video
856 filters to the image. These may be useful to try to improve
857 poor-quality sources like DVDs. You can set up the filters by clicking the
858 <guilabel>Edit</guilabel> button next to the filters entry in the
859 setup area of the DCP-o-matic window; this opens the filters selector
860 as shown in <xref linkend="fig-filters"/>.
863 <figure id="fig-filters">
864 <title>Filters selector</title>
867 <imagedata fileref="screenshots/filters&scs;"/>
873 After changing the filters setup, you will need to regenerate the DCP
874 to see the effect on the cinema screen. The preview in DCP-o-matic
875 will update itself whenever filters are changed, though of course this
876 image is much smaller and of lower resolution than a projected image!
882 <!-- ============================================================== -->
884 <title>Colour conversion</title>
887 The <guilabel>Colour conversion</guilabel> setting specifies what
888 colour transforms and gamma correction DCP-o-matic will use when
889 converting the selected content into the XYZ colourspace for the DCP.
893 The easiest way to select the required conversion is to choose one of
894 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
895 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
896 know which preset you should use, refer to the suggestions in <xref
897 linkend="tab-colour-conversion"/>.
900 <table id="tab-colour-conversion">
901 <title>Suggested colour conversion settings</title>
902 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
903 <colspec colwidth='1*'/>
904 <colspec colwidth='5*'/>
907 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs</entry>.
910 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
913 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
916 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
923 For other required colour conversions, and if you know what you are
924 doing, you can choose <guilabel>Custom</guilabel> which will open the full
925 colour conversion editing dialogue box:
928 <figure id="fig-colour-conversion">
929 <title>Dialogue box for custom colour conversion</title>
932 <imagedata fileref="screenshots/colour-conversion&scs;"/>
938 Alternatively, choose <guilabel>None</guilabel> if your source files
939 are already in the XYZ colour space and require no conversion.
943 DCP-o-matic's colour conversion processes are discussed in much more
944 detail in a separate document <ulink
945 url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
950 <!-- ============================================================== -->
952 <title>Other settings</title>
955 The <guilabel>crop</guilabel> settings can be used to crop your content,
956 which can be used to remove black borders from round the edges of DVD
957 images, for example. The specified number of pixels will be trimmed
958 from each edge, and the content image in the right of the window will
959 be updated to show the effect of the crop.
963 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
964 settings can be used to apply linear fades into and out of a piece of
965 content. Specify the time for each, clicking <guilabel>Set</guilabel>
966 after making any changes.
970 The <guilabel>Scale to</guilabel> option governs the shape that
971 DCP-o-matic will scale the content's image into. Select the aspect
972 ratio that your content should be presented in.
977 <!-- ============================================================== -->
979 <title>Video description</title>
982 At the bottom of the video tab is a short description of what will
983 happen to your video with the current settings. In the example of
984 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
985 video file is 1920x1080 pixels and it has square pixels (a pixel
986 aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since
987 the controls specify ‘16.9’ for the ratio, DCP-o-matic
988 does not scale the image but pads it to the DCP's container ratio of
989 1.85:1. For a 2K DCP this is 1998x1080 pixels.
993 This description also gives the frame rate of the content and what
994 will happen to it when it is played at the DCP's frame rate. See
995 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
996 frame-rate conversion.
1004 <!-- ============================================================== -->
1006 <title>Audio</title>
1009 The <guilabel>Audio</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-audio-tab"/>.
1012 <figure id="fig-audio-tab">
1013 <title>Audio settings tab</title>
1016 <imagedata fileref="screenshots/audio-tab&scs;"/>
1022 <!-- ============================================================== -->
1024 <title>The audio map</title>
1027 The section at the bottom of the audio tab is the ‘audio
1028 map’. This governs how sound from the content will be arranged
1033 Down the left-hand side of the map is the list of audio channels in
1034 the currently-selected piece of content. These are labelled with two
1035 numbers; the first is the stream index within the content and the
1036 second is the channel number within that stream. Some content will
1037 have different streams for different languages or audio mixes. Along
1038 the top is each channel in the DCP. A green box means that the
1039 corresponding content channel will be copied into the corresponding
1044 When content channels are copied into DCP channels they can be done
1045 with variable gain. If, for example, you want to copy a channel
1046 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1047 two channels into one, you may want to use a gain of -6dB on each one
1048 to prevent clipping when the two channels are added.
1052 The green boxes of the audio mapping view tell you (very roughly) how
1053 much gain is applied to each channel. A full-height box means 0dB
1054 (i.e. unity) gain. Any less height indicates lower gain.
1058 To map one channel to another with 0dB gain, click in the empty box
1059 and it will turn green to reflect the mapping. A second click will
1060 turn the mapping back off. To set some other gain, right-click on the
1061 box to open the gain menu. This allows you to set
1062 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1063 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1064 <guilabel>Edit</guilabel> which allows you to set the required gain
1069 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1072 <figure id="fig-audio-map-eg1">
1073 <title>Audio map example 1</title>
1076 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1082 Here, we have two channels in the source which are mapped to left and
1083 right, respectively, in the DCP. The full green boxes show that the
1084 mapping is at unity gain (0dB) in each case. Imagine that we modify
1085 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1088 <figure id="fig-audio-map-eg2">
1089 <title>Audio map example 2</title>
1092 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1098 We now have the content's streams mapped to left and right and also
1099 mixed together and placed in the DCP's centre channel. The smaller
1100 green boxes on the centre mappings show that those channels are added
1101 with some non-unity gain; you can see by hovering the mouse pointer
1102 over those boxes that the gain for content channels 1 and 2 is -6dB
1103 when being sent to the centre channel and 0dB when being sent to left
1107 <figure id="fig-audio-map-eg3">
1108 <title>Audio map example 3</title>
1111 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1117 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1118 shows the mapping of a 5.1 source into a 5.1 DCP.
1124 <!-- ============================================================== -->
1126 <title>Other controls</title>
1129 ‘Audio Gain’ is used to alter the volume of the
1130 soundtrack. The specified gain (in dB) will be applied to each sound
1131 channel of your content before it is written to the DCP.
1135 If you use a sound processor that DCP-o-matic knows about, it can help
1136 you calculate changes in gain that you should apply. Say, for
1137 example, that you make a test DCP and find that you have to run it at
1138 volume 5 instead of volume 7 to get a good sound level in the screen.
1139 If this is the case, click the <guilabel>Calculate...</guilabel>
1140 button next to the audio gain entry, and the dialogue box in <xref
1141 linkend="fig-calculate-audio-gain"/> will open.
1144 <figure id="fig-calculate-audio-gain">
1145 <title>Calculating audio gain</title>
1148 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1154 For our example, put 5 in the first box and 7 in the second and click
1155 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1156 that it should apply to make this happen. Then you can re-make the
1157 DCP (this will be reasonably fast, as the video data will already have
1158 been done) and it should play back at the correct volume with 7 on
1159 your sound-rack fader.
1163 Current versions of DCP-o-matic only know about the Dolby CP650 and
1164 CP750. If you use a different sound processor, and know the gain
1165 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1170 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1171 between audio and video. A positive delay will move the audio later
1172 with respect to the video, and a negative delay will move it earlier.
1179 <!-- ============================================================== -->
1181 <title>Subtitles</title>
1184 The subtitles tab contains settings related to subtitles in your
1185 content, as shown in <xref linkend="fig-subtitles-tab"/>.
1188 <figure id="fig-subtitles-tab">
1189 <title>Subtitle settings tab</title>
1192 <imagedata fileref="screenshots/subtitles-tab&scs;"/>
1198 DCP-o-matic will extract subtitles from the content, if present, and
1199 they can be ‘burnt into’ the DCP (that is, they are
1200 included in the image and not overlaid by the projector) or included
1201 as a separate subtitle ‘asset’ within your DCP (in which
1202 case the projector overlays them onto the image on playback). The
1203 difference between these two arrangements is illustrated by <xref
1204 linkend="fig-burn-in"/> and <xref linkend="fig-discrete"/>
1207 <figure id="fig-burn-in">
1208 <title>Burnt-in subtitles</title>
1211 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1216 <figure id="fig-discrete">
1217 <title>Separate subtitles</title>
1220 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1226 The advantage of separate subtitles is that the same video content can
1227 be used for DCPs in many different languages. This means that only a
1228 small text file needs to be changed for each target language, rather
1229 than a large video file. It also means that the time-consuming video
1230 encoding need only be done once for the project rather than once for
1235 Note that subtitles come in two types: text and bitmap. Text
1236 subtitles are expressed as plain text and can be either burnt into the
1237 image or included as a separate subtitle asset within the DCP. Bitmap
1238 subtitles, on the other hand, are expressed as pre-rendered bitmaps.
1239 They cannot (yet) be added to the DCP as a separate asset and must be
1240 burnt into the image.
1244 Select the <guilabel>Use Subtitles</guilabel> check-box to enable
1249 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1250 burn these subtitles into the image; if this is not ticked the
1251 subtitles will be included separately in the DCP to be rendered by the
1256 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1257 controls move the subtitles around within the image. The offsets are
1258 expressed as a percentage of the video frame size; 100% X offset is
1259 the entire width of the frame, and 100% Y offset is the entire height.
1260 Hence, to move the subtitles down by half the frame height you would
1261 use a Y offset of 50%.
1265 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1266 controls scale the subtitles. Scale values of 1 make the subtitles
1267 the same size (relative to the size of the image) as they are on the
1268 original. Values lower than 1 make them smaller, and values higher
1269 make them larger. You can stretch the subtitles in either direction
1270 by specifying different values for X and Y scale. Subtitles from DVD
1271 and Blu Ray sources are frequently larger (relative to the video
1272 frame) than those typically used for DCP, so it is often useful to
1273 scale such subtitles down using these controls.
1277 The <guilabel>Stream</guilabel> control changes the subtitle stream
1278 that is used when the content has more than one.
1284 <!-- ============================================================== -->
1286 <title>Timing</title>
1289 The timing tab contains settings related to the timing of your
1290 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1293 <figure id="fig-timing-tab-detail">
1294 <title>Timing settings tab</title>
1297 <imagedata fileref="screenshots/timing-tab&scs;"/>
1303 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1304 These are expressed as four numbers, as shown in <xref
1305 linkend="fig-timecode"/>.
1308 <figure id="fig-timecode">
1309 <title>Timecode</title>
1312 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1318 <guilabel>Position</guilabel> is the time at which this piece of
1319 content should start within the DCP. In most cases, this will be
1320 <code>0:0:0:0</code> to make the content start at the beginning of the
1325 <guilabel>Full length</guilabel> is the length of the piece of
1326 content. This can only be set for still-image content: for video or
1327 sound content, it is fixed by the nature of the content file. If
1328 still-image content is being used you can set the length for which it
1329 should be displayed using this control.
1333 <guilabel>Trim from start</guilabel> specifies the amount that should be trimmed from the start of the content.
1337 <guilabel>Trim from end</guilabel> specifies the amount that should be trimmed from the end of the content.
1341 <guilabel>Play length</guilabel> indicates how long this piece of
1342 content will be once the trims have been applied. This will be equal
1343 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1347 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1348 still-image content. It can also be used to override the detected
1349 frame rate of other content if DCP-o-matic has got it wrong.
1353 Each timecode control has a <guilabel>Set</guilabel> which you should
1354 click when you have entered a new value for a timecode. The
1355 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1356 any changes to the corresponding timecode.
1362 <!-- ============================================================== -->
1364 <title>Video processing pipeline</title>
1367 This section gives a little more detail about how DCP-o-matic process
1368 video as it takes it from a source and puts it into a DCP.
1372 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1373 image which is letterboxed with 36 black pixels each at the top and
1374 bottom, and the video content within the letterbox should be presented
1375 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1376 happen with a trailer). The source image is shown in <xref
1377 linkend="fig-pipeline1"/>.
1380 <figure id="fig-pipeline1">
1381 <title>Example image to demonstrate video processing</title>
1384 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1390 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1394 <listitem>Crop</listitem>
1395 <listitem>Scale</listitem>
1396 <listitem>Place in container</listitem>
1400 First, some amount of the image can be cropped. This is almost always
1401 used to remove black borders (letterboxing and/or pillarboxing) around
1406 In our example image, we would use 36 pixels of crop from the top and
1407 bottom. This would give the new image shown in <xref
1408 linkend="fig-pipeline2"/>.
1411 <figure id="fig-pipeline2">
1412 <title>Example image after cropping</title>
1415 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1421 The next step is to scale the image. Since this content should be
1422 presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select
1423 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1424 option in the <guilabel>Video</guilabel> tab and
1425 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1426 option in the <guilabel>DCP</guilabel> tab.
1429 <para>The <guilabel>Scale to</guilabel> option should always be set to
1430 the aspect ratio at which the content should be seen. The
1431 <guilabel>Container</guilabel> option should be set to the preset that
1432 you want to use on the projector. Of course, these two settings will
1437 Given the scaling and container information, DCP-o-matic will look at
1438 the DCP's container size, and then scale the source image up until one
1439 or both of its dimensions (width, height or both) fits the size of the
1440 container, all the while preserving the desired aspect ratio.
1444 In our example here, the DCP's container is specified as 1.85:1 (so
1445 that the DCP will play back correctly using the projector's
1446 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1447 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1448 result in the image hitting the sides of the container first, at a
1449 size of 1998 x 836. This gives us a new version of the image as shown
1450 in <xref linkend="fig-pipeline3"/>.
1453 <figure id="fig-pipeline3">
1454 <title>Example image after cropping and scaling</title>
1457 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1463 The final step is to place the image into the DCP. In this case,
1464 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1465 we have set the <guilabel>container</guilabel> in the
1466 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1467 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1468 be some black bars at the top and bottom of the image. DCP-o-matic
1469 shares out this black equally, as shown in <xref
1470 linkend="fig-pipeline3"/>.
1473 <figure id="fig-pipeline4">
1474 <title>Example image in the DCP</title>
1477 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1486 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1487 <title>DCP settings</title>
1490 This chapter describes the settings that apply to the whole DCP. The
1491 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1492 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1495 <figure id="fig-dcp-tab">
1496 <title>DCP settings tab</title>
1499 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1505 The first thing here is the name. This is generally set to the title
1506 of the film that is being encoded. If <guilabel>Use ISDCF
1507 name</guilabel> is not ticked, the name that you specify will be used
1508 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1509 is ticked, the name that you enter will be used as part of a
1510 ISDCF-compliant name.
1514 Underneath the name field is a preview of the name that the DCP will
1515 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1516 name</guilabel> check-box. The ISDCF name will be composed using details
1517 of your content's soundtrack, the current date and other things that
1518 can be specified in the ISDCF name details dialogue box, which you can
1519 open by clicking on the <guilabel>Details</guilabel> button.
1523 If you want to take the ISDCF-compliant name that DCP-o-matic
1524 generates and modify it, click <guilabel>Copy as name</guilabel> and
1525 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1526 You can then edit it as you wish. The DCP name should not matter (in
1527 that it should not affect how the DCP ingests or plays) but
1528 projectionists will appreciate it if you use the standard naming
1529 scheme as it makes it easier to identify details of the content.
1533 The <guilabel>Content Type</guilabel> option can be
1534 ‘feature’, ‘trailer’ or whatever; select the
1535 required type from the drop-down list. On some projection systems
1536 this will affect where your content appears in the projector's server
1537 user interface, so take care to select an appropriate type.
1541 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1542 is signed. This is rarely important; if in doubt, tick it.
1546 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1547 should be encrypted or not. If this is ticked, the DCP will require a
1548 KDM to play back. Encryption is discussed in <xref
1549 linkend="ch-encryption"/>.
1553 If you use encryption DCP-o-matic will generate a random encryption
1554 key for you. To specify your own key, click the
1555 <guilabel>Edit..</guilabel> button next to the key.
1559 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1560 controls specify how the DCP will be split up into
1561 ‘reels’. See <xref linkend="sec-reels"/> below.
1565 The <guilabel>Standard</guilabel> option specifies which of the two
1566 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1567 more modern of the two).
1571 At the bottom of the DCP tab are a further two tabs, one each to
1572 contain the settings for the DCP's video and audio parts.
1576 The <guilabel>Container</guilabel> option sets the ratio of the image
1577 in the DCP. If this ratio is different to the ratio used for any
1578 content, DCP-o-matic will pad the content with black. In simple cases
1579 this should be set to the same ratio as that for the the primary piece
1580 of video content. Alternatively, you might want to pillarbox a small
1581 format into a Flat container: in this case, select the small format
1582 for the content's ratio and ‘Flat’ for the DCP.
1586 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1587 your DCP. This can be a little tricky to get right. Ideally, you
1588 want it to be the same as the video content that you are using. If it
1589 is not the same, DCP-o-matic must resort to some tricks to alter your
1590 content to fit the specified frame rate. Frame rates are discussed in
1591 more detail in <xref linkend="ch-frame-rates"/>.
1595 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1596 to what DCP-o-matic thinks is the best given the content that you have
1601 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1602 is checked. A 3D DCP will then be created, and any 2D content will be
1603 made 3D compatible by repeating the same frame for both left and right
1604 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1605 Real-D etc.) but not on a 2D system.
1609 The <guilabel>Resolution</guilabel> tab allows you to choose the
1610 resolution for your DCP. Use 2K unless you have content that is of
1611 high enough resolution to be worth presenting in 4K.
1615 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1616 the final image files used within the DCP will be. Larger numbers
1617 will give better quality, but correspondingly larger DCPs. The
1618 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1619 Most commercial DCPs use bit rates between 75 and 125 MBit/s.
1623 The <guilabel>Audio Channels</guilabel> control sets the number of
1624 audio channels that the DCP will have. If the DCP has any channels
1625 for which there is no content audio they will be replaced by silence.
1626 You can only set an even number of channels here, since that is
1627 required by the DCI standard. If you want an odd number of channels,
1628 set the DCP channel count to one greater than you need and the
1629 unused channel will be filled with silence.
1633 The <guilabel>Processor</guilabel> control allows you to select a
1634 process to apply to the audio before it goes into the DCP. Two processes are currently provided:
1638 <listitem>Mid-side decode — this will take a L/R
1639 stereo input and extract the common part (corresponding to the
1640 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1641 The remaining L/R parts will be kept in the L/R channels of the DCP.
1642 This may be useful to make near-field L/R mixes more compatible with
1643 cinema audio systems.</listitem>
1644 <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:
1646 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1647 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1648 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1649 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1650 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1651 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1654 This upmixing algorithm is due to Gérald Maruccia.
1657 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1659 <listitem>DCP L is input L.</listitem>
1660 <listitem>DCP R is input R.</listitem>
1661 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1662 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1663 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1668 <!-- ============================================================== -->
1669 <section xml:id="sec-reels">
1670 <title>Reels</title>
1673 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1674 way as a 35mm reel is a section of a film. A DCP can be split up into
1675 any number of reels and the joins (the equivalent to 35mm splices)
1676 between the reels are seamless.
1680 There is no reason why you can't just use a single reel for the whole
1681 of your DCP, as there is no limit on their length. Many people choose
1686 There are, however, some possible advantages of splitting things up
1692 The picture, sound and subtitle data of the DCP will be
1693 split up into more smaller files on disk, rather than fewer larger
1694 files. This can be useful if the DCP is to be transferred on storage
1695 that have file size limits. The FAT32 filesystem, for example, can
1696 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1697 not be transferred using a FAT32-formatted disk. If that DCP were
1698 split up into two 3Gb reels it could be transferred.
1701 It is easier to re-use DCP components if they are in reels. Consider,
1702 for example, a film company who wants to put a 5 second ident onto the
1703 beginning of DCPs that they distribute. If they receive a feature
1704 film DCP they can modify it to add their ident as a separate reel.
1705 This is easier than attaching the picture data in the DCP.
1710 DCP-o-matic offers three options for setting up the reels in your DCP:
1711 single reel, split by video content or custom.
1715 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1716 This is a perfectly good option if you have no particular reason to
1721 <guilabel>Split by video content</guilabel> puts each piece of source
1722 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1725 <figure id="fig-reels-by-video">
1726 <title>Making reels using split by video content</title>
1727 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1731 Here we have three video files (<code>ident.mp4</code>,
1732 <code>feature.ts</code> and <code>cred.mov</code>). With
1733 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1734 reel to hold each video file.
1738 <guilabel>Custom</guilabel> splits reels by the size of the files that
1739 will make up their video content. With <guilabel>Custom</guilabel>
1740 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1746 <!-- ============================================================== -->
1748 <title>Show audio</title>
1751 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1752 to examine the audio in your content and plot a graph of its level
1753 over time. This can be useful for getting a rough idea of how loud
1754 the sound will be in the cinema auditorium. A typical plot is shown
1755 in <xref linkend="fig-audio-plot"/>
1758 <figure id="fig-audio-plot">
1759 <title>Audio plot</title>
1762 <imagedata fileref="screenshots/audio-plot&scs;"/>
1768 The plot gives the audio level (vertical axis, in dB) with time
1769 (horizontal axis). 0dB represents full scale, so if there is anything
1770 near this you are in danger of clipping the projector's audio outputs.
1774 There are two plot types: the peak level and the RMS, which can be
1775 shown or hidden using the check-boxes on the right hand side of the
1780 The channel check-boxes will show or hide the plot(s) for
1781 the corresponding channels in the DCP.
1785 The smoothing slider applies a variable degree of temporal smoothing
1786 to the plots, which can make them easier to read in some cases.
1790 Obviously the audio plot is no substitute for listening in an
1791 auditorium, but it can be useful to get levels in the right rough area.
1798 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1799 <title>Encryption</title>
1802 It is not required that DCPs be encrypted, but they can be. This
1803 chapter discusses the basic principles of DCP encryption, and how
1804 DCP-o-matic can create encrypted DCPs and KDMs for them.
1808 <!-- ============================================================== -->
1810 <title>Basics</title>
1813 DCPs can be encrypted. This means that the picture and sound data are
1814 encoded in such a way that only cinemas ‘approved’ by the
1815 DCP's creators can read them. In particular, this means copies of the
1816 DCP can be distributed by insecure means: if an ne'er-do-well called
1817 Mallory obtains a hard drive containing an encrypted DCP, there is no
1818 way that he can play it. Only those cinemas who receive a correct key
1819 delivery message (KDM) can play the DCP.
1823 <!-- ============================================================== -->
1825 <title>How it works (in a nutshell)</title>
1828 This section attempts to summarise how DCP encryption works. You can
1829 skip it if you like. You may need some knowledge of encryption
1830 methods to understand it.
1834 We suppose that we are trying to send a DCP to
1835 Alice's cinema without a troublemaker called Mallory being able to
1840 There are two main families of encryption techniques. The first,
1841 symmetric-key encryption, allows us to encode some data using some
1842 numeric key. After encoding, no-one can decode the data unless they
1847 The first step in a DCP encryption is to encode its data with some key
1848 using symmetric-key encryption. The encrypted DCP can then be sent
1849 anywhere, safe in the knowledge that even if Mallory got hold of a
1850 copy, he could not decrypt it.
1854 Alice, however, needs to know the key so she can play the DCP in her
1855 cinema. A simple approach might be for us to send Alice the key.
1856 However, if Mallory can intercept the DCP, he might also be able to
1857 intercept our communication of the key to Alice. Furthermore, if Alice
1858 happened to know Mallory, she could just send him a copy of the key.
1862 The clever bit in the process requires the use of public-key
1863 encryption. With this technique we can encrypt a block of data using
1864 some ‘public’ key. That data can then only be decrypted
1865 using a corresponding private key which is
1866 <emphasis>different</emphasis> to the public key. The private and
1867 public keys form a pair which are related mathematically, but it is
1868 extremely hard (or rather, virtually impossible) to derive the private
1869 key from the public key.
1873 Public-key encryption allows us to distribute the DCP's key to Alice
1874 securely. The manufacturer of Alice's projector generates a public
1875 and private key. They hide the private key deep inside the bowels of
1876 the projector (inside an integrated circuit) where no-one can read it.
1877 They then make the public key available to anyone who is interested.
1881 We take our DCP's symmetric key and encrypt it using the public key of
1882 Alice's projector. We send the result to Alice over email (using a
1883 format called a Key Delivery Message, or KDM). Her projector then
1884 decrypts our message using its private key, yielding the magic
1885 symmetric key which can decrypt the DCP.
1889 If is fine if Mallory intercepts our email to Alice, since the only
1890 key which can decrypt the message is the private key buried inside
1891 Alice's projector. The projector manufacturer is very careful that
1892 no-one ever finds out what this key is. Our DCP is secure: only Alice
1893 can play it back, since only her projector knows the key (even Alice
1901 <!-- ============================================================== -->
1903 <title>Encryption using DCP-o-matic</title>
1906 There are two steps to distributing an encrypted DCP. First, the
1907 DCP's data must be encrypted, and secondly KDMs must be generated for
1908 those cinemas that are allowed to play the DCP.
1912 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
1913 box in the <guilabel>DCP</guilabel> tab of DCP-o-matic will encrypt
1914 the DCP using a random key that DCP-o-matic generates. The key will
1915 be written to the film's metadata file, which should be kept
1920 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
1921 ticked will not play on any projector as-is (it will be marked as
1922 ‘locked’, or whatever the projector manufacturer's term
1927 The second part is to generate KDMs for the cinemas that you wish to
1928 allow to play your DCP. There are two approaches to this within
1929 DCP-o-matic: using the project, or using a DKDM. These are now
1934 <title>Creating KDMs from a DCP-o-matic project</title>
1937 You can create KDMs from inside a DCP-o-matic project using the
1938 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
1939 menu. This will open the KDM dialogue box, as shown in <xref
1940 linkend="fig-kdm"/>.
1943 <figure id="fig-kdm">
1944 <title>KDM dialog</title>
1947 <imagedata fileref="screenshots/kdm&scs;"/>
1953 In order to generate KDMs for a particular projector, you need to know
1954 its <emphasis>certificate</emphasis>. These are usually made
1955 available by the projector manufacturers as text files with a
1956 <code>.pem</code> extension.
1960 DCP-o-matic can store these certificates to make life easier. It
1961 stores details of cinemas and screens within those cinemas. Each
1962 screen has a certificate for its projector (and optionally
1963 certificates for other trusted devices, such as the sound processor).
1964 DCP-o-matic can generate KDMs for any screens that it knows about.
1968 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
1969 a dialogue box into which you can enter the cinema's name, and
1970 optionally an email address. This email address can be used to
1971 get DCP-o-matic to deliver KDMs via email.
1975 Once you have added a cinema, select it by clicking on its name, then
1976 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
1977 allows you to enter a name for the screen and load in its certificate
1978 from a file. The certificate should be in SHA256 PEM format.
1982 Alternatively, certificates for projection systems made by some
1983 manufacturers can be downloaded from databases provided by the
1984 manufacturer. Currently this is supported for Doremi and Dolby
1985 equipment. If you are targeting a screen with equipment by one of
1986 these manufacturers you can click <guilabel>Download</guilabel> then
1987 enter the serial number of the server in the screen and click
1988 <guilabel>Download</guilabel> again and, all being well, the certificate
1993 Using the download system you will need to know the serial number of
1994 the media server in use in the screen. Most cinema projection or
1995 technical departments will know these serial numbers.
1999 Note that the reliability of the manufacturers' certificate databases
2000 cannot be guaranteed. It is vital that KDMs are tested by the
2001 destination cinema will in advance of show time to identify any
2006 Once you have set up all the screens that you need KDMs for, select
2007 the CPL that you want to create the KDM for. You can use the
2008 drop-down list to select the CPLs in the current film project, or load
2009 a CPL from somewhere else. Select the cinemas and/or screens that you
2010 want KDMs for and fill in the start and end dates and times.
2014 You must also select the type of KDM that you want to generate. If in
2015 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2019 Finally, choose what you want to do with the KDMs. They can be
2020 written to disk, to a location that you can specify by clicking
2021 <guilabel>Browse</guilabel>. Alternatively, if you choose
2022 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2023 emailed to the appropriate cinema email addresses. Click OK to
2030 <title>Creating KDMs using a DKDM</title>
2034 It can be inconvenient to need a whole DCP-o-matic project just to
2035 create KDMs for its film. Perhaps you want to archive the project to
2036 save space, or create KDMs on a different machine. In such situations
2037 it is easier to use a DKDM. This is a normal KDM, but instead of
2038 begin targeted at a projection system (to allow it to decrypt the
2039 content) it is targeted at a particular users's certificate. This
2040 means that the certificate owner can create new KDMs for other users.
2041 The DKDM holds everything that is required to create further KDMs.
2045 Sometimes it is useful to create DKDMs that can be used by
2046 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2047 any point in the future, use DCP-o-matic's standalone KDM creator to
2048 make KDMs for the DKDM's film for any cinema.
2052 In other cases a DKDM is sent to a 3rd party so that they can create
2053 KDMs for your films. This can be useful if, for example, you have a
2054 distributor who provides 24-hour KDM support to cinemas and can create
2055 KDMs for anybody that requires them at short notice.
2059 To create a DKDM for DCP-o-matic, open your encrypted project and
2060 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2061 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2062 the DKDM for and choose where it should be written, then click
2063 <guilabel>OK</guilabel>.
2071 <!-- ============================================================== -->
2072 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2073 <title>Preferences</title>
2076 DCP-o-matic provides a few preferences which can be used to modify its
2077 behaviour. This chapter explains those options.
2081 <!-- ============================================================== -->
2083 <title>The preferences dialogue</title>
2086 The preferences dialogue is opened by choosing
2087 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2088 menu. The dialogue is split into seven tabs.
2091 <!-- ============================================================== -->
2093 <title>General</title>
2096 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2099 <figure id="fig-prefs-general">
2100 <title>General preferences</title>
2103 <imagedata fileref="screenshots/prefs-general&scs;"/>
2109 <!-- ============================================================== -->
2111 <title>Language</title>
2114 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2115 a language from the list, that language will be used for DCP-o-matic.
2116 You will need to restart DCP-o-matic to see the new language.
2120 The translations for DCP-o-matic have been contributed by helpful
2121 users. If your language is not on the last, head to <ulink
2122 url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2123 read about how to contribute a translation.
2128 <!-- ============================================================== -->
2130 <title>Threads</title>
2133 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2134 to speed things up. Set this value to the number of threads
2135 DCP-o-matic should use. This should normally be the number of
2136 processors (or processor cores) in your machine. DCP-o-matic will try
2137 to set this up correctly when you run it for the first time.
2142 <!-- ============================================================== -->
2144 <title>Updates</title>
2147 The <guilabel>Check for updates on startup</guilabel> option, if
2148 enabled, will tell DCP-o-matic to check on <ulink
2149 url="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2150 newer versions of DCP-o-matic then the one you are running. If so, a
2151 dialogue box will open with a link to download the new version.
2156 The <guilabel>Check for testing updates as well as stable
2157 ones</guilabel> option will also check for test updates as well as
2158 those that are formally ‘released’. This is useful if you
2159 like to live on the bleeding edge!
2163 <!-- ============================================================== -->
2165 <title>Issuer and creator</title>
2168 With these controls you can set the issuer and creator strings that
2169 will be put into the DCPs which you create.
2175 <!-- ============================================================== -->
2177 <title>Defaults</title>
2180 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2183 <figure id="fig-prefs-defaults">
2184 <title>Defaults preferences</title>
2187 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2193 The options in this tab simply allow you to set up default values for
2194 various properties of new films.
2199 <!-- ============================================================== -->
2201 <title>Servers</title>
2204 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2207 <figure id="fig-prefs-servers">
2208 <title>Servers preferences</title>
2211 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2217 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2218 locate encoding servers automatically (see <xref
2219 linkend="ch-servers"/>).
2223 Instead of this (or in addition) servers can be specified explicitly.
2224 To add a server, click <guilabel>Add...</guilabel> and enter the host
2225 name or IP address of the server to use.
2231 <!-- ============================================================== -->
2232 <section xml:id="sec-prefs-keys">
2236 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) holds options
2237 related to the keys and certificates used in some parts of DCP
2241 <figure id="fig-prefs-keys">
2242 <title>Keys preferences</title>
2245 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2251 At the top of the tab is the chain of certificates that will be used
2252 to sign DCPs and KDMs. DCP-o-matic creates a random chain when you
2253 first run it and if you are happy to use this chain you can ignore the
2254 preferences. Otherwise, you can add or remove certificates from the
2255 chain using the <guilabel>Add...</guilabel> and
2256 <guilabel>Remove</guilabel> buttons.
2260 If you want DCP-o-matic to re-create the certificate chain (using new,
2261 random certificates) click <guilabel>Re-make
2262 certificates...</guilabel> and specify your organisation and common
2263 names in the dialogue box that opens.
2267 Underneath the certificate chain is the private key that corresponds
2268 to the leaf certificate in the chain. You can specify your own
2269 private key by clicking <guilabel>Load...</guilabel>. You must do
2270 this if you change the leaf certificate, so that the leaf private key
2271 corresponds to the public key held in the leaf certificate.
2275 Underneath the details of the certificate chain and private key for
2276 signing of DCPs and KDMs is a second chain and key which is used by
2277 DCP-o-matic when you import an encrypted DCP as a piece of content.
2278 The leaf certificate of this chain contains the public key that should
2279 be used when targeting a KDM at DCP-o-matic.
2283 If you want to import an encrypted DCP you will need to give the
2284 decryption certificate to the distributor of the DCP so that they can
2285 generate a DKDM for you. You can save this certificate to disk by
2286 clicking <guilabel>Export DCP decryption certificate</guilabel>. As
2287 with the signing chain, DCP-o-matic will create a certificate chain
2288 and private key for you. You can also choose to load your own
2289 certificates and key or re-make the chain and key with new, random
2295 <!-- ============================================================== -->
2296 <section xml:id="sec-prefs-tms">
2298 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2301 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2302 options for specifying details about your theatre management system
2303 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2304 you can upload DCPs directly from DCP-o-matic to the TMS using the
2305 <guilabel>Send DCP to TMS</guilabel> option in the
2306 <guilabel>Jobs</guilabel> menu.
2309 <figure id="fig-prefs-tms">
2310 <title>TMS preferences</title>
2313 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2319 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2320 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2321 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2322 FTP. Do let us know if you use any other type of TMS with the
2323 <guilabel>Send DCP to TMS</guilabel> feature.
2327 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2328 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2329 should be uploaded to (which will be relative to the home directory of
2330 the SSH or FTP user). Finally, the user name and password are the
2331 credentials required to log into the TMS via SSH or FTP.
2335 Note that for this to work on Doremi servers you will need to set the
2336 <code>PasswordAuthentication</code> option in your server's
2337 <code>sshd_config</code> to <code>yes</code>.
2343 <!-- ============================================================== -->
2345 <title>KDM email</title>
2348 The KDM email is shown in <xref linkend="fig-prefs-kdm-email"/>.
2351 <figure id="fig-prefs-kdm-email">
2352 <title>KDM email preferences</title>
2355 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2361 This is a template for the email that is used to send KDMs out to
2362 cinemas. You can change it to say whatever you like. A few
2363 ‘magic’ strings will be replaced by information from the
2364 KDM that is being sent:
2368 <title>‘Magic’ KDM strings</title>
2369 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2372 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2375 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2378 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2381 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2384 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2391 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2397 <!-- ============================================================== -->
2398 <section xml:id="sec-prefs-advanced">
2399 <title>Advanced</title>
2400 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
2403 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
2406 <figure id="fig-prefs-advanced">
2407 <title>Advanced preferences</title>
2410 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
2416 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
2417 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
2418 are advised to leave this at 250Mbit/s in normal use for maximum DCP
2423 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
2424 the DCP video frame rates that DCP-o-matic will create. This may be
2425 useful for experimentation. Again, you are strongly advised to leave
2426 this unticked for normal use.
2430 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
2431 JPEG2000 data only on encoding servers and not on the host. We
2432 suggest you leave this un-ticked unless you have a good reason to do otherwise.
2436 The four checkboxes labelled <guilabel>Log</guilabel> control what
2437 sort of messages DCP-o-matic writes to its log file when creating a
2438 DCP. It is useful to leave <guilabel>General</guilabel>,
2439 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
2440 as this makes the log files useful for tracking down bugs.
2444 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
2445 to allow developers to investigate and optimize the speed of
2446 DCP-o-matic. It will significantly increase the size of the log files
2447 that are generated, so in normal use it is best to leave this
2455 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
2456 <title>Frame rates</title>
2459 In an ideal world, a DCP would be created using content at the same
2460 video frame and audio sampling rates as the DCP. This is not,
2461 however, always possible.
2465 <!-- ============================================================== -->
2467 <title>DCP frame rate limitations</title>
2470 There are some limitations to video and audio frame rates in DCPs. This is
2471 complicated by the fact that not all projectors will play DCPs at the
2472 same frame rates. It is possible to create a DCP which one projector will
2473 play fine, but another (of a different type) will refuse to play, or
2474 even refuse to ingest.
2478 <!-- ============================================================== -->
2480 <title>Guaranteed rates</title>
2483 The only rates that are (pretty much) guaranteed to work on all DCI
2484 projectors are 24 frames per second (fps) for video and 48kHz or 96kHz
2485 for audio. If you are sending your DCPs to unknown places it wise to
2486 consider using these rates if at all possible.
2492 <!-- ============================================================== -->
2494 <title>Other often-supported rates</title>
2496 Many projectors now in the wild support additional video frame rates:
2502 <!-- ============================================================== -->
2504 <title>Adapting content to fit the DCP rate</title>
2507 DCP-o-matic has a few tricks to allow you to use content that is not
2508 in one of the ‘approved’ rates.
2512 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
2513 with minimal loss in quality.
2517 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
2518 with a non-supported content rate is to run it at the wrong speed, and
2519 to adjust the audio to keep it in sync.
2522 <para>Let us consider the example of a 25fps source for which you want
2523 to create a 24fps DCP. DCP-o-matic will put the frames from the
2524 source directly into the DCP without modification, but will tell the
2525 projector to play them back at 24fps. This means that the DCP's video
2526 will run slightly slower than the original.
2530 If DCP-o-matic did nothing else, the result of this would be that the
2531 audio would be running at the original speed with the video running
2532 slowly. Hence the audio would drift slowly out of sync. To avoid
2533 this, DCP-o-matic also resamples the audio such that the projector
2534 will play it too slow by the same amount. Hence it will sound
2535 slightly different but will remain in sync with the video.
2539 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
2546 <!-- ============================================================== -->
2548 <title>Setting up</title>
2551 The <guilabel>Frame Rate</guilabel> control in the
2552 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
2553 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
2554 what DCP-o-matic thinks is the best for your content. With this
2555 button, DCP-o-matic assumes that the whole range of frame rates (24,
2556 25, 30 and 48fps) are allowable.
2560 After this, the <guilabel>Video</guilabel> tab for each piece of
2561 content will give a summary of what DCP-o-matic is doing with that
2566 If you want to experiment with other non-standard frame rates, you can
2567 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
2568 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
2569 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
2570 use this only on your own equipment, and only for experimentation
2579 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
2580 <title>Encoding servers</title>
2583 One way to increase the speed of DCP encoding is to use more
2584 than one machine at the same time. An instance of DCP-o-matic can
2585 offload some of the time-consuming JPEG2000 encoding to any number of
2586 other machines on a network. To do this, one ‘master’
2587 machine runs DCP-o-matic, and the ‘server’ machines run
2588 a small program called <code>dcpomatic_server</code>.
2592 The master and server machines do not need to be the same type, so you
2593 can mix Windows PCs, Macs and Linux machines as you wish.
2597 <!-- ============================================================== -->
2599 <title>Running the servers</title>
2602 There are two options for the encoding server;
2603 <code>dcpomatic_server_cli</code>, which runs on the command line, and
2604 <code>dcpomatic_server</code>, which has a simple GUI. The command line
2605 version is well-suited to headless servers, especially on Linux, and
2606 the GUI version works best on Windows where it will put an icon in the
2611 To run the command line version, simply enter:
2615 dcpomatic2_server_cli
2619 at a command prompt. If you are running the program on a machine with
2620 a multi-core processor, you can run multiple parallel encoding threads
2621 by doing something like:
2625 dcpomatic2_server_cli -t 4
2629 to run 4 threads in parallel.
2633 To run the GUI version on windows, run the ‘DCP-o-matic encode
2634 server’ from the start menu. An icon will appear in the system
2635 tray; right-click it to open a menu from whence you can quit the
2636 server or open a window to show its status.
2639 <para>If you would rather not bother installing DCP-o-matic on your
2640 server computers, the other option is to use the live-CD
2641 image that you can download from the <ulink
2642 url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
2644 <para>Either burn the image to CD, or write it to a USB stick (using
2645 something like <ulink
2646 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
2647 PC from the CD or USB stick and it becomes a DCP-o-matic server
2648 without touching your standard operating system install.
2653 <!-- ============================================================== -->
2655 <title>Setting up DCP-o-matic</title>
2658 DCP-o-matic periodically looks on the local network for servers. Any
2659 that it finds are given work to do during encodes. Selecting
2660 <guilabel>Encoding Servers</guilabel> from the
2661 <guilabel>Tools</guilabel> menu brings up a window which shows that
2662 servers that DCP-o-matic has found.
2667 <!-- ============================================================== -->
2669 <title>Some notes about encode servers</title>
2672 DCP-o-matic does not mind if servers come and go; if a server
2673 disappears, DCP-o-matic will stop sending work to it, and will check
2674 it every minute or so in case it has come back online.
2678 You will probably find that using a 1Gb/s or faster network will
2679 provide a significant speed-up compared to a 100Mb/s network.
2686 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2687 <title>Generated files</title>
2690 DCP-o-matic generates a number of files as it makes a DCP. <xref
2691 linkend="fig-file-structure"/> shows the files that might be generated
2692 after you have created a DCP for a film called ‘DCP Test’.
2695 <figure id="fig-file-structure">
2696 <title>Creating a new film</title>
2699 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
2705 The <code>DCP Test</code> folder is the one that you specify when you
2706 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
2707 menu. Everything is stored inside this folder.
2711 DCP-o-matic generates some working files as it goes along. These are as follows:
2714 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
2715 along. This can be useful for debugging purposes if something goes
2718 <listitem><code>metadata</code> stores the settings that you have made
2719 for this film: things like cropping, output format and so on.</listitem>
2721 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
2722 video data as it encodes it.</listitem>
2724 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
2726 <listitem><code>info</code> contains details of each video frame that
2727 DCP-o-matic has written so far. This is used when an encoding
2728 operation is interrupted and DCP-o-matic must resume it.</listitem>
2733 Following this is the DCP itself:
2734 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
2735 contains some small XML files, which describe the DCP, and two large
2736 MXF files, which contain the DCP's audio and video data. This folder
2737 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
2738 to the cinema which is showing your DCP.
2744 <title>Loose ends</title>
2747 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
2751 <!-- ============================================================== -->
2753 <title>Resuming encodes</title>
2756 If you cancel a DCP encoding run half-way through, or your computer
2757 crashes... fear not. DCP-o-matic takes care to ensure that, in most
2758 cases, it can resume encoding from where it left off. When you
2759 re-start a DCP creation, using the same settings are a previous run,
2760 DCP-o-matic will first check that the existing picture frames are
2761 correct, and then resume from where it left off. The checking of
2762 existing frames does take some time, but it is much faster than
2763 running a full re-encode.
2767 This resumption is achieved by writing a digest (hash) to disk for
2768 every image frame that is written. On resumption, the existing MXF
2769 file for image data is read and its contents checked against the
projects / dcpomatic.git / blob