1 <?xml version="1.0" encoding="utf-8"?>
3 <!ENTITY % sgml.features "IGNORE">
4 <!ENTITY % xml.features "INCLUDE">
5 <!ENTITY % dbcent PUBLIC "-//OASIS//ENTITIES DocBook Character Entities V4.5//EN"
6 "/usr/share/xml/docbook/schema/dtd/4.5/dbcentx.mod">
8 <!ENTITY % extensions SYSTEM "extensions.ent">
11 <book xmlns="http://docbook.org/ns/docbook" xmlns:mml="http://www.w3.org/1998/Math/MathML" version="5.0" xml:lang="en">
13 <!-- By good luck or good management, the scale parameter to imagedata
14 appears only to affect PDF output. HTML scaling is done in the
19 <title>DCP-o-matic</title>
20 <author><firstname>Carl</firstname><surname>Hetherington</surname></author>
23 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
24 <title>Introduction</title>
27 Hello, and welcome to DCP-o-matic!
30 <!-- ============================================================== -->
32 <title>What is DCP-o-matic?</title>
35 DCP-o-matic is a program to generate <ulink
36 url="http://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
37 Cinema Packages</ulink> (DCPs) from DVDs, Blu-Rays, video files such as MP4
38 and AVI, or still images. The resulting DCPs will play on modern digital
43 You might find it useful to make DVDs easier to present, to encode
44 independently-shot feature films, or to generate local advertising for
51 <!-- ============================================================== -->
53 <title>Licence</title>
56 DCP-o-matic is licensed under the <ulink url="http://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU GPL</ulink>.
62 <!-- ============================================================== -->
64 <title>Acknowledgements</title>
67 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
73 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
74 <title>Installation</title>
77 <!-- ============================================================== -->
79 <title>Windows</title>
82 To install DCP-o-matic on Windows, download the installer from
83 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
84 and double-click it. Click through the installer wizard, and
85 DCP-o-matic will be installed onto your machine.
89 If you are using a 32-bit version of Windows, you will need the 32-bit
90 installer. For 64-bit Windows, either installer will work, but I
91 suggest you used the 64-bit version as it will allow DCP-o-matic to
92 use more memory. You may find that DCP-o-matic crashes if you run
93 many parallel encoding threads (more than 4) on the 32-bit
100 <!-- ============================================================== -->
102 <title>Mac OS X</title>
105 DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
106 higher. To install it, download the <code>.dmg</code> from <ulink
107 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink> and double
108 click to open it. Then drag the DCP-o-matic icon to your
109 <guilabel>Applications</guilabel> folder or wherever else you would
116 <title>Ubuntu Linux</title>
119 You can install DCP-o-matic on Ubuntu 12.04 (‘Precise
120 Pangolin’) or 14.04 (‘Trusty Tahr’) using <code>.deb</code> packages: download the
121 appropriate package from <ulink
122 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink> and
123 double-click it. Ubuntu will install the necessary bits and pieces
124 and set DCP-o-matic up for you.
130 <!-- ============================================================== -->
132 <title>Debian Linux</title>
134 Packages are available for Debian 7 (squeeze) and unstable (sid) from <ulink
135 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>.
140 <!-- ============================================================== -->
142 <title>Centos Linux</title>
144 Packages are available for Centos 6.5 and 7 from <ulink
145 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>.
150 <!-- ============================================================== -->
152 <title>Arch Linux</title>
154 Packages for Arch Linux are available from <ulink
155 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
156 thanks to Stefan Karner.
161 <!-- ============================================================== -->
163 <title>Other Linux distributions</title>
166 Installation on non-Ubuntu Linux is currently a little involved, as
167 there are no packages available (yet); you will have to compile it
168 from source. If you are using a non-Ubuntu distribution, do let me
169 know by <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I will see about building some packages.
173 The following dependencies are required:
175 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
176 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
177 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
178 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
179 <listitem><ulink url="http://www.imagemagick.org/script/index.php">ImageMagick</ulink></listitem>
180 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
181 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
182 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
183 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
184 <listitem><ulink url="http://freecode.com/projects/libquickmail">libquickmail</ulink></listitem>
185 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
186 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
187 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
188 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
189 <listitem><ulink url="http://carlh.net/software/libdcp/">libdcp</ulink></listitem>
190 <listitem><ulink url="http://carlh.net/software/libcxml/">libcxml</ulink></listitem>
195 Once you have installed the development packages for the dependencies,
196 download the source code from <ulink
197 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>,
198 unpack it and run the following commands from inside the source
209 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
224 <!-- ============================================================== -->
225 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
226 <title>Creating a video DCP</title>
229 In this chapter we will see how to create a video DCP using
230 DCP-o-matic. We will gloss over the details and look at the basics.
234 <title>Creating a new film</title>
237 Let's make a very simple DCP to see how DCP-o-matic works. First, we
238 need some content. Download the low-resolution trailer for the open
239 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
240 url="http://ftp.nluug.nl/ftp/graphics/blender/apricot/trailer/Sintel_Trailer1.480p.DivX_Plus_HD.mkv">their
241 website</ulink>. Generally, of course, one would want to use the
242 highest-resolution material available, but for this test we will use
243 the low-resolution version to save everyone's bandwidth bills.
247 Now, start DCP-o-matic and its window will open. First, we will
248 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
249 some pieces of content, along with some settings, which we will make into
250 a DCP. DCP-o-matic stores its data in a folder on your disk while it
251 creates the DCP. You can create a new film by selecting
252 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
253 shown in <xref linkend="fig-file-new"/>.
256 <figure id="fig-file-new">
257 <title>Creating a new film</title>
260 <imagedata fileref="screenshots/file-new&scs;"/>
266 This will open a dialogue box for the new film, as shown in <xref
267 linkend="fig-video-new-film"/>.
270 <figure id="fig-video-new-film">
271 <title>Dialogue box for creating a new film</title>
274 <imagedata fileref="screenshots/video-new-film&scs;"/>
280 In this dialogue box you can choose a name for the film. This will be
281 used to name the folder to store its data in, and also as the initial
282 name for the DCP itself. You can also choose whereabouts you want to create
283 the film. In the example from the figure, DCP-o-matic will create a
284 folder called ‘DCP Test’ inside my home folder (carl) into which it
285 will write its working files.
291 <!-- ============================================================== -->
293 <title>Adding content</title>
296 The next step is to add the content that you want to use. DCP-o-matic
297 can make DCPs from multiple pieces of content, but in this simple
298 example we will just use a single piece. Click the <guilabel>Add
299 file(s)...</guilabel> button, as shown in <xref
300 linkend="fig-add-file"/>, and a file chooser will open for you to
301 select the content file to use, as shown in <xref
302 linkend="fig-video-select-content-file"/>.
305 <figure id="fig-add-file">
306 <title>Adding content files</title>
309 <imagedata fileref="screenshots/add-file&scs;"/>
314 <figure id="fig-video-select-content-file">
315 <title>Selecting a video content file</title>
318 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
324 Select your content file and click <guilabel>Open</guilabel>. In this
325 case we are using the Sintel trailer that we downloaded earlier.
329 When you do this, DCP-o-matic will take a look at your file. After a
330 short while (when the progress bar at the bottom right of the window
331 has finished), you can look through your content using the slider to
332 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
335 <figure id="fig-examine-content">
336 <title>Examining the content</title>
339 <imagedata fileref="screenshots/examine-content&scs;"/>
345 Dragging the slider will move through your video. You can also click
346 the <guilabel>Play</guilabel> button to play the content back. Note
347 that there will be no sound, and playback might not be entirely
348 accurate (it may be slightly slower or faster than it should be, for
349 example). This player is really only intended for brief inspection of
350 content; if you need to check it more thoroughly, use another player
352 url="http://projects.gnome.org/totem/index.html">Totem</ulink>, <ulink
353 url="http://www.mplayerhq.hu/design7/news.html">mplayer</ulink> or
354 <ulink url="http://www.videolan.org/vlc/index.html">VLC</ulink>.
362 <!-- ============================================================== -->
364 <title>Making the DCP</title>
366 <para>In most cases, some adjustments would be made to DCP-o-matic's
367 settings once the content has been added. For our simple test,
368 however, the default values will suffice, so we can go straight onto
369 making the DCP.</para>
372 Choose <guilabel>Make DCP</guilabel> from the
373 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
374 This may take some time (many hours in some cases). While the job is
375 in progress, DCP-o-matic will update you on how it is getting on with
376 the progress bar in the bottom of its window, as shown in <xref
377 linkend="fig-making-dcp"/>.
380 <figure id="fig-making-dcp">
381 <title>Making the DCP</title>
384 <imagedata scale="30" fileref="screenshots/making-dcp&scs;"/>
390 When it has finished, the DCP will end up on your disk inside the
391 film's folder. You can then copy this to a projector via a USB
392 stick, hard-drive or network connection. See <xref
393 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
397 Alternatively, if you have a projector or TMS that is accessible via
398 SCP across your network, you can upload the content directly from
399 DCP-o-matic. See the <xref linkend="sec-prefs-tms" endterm="sec-prefs-tms-short"/>.
406 <!-- ============================================================== -->
407 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
408 <title>Creating a still-image DCP</title>
411 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
412 for an advertisement or an on-screen announcement. This chapter shows you
417 As with video DCPs, the first step is to create a new
418 ‘Film’; select <guilabel>New</guilabel> from the
419 <guilabel>File</guilabel> menu and the new film dialogue will open as
420 shown in <xref linkend="fig-still-new-film"/>.
423 <figure id="fig-still-new-film">
424 <title>Dialogue box for creating a new film</title>
427 <imagedata fileref="screenshots/still-new-film&scs;"/>
433 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
434 the content. As before, click <guilabel>Add file(s)...</guilabel>.
435 For our example, we will add a single image file, as shown in <xref
436 linkend="fig-still-select-content-file"/>.
439 <figure id="fig-still-select-content-file">
440 <title>Selecting a still content file</title>
443 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
449 As with video DCPs, most of the default settings will be fine for a
450 simple test. The one thing that you might wish to change is the
451 length of the still. Select the <guilabel>Timing</guilabel> tab and
452 you will see a <guilabel>Length</guilabel> setting, as shown in <xref
453 linkend="fig-timing-tab"/>.
456 <figure id="fig-timing-tab">
457 <title>The timing tab</title>
460 <imagedata fileref="screenshots/timing-tab&scs;"/>
466 This length is a ‘timecode’: it consists of four numbers.
467 The first is hours, the second minutes, the third seconds, and the
468 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
472 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
473 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
474 be much quicker than creating a video DCP, as DCP-o-matic only needs
475 to encode a single frame which it can then repeat.
481 <!-- ============================================================== -->
482 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
483 <title>Content settings</title>
486 The previous chapters showed DCP generation using the default
487 settings. DCP-o-matic offers a range of features to adjust the
488 content that goes into your DCP, and this chapter describes those features in
493 <title>Adding and removing content</title>
496 At the top of the <guilabel>Content</guilabel> tab is a list of the
497 content that will go into our DCP. There can be as many pieces of
498 content as you like, and they can be of the following types:
502 <listitem>Movie — a file containing some video, probably some
503 audio and possibly some subtitles; for example, a MOV, MP4 or VOB.
506 <listitem>Sound — a file containing one or more channels of
507 audio; for example, a WAV or AIFF file.
510 <listitem>Still image — a file containing a single still image; for
511 example, a JPEG, PNG or TIFF file.
514 <listitem>Moving image — a directory containing many still
515 images which should be treated as the frames of a video.
520 To add one or more movie, sound or still-image files, select
521 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
522 To add a directory of images, choose <guilabel>Add
523 directory...</guilabel> and do similar.
527 You can remove a piece of content by clicking on its name and then
528 clicking the <guilabel>Remove</guilabel> button.
534 <!-- ============================================================== -->
536 <title>Content Properties</title>
539 Below the content list are the controls to set content properties. To
540 adjust the properties for a piece of content, click its name in the
541 content list. The content property controls will then become active
542 for that piece of content.
546 The content properties are split up into four sections:
547 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
548 <guilabel>Subtitles</guilabel> and <guilabel>Timing</guilabel>. Not
549 all of these sections will be active for all content types. The controls
550 in each section are described below.
556 <!-- ============================================================== -->
561 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
564 <figure id="fig-video-tab">
565 <title>Video settings tab</title>
568 <imagedata fileref="screenshots/video-tab&scs;"/>
574 <!-- ============================================================== -->
576 <title>Image type</title>
579 The first option on this tab is the ‘type’ of the video.
580 This specifies how DCP-o-matic should interpret the video's image.
581 <guilabel>2D</guilabel> is the default; this just takes the video
582 image as a standard 2D frame. The <guilabel>3D
583 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
584 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
587 <figure id="fig-3d-left-right">
588 <title>3D left/right image type</title>
591 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
597 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
598 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
599 linkend="fig-3d-top-bottom"/>.
602 <figure id="fig-3d-top-bottom">
603 <title>3D top/bottom image type</title>
606 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
612 Another option is <guilabel>3D alternate</guilabel> which takes the
613 first frame of the content as for the left eye, the second for the
614 right eye, the third for the left, and so on. Finally, you can
615 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
616 only</guilabel> if this content contains only the the left or right
617 eye images. This is useful when you have the left and right eye image
618 sets in different files; you can specify one content as <guilabel>3D
619 left only</guilabel> and another as <guilabel>3D right only</guilabel>
620 and DCP-o-matic will pick up the appropriate frames from each.
626 <!-- ============================================================== -->
628 <title>Filtering</title>
631 The ‘filters’ settings allow you to apply various video
632 filters to the image. These may be useful to try to improve
633 poor-quality sources like DVDs. You can set up the filters by clicking the
634 <guilabel>Edit</guilabel> button next to the filters entry in the
635 setup area of the DCP-o-matic window; this opens the filters selector
636 as shown in <xref linkend="fig-filters"/>.
639 <figure id="fig-filters">
640 <title>Filters selector</title>
643 <imagedata fileref="screenshots/filters&scs;"/>
649 After changing the filters setup, you will need to regenerate the DCP
650 to see the effect on the cinema screen. The preview in DCP-o-matic
651 will update itself whenever filters are changed, though of course this
652 image is much smaller and of lower resolution than a projected image!
658 <!-- ============================================================== -->
660 <title>Colour conversion</title>
663 The <guilabel>Colour conversion</guilabel> setting specifies what
664 colour transforms and gamma correction DCP-o-matic will use when
665 converting the selected content into the XYZ colourspace for the DCP.
669 Clicking <guilabel>Edit...</guilabel> will open the colour conversion
670 dialogue box, as shown in <xref linkend="fig-colour-conversion"/>.
673 <figure id="fig-colour-conversion">
674 <title>Dialogue box for setting colour conversion</title>
677 <imagedata fileref="screenshots/colour-conversion&scs;"/>
683 In most cases, it is only necessary to select one of DCP-o-matic's
684 presets. DCP-o-matic knows how to convert from two common
685 colourspaces: sRGB and Rec. 709, so if your content was graded using
686 one of those you can select the appropriate preset.
690 For other colour spaces you can edit the values in the lower half of
691 the dialogue box as you wish. Alternatively, create a new colour
692 conversion preset using the preferences dialog, as described in <xref
693 linkend="sec-prefs-colour"/>.
697 Colour conversion is discussed in more detail in a separate document
698 <ulink url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
703 <!-- ============================================================== -->
705 <title>Other settings</title>
708 The ‘crop’ settings can be used to crop your content,
709 which can be used to remove black borders from round the edges of DVD
710 images, for example. The specified number of pixels will be trimmed
711 from each edge, and the content image in the right of the window will
712 be updated to show the effect of the crop.
716 The <guilabel>Scale to</guilabel> option governs the shape that
717 DCP-o-matic will scale the content's image into. Select the aspect
718 ratio that your content should be presented in.
723 <!-- ============================================================== -->
725 <title>Video description</title>
728 At the bottom of the video tab is a short description of what will
729 happen to your video with the current settings. In the example of
730 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
731 video file is 1920x1080 pixels (which is a ratio of 1.78:1). Since
732 the controls specify ‘Flat’ for the ratio, DCP-o-matic
733 scales the content image to 1998x1080, which is the DCI flat
738 This description also gives the frame rate of the content and what
739 will happen to it when it is played at the DCP's frame rate.
740 <!-- XXX: link to more detailed discussion of this -->
748 <!-- ============================================================== -->
753 The <guilabel>Audio</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-audio-tab"/>.
756 <figure id="fig-audio-tab">
757 <title>Audio settings tab</title>
760 <imagedata fileref="screenshots/audio-tab&scs;"/>
766 <!-- ============================================================== -->
768 <title>Show audio</title>
771 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
772 to examine the audio in your content and plot a graph of its level
773 over time. This can be useful for getting a rough idea of how loud
774 the sound will be in the cinema auditorium. A typical plot is shown
775 in <xref linkend="fig-audio-plot"/>
778 <figure id="fig-audio-plot">
779 <title>Audio plot</title>
782 <imagedata fileref="screenshots/audio-plot&scs;"/>
788 The plot gives the audio level (vertical axis, in dB) with time
789 (horizontal axis). 0dB represents full scale, so if there is anything
790 near this you are in danger of clipping the projector's audio outputs.
794 There are two plot types: the peak level and the RMS, which can be
795 shown or hidden using the check-boxes on the right hand side of the
800 The channel check-boxes will show or hide the plot(s) for
801 the corresponding channels in the DCP.
805 The smoothing slider applies a variable degree of temporal smoothing
806 to the plots, which can make them easier to read in some cases.
810 Obviously the audio plot is no substitute for listening in an
811 auditorium, but it can be useful to get levels in the right rough area.
817 <!-- ============================================================== -->
819 <title>The audio map</title>
822 The section at the bottom of the audio tab is the ‘audio
823 map’. This governs how sound from the content will be arranged
828 Down the left-hand side of the map is the list of audio channels in
829 the currently-selected piece of content. Along the top is each
830 channel in the DCP. A green box means that the corresponding
831 content channel will be copied into the corresponding DCP channel.
835 When content channels are copied into DCP channels they can be done
836 with variable gain. If, for example, you want to copy a channel
837 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
838 two channels into one, you may want to use a gain of -6dB on each one
839 to prevent clipping when the two channels are added.
843 The green boxes of the audio mapping view tell you (very roughly) how
844 much gain is applied to each channel. A full-height box means 0dB
845 (i.e. unity) gain. Any less height indicates lower gain.
849 To map one channel to another with 0dB gain, click in the empty box
850 and it will turn green to reflect the mapping. A second click will
851 turn the mapping back off. To set some other gain, right-click on the
852 box to open the gain menu. This allows you to set
853 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
854 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
855 <guilabel>Edit</guilabel> which allows you to set the required gain
860 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
863 <figure id="fig-audio-map-eg1">
864 <title>Audio map example 1</title>
867 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
873 Here, we have two channels in the source which are mapped to left and
874 right, respectively, in the DCP. The full green boxes show that the
875 mapping is at unity gain (0dB) in each case. Imagine that we modify
876 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
879 <figure id="fig-audio-map-eg2">
880 <title>Audio map example 2</title>
883 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
889 We now have the content's streams mapped to left and right and also
890 mixed together and placed in the DCP's centre channel. The smaller
891 green boxes on the centre mappings show that those channels are added
892 with some non-unity gain; you can see by hovering the mouse pointer
893 over those boxes that the gain for content channels 1 and 2 is -6dB
894 when being sent to the centre channel and 0dB when being sent to left
898 <figure id="fig-audio-map-eg3">
899 <title>Audio map example 3</title>
902 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
908 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
909 shows the mapping of a 5.1 source into a 5.1 DCP.
915 <!-- ============================================================== -->
917 <title>Other controls</title>
920 ‘Audio Gain’ is used to alter the volume of the
921 soundtrack. The specified gain (in dB) will be applied to each sound
922 channel of your content before it is written to the DCP.
926 If you use a sound processor that DCP-o-matic knows about, it can help
927 you calculate changes in gain that you should apply. Say, for
928 example, that you make a test DCP and find that you have to run it at
929 volume 5 instead of volume 7 to get a good sound level in the screen.
930 If this is the case, click the <guilabel>Calculate...</guilabel>
931 button next to the audio gain entry, and the dialogue box in <xref
932 linkend="fig-calculate-audio-gain"/> will open.
935 <figure id="fig-calculate-audio-gain">
936 <title>Calculating audio gain</title>
939 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
945 For our example, put 5 in the first box and 7 in the second and click
946 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
947 that it should apply to make this happen. Then you can re-make the
948 DCP (this will be reasonably fast, as the video data will already have
949 been done) and it should play back at the correct volume with 7 on
950 your sound-rack fader.
954 Current versions of DCP-o-matic only know about the Dolby CP650 and
955 CP750. If you use a different sound processor, and know the gain
956 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
961 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
962 between audio and video. A positive delay will move the audio later
963 with respect to the video, and a negative delay will move it earlier.
967 The <guilabel>Audio Stream</guilabel> option allows you to select the
968 audio stream to use, if the content contains more than one. There
969 might be different soundtrack languages, for example.
976 <!-- ============================================================== -->
978 <title>Subtitles</title>
981 The subtitles tab contains settings related to subtitles in your
982 content, as shown in <xref linkend="fig-subtitles-tab"/>.
985 <figure id="fig-subtitles-tab">
986 <title>Subtitle settings tab</title>
989 <imagedata fileref="screenshots/subtitles-tab&scs;"/>
995 DCP-o-matic will extract subtitles from the content, if present, and
996 they can be ‘burnt into’ the DCP (that is, they are
997 included in the image and not overlaid by the projector). Note that
998 DVD and Blu-Ray subtitles are stored as bitmaps, so it is not possible
999 (automatically) to use non-burnt-in subtitles with these sources.
1000 Select the <guilabel>With Subtitles</guilabel> check-box to enable
1001 subtitles. The <guilabel>X Offset</guilabel> and <guilabel>Y
1002 Offset</guilabel> controls move the subtitles around within the image,
1003 and the <guilabel>scale</guilabel> control changes their size. The
1004 <guilabel>Stream</guilabel> control changes the subtitle stream that
1005 is used when the content has more than one.
1009 All being well, future versions of DCP-o-matic will include the option to
1010 use text subtitles (as is the norm with most professionally-mastered
1017 <!-- ============================================================== -->
1019 <title>Timing</title>
1022 The timing tab contains settings related to the timing of your
1023 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1026 <figure id="fig-timing-tab-detail">
1027 <title>Timing settings tab</title>
1030 <imagedata fileref="screenshots/timing-tab&scs;"/>
1036 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1037 These are expressed as four numbers, as shown in <xref
1038 linkend="fig-timecode"/>.
1041 <figure id="fig-timecode">
1042 <title>Timecode</title>
1045 <imagedata fileref="diagrams/timecode&dia;"/>
1051 <guilabel>Position</guilabel> is the time at which this piece of
1052 content should start within the DCP. In most cases, this will be
1053 <code>0:0:0:0</code> to make the content start at the beginning of the
1058 <guilabel>Full length</guilabel> is the length of the piece of
1059 content. This can only be set for still-image content: for video or
1060 sound content, it is fixed by the nature of the content file. If
1061 still-image content is being used you can set the length for which it
1062 should be displayed using this control.
1066 <guilabel>Trim from start</guilabel> specifies the amount that should be trimmed from the start of the content.
1070 <guilabel>Trim from end</guilabel> specifies the amount that should be trimmed from the end of the content.
1074 <guilabel>Play length</guilabel> indicates how long this piece of
1075 content will be once the trims have been applied. This will be equal
1076 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1080 <guilabel>Video frame rate</guilabel> specifies the frame rate for still-image content.
1084 Each timecode control has a <guilabel>Set</guilabel> which you should
1085 click when you have entered a new value for a timecode. The
1086 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1087 any changes to the corresponding timecode.
1093 <!-- ============================================================== -->
1095 <title>Video processing pipeline</title>
1098 This section gives a little more detail about how DCP-o-matic process
1099 video as it takes it from a source and puts it into a DCP.
1103 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1104 image which is letterboxed with 36 black pixels each at the top and
1105 bottom, and the video content within the letterbox should be presented
1106 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1107 happen with a trailer). The source image is shown in <xref
1108 linkend="fig-pipeline1"/>.
1111 <figure id="fig-pipeline1">
1112 <title>Example image to demonstrate video processing</title>
1115 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1121 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1125 <listitem>Crop</listitem>
1126 <listitem>Scale</listitem>
1127 <listitem>Place in container</listitem>
1131 First, some amount of the image can be cropped. This is almost always
1132 used to remove black borders (letterboxing and/or pillarboxing) around
1137 In our example image, we would use 36 pixels of crop from the top and
1138 bottom. This would give the new image shown in <xref
1139 linkend="fig-pipeline2"/>.
1142 <figure id="fig-pipeline2">
1143 <title>Example image after cropping</title>
1146 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1152 The next step is to scale the image. Since this content should be
1153 presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select
1154 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1155 option in the <guilabel>Video</guilabel> tab and
1156 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1157 option in the <guilabel>DCP</guilabel> tab.
1160 <para>The <guilabel>Scale to</guilabel> option should always be set to
1161 the aspect ratio at which the content should be seen. The
1162 <guilabel>Container</guilabel> option should be set to the preset that
1163 you want to use on the projector. Of course, these two settings will
1168 Given the scaling and container information, DCP-o-matic will look at
1169 the DCP's container size, and then scale the source image up until one
1170 or both of its dimensions (width, height or both) fits the size of the
1171 container, all the while preserving the desired aspect ratio.
1175 In our example here, the DCP's container is specified as 1.85:1 (so
1176 that the DCP will play back correctly using the projector's
1177 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1178 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1179 result in the image hitting the sides of the container first, at a
1180 size of 1998 x 836. This gives us a new version of the image as shown
1181 in <xref linkend="fig-pipeline3"/>.
1184 <figure id="fig-pipeline3">
1185 <title>Example image after cropping and scaling</title>
1188 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1194 The final step is to place the image into the DCP. In this case,
1195 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1196 we have set the <guilabel>container</guilabel> in the
1197 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1198 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1199 be some black bars at the top and bottom of the image. DCP-o-matic
1200 shares out this black equally, as shown in <xref
1201 linkend="fig-pipeline3"/>.
1204 <figure id="fig-pipeline4">
1205 <title>Example image in the DCP</title>
1208 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1217 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1218 <title>DCP settings</title>
1221 This chapter describes the settings that apply to the whole DCP. The
1222 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1223 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1226 <figure id="fig-dcp-tab">
1227 <title>DCP settings tab</title>
1230 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1236 The first thing here is the name. This is generally set to the title
1237 of the film that is being encoded. If <guilabel>Use ISDCF
1238 name</guilabel> is not ticked, the name that you specify will be used
1239 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1240 is ticked, the name that you enter will be used as part of a
1241 ISDCF-compliant name.
1245 Underneath the name field is a preview of the name that the DCP will
1246 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1247 name</guilabel> check-box. The ISDCF name will be composed using details
1248 of your content's soundtrack, the current date and other things that
1249 can be specified in the ISDCF name details dialogue box, which you can
1250 open by clicking on the <guilabel>Details</guilabel> button.
1254 If the DCP name is long, it may not all be visible. You can see the
1255 full name by hovering the mouse pointer over the partial name.
1259 The <guilabel>Container</guilabel> option sets the ratio of the image
1260 in the DCP. If this ratio is different to the ratio used for any
1261 content, DCP-o-matic will pad the content with black. In simple cases
1262 this should be set to the same ratio as that for the the primary piece
1263 of video content. Alternatively, you might want to pillarbox a small
1264 format into a Flat container: in this case, select the small format
1265 for the content's ratio and ‘Flat’ for the DCP.
1269 Next up is the content type. This can be
1270 ‘feature’, ‘trailer’ or whatever; select the
1271 required type from the drop-down list.
1275 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1276 your DCP. This can be a little tricky to get right. Ideally, you
1277 want it to be the same as the video content that you are using. If it
1278 is not the same, DCP-o-matic must resort to some tricks to alter your
1279 content to fit the specified frame rate. Frame rates are discussed in
1280 more detail in <xref linkend="ch-frame-rates"/>.
1284 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1285 is signed. This is rarely important; if in doubt, tick it.
1289 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1290 should be encrypted or not. If this is ticked, the DCP will require a
1291 KDM to play back. Encryption is discussed in <xref
1292 linkend="ch-encryption"/>.
1296 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1297 to what DCP-o-matic thinks is the best given the content that you have
1302 The <guilabel>Audio Channels</guilabel> control sets the number of
1303 audio channels that the DCP will have. If the DCP has any channels
1304 for which there is no content audio they will be replaced by silence.
1308 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1309 is checked. A 3D DCP will then be created, and any 2D content will be
1310 made 3D compatible by repeating the same frame for both left and right
1311 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1312 Real-D etc.) but not on a 2D system.
1316 The <guilabel>Resolution</guilabel> tab allows you to choose the
1317 resolution for your DCP. Use 2K unless you have content that is of
1318 high enough resolution to be worth presenting in 4K.
1322 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big the final
1323 image files used within the DCP will be. Larger numbers will give
1324 better quality, but correspondingly larger DCPs. The bandwidth can be
1325 between 50 and 250 megabits per second (Mbit/s).
1329 The <guilabel>Standard</guilabel> option specifies which of the two
1330 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1331 more modern of the two).
1335 Finally, the <guilabel>Scaler</guilabel> is the method that will be used to scale up
1336 your content for the DCP, if required. Bicubic is a fine choice in
1342 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1343 <title>Encryption</title>
1346 It is not required that DCPs be encrypted, but they can be. This
1347 chapter discusses the basic principles of DCP encryption, and how
1348 DCP-o-matic can create encrypted DCPs and KDMs for them.
1352 <!-- ============================================================== -->
1354 <title>Basics</title>
1357 DCPs can be encrypted. This means that the picture and sound data are
1358 encoded in such a way that only cinemas ‘approved’ by the
1359 DCP's creators can read them. In particular, this means copies of the
1360 DCP can be distributed by insecure means: if an ne'er-do-well called
1361 Mallory obtains a hard drive containing an encrypted DCP, there is no
1362 way that he can play it. Only those cinemas who receive a correct key
1363 delivery message (KDM) can play the DCP.
1367 <!-- ============================================================== -->
1369 <title>How it works (in a nutshell)</title>
1372 This section attempts to summarise how DCP encryption works. You can
1373 skip it if you like. You may need some knowledge of encryption
1374 methods to understand it.
1378 We suppose that we are trying to distribute a DCP to
1379 Alice's cinema without a troublemaker called Mallory being able to
1384 There are two main families of encryption techniques. The first,
1385 symmetric-key encryption, allows us to encode some data using some
1386 numeric key. After encoding, no-one can decode the data unless they
1391 The first step in a DCP encryption is to encode its data with some key
1392 using symmetric-key encryption. The encrypted DCP can then be sent
1393 anywhere, safe in the knowledge that even if Mallory got hold of a
1394 copy, he could not decrypt it.
1398 Alice, however, needs to know the key so she can play the DCP in her
1399 cinema. A simple approach might be for us to send Alice the key.
1400 However, if Mallory can intercept the DCP, he might also be able to
1401 intercept our communication of the key to Alice. Furthermore, if Alice
1402 happened to know Mallory, she could just send him a copy of the key.
1406 The clever bit in DCP encryption requires the use of public-key
1407 encryption. With this technique we can encrypt a block of data using
1408 some ‘public’ key. That data can then only be decrypted
1409 using a <emphasis>different</emphasis> ‘private’ key. The
1410 private and public keys are related mathematically, but it is
1411 extremely hard (or rather, virtually impossible) to derive the private
1412 key from the public key.
1416 Public-key encryption allows us to distribute the DCP's key to Alice
1417 securely. The manufacturer of Alice's projector generates a public
1418 and private key. They hide the private key deep inside the bowels of
1419 the projector (inside an integrated circuit) where no-one can read it.
1420 They then make the public key available to anyone who is interested.
1424 We take our DCP's symmetric key and encrypt it using the public key of
1425 Alice's projector. We send the result to Alice over email (using a
1426 format called a Key Delivery Message, or KDM). Her projector then
1427 decrypts our message using its private key, yielding the magic
1428 symmetric key which can decrypt the DCP.
1432 If is fine if Mallory intercepts our email to Alice, since the only
1433 key which can decrypt the message is the private key buried inside
1434 Alice's projector. The projector manufacturer is very careful that
1435 no-one ever finds out what this key is. Our DCP is secure: only Alice
1436 can play it back, since only her projector knows the key (even Alice
1444 <!-- ============================================================== -->
1446 <title>Encryption using DCP-o-matic</title>
1449 There are two steps to distributing an encrypted DCP. First, the
1450 DCP's data must be encrypted, and secondly KDMs must be generated for
1451 those cinemas that are allowed to play the DCP.
1455 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
1456 box in the <guilabel>DCP</guilabel> tab of DCP-o-matic will encrypt
1457 the DCP using a random key that DCP-o-matic generates. The key will
1458 be written to the film's metadata file, which should be kept
1463 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
1464 ticked will not play on any projector as-is (it will be marked as
1465 ‘locked’, or whatever the projector manufacturer's term
1470 The second part is to generate KDMs for the cinemas that you wish to
1471 allow to play your DCP. This is done using the <guilabel>Make
1472 KDMs</guilabel> option on the <guilabel>Jobs</guilabel> menu. This
1473 will open the KDM dialogue box, as shown in <xref linkend="fig-kdm"/>.
1476 <figure id="fig-kdm">
1477 <title>KDM dialog</title>
1480 <imagedata fileref="screenshots/kdm&scs;"/>
1486 In order to generate KDMs for a particular projector, you need to know
1487 its <emphasis>certificate</emphasis>. These are usually made
1488 available by the projector manufacturers as text files with a
1489 <code>.pem</code> extension.
1493 DCP-o-matic can store these certificates to make life easier. It
1494 stores details of cinemas and screens within those cinemas. Each
1495 screen has a certificate for its projector. DCP-o-matic can generate
1496 KDMs for any screens that it knows about.
1500 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
1501 a dialogue box into which you can enter the cinema's name, and
1502 optionally an email address. This email address can be used to
1503 get DCP-o-matic to deliver KDMs via email, but it is optional.
1507 Once you have added a cinema, select it by clicking on its name, then
1508 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
1509 allows you to enter a name for the screen and load in its certificate
1510 from a file. The certificate should be in SHA256 PEM format.
1514 Once you have set up all the screens that you need KDMs for,
1515 DCP-o-matic can generate KDMs for the last DCP that you generated for
1516 the currently-loaded film. Select the cinemas and/or screens that you
1517 want KDMs for and fill in the start and end dates and times.
1521 Finally, choose what you want to do with the KDMs. They can be
1522 written to disk, to a location that you can specify by clicking
1523 <guilabel>Browse</guilabel>. Alternatively, if you choose
1524 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
1525 emailed to the appropriate cinema email addresses. Click OK to
1535 <!-- ============================================================== -->
1536 <!-- PREFERENCES -->
1537 <!-- ============================================================== -->
1539 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1540 <title>Preferences</title>
1543 DCP-o-matic provides a few preferences which can be used to modify its
1544 behaviour. This chapter explains those options.
1548 <!-- ============================================================== -->
1550 <title>The preferences dialogue</title>
1553 The preferences dialogue is opened by choosing
1554 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
1555 menu. The dialogue is split into eight tabs.
1558 <!-- ============================================================== -->
1560 <title>General</title>
1563 The general tab is shown in <xref linkend="fig-prefs-general"/>.
1566 <figure id="fig-prefs-general">
1567 <title>General preferences</title>
1570 <imagedata fileref="screenshots/prefs-general&scs;"/>
1576 <!-- ============================================================== -->
1578 <title>Language</title>
1581 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
1582 a language from the list, that language will be used for DCP-o-matic.
1583 You will need to restart DCP-o-matic to see the new language.
1587 The translations for DCP-o-matic have been contributed by helpful
1588 users. If your language is not on the last, head to <ulink
1589 url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
1590 read about how to contribute a translation.
1595 <!-- ============================================================== -->
1597 <title>Threads</title>
1600 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
1601 to speed things up. Set this value to the number of threads
1602 DCP-o-matic should use. This should normally be the number of
1603 processors (or processor cores) in your machine. DCP-o-matic will try
1604 to set this up correctly when you run it for the first time.
1609 <!-- ============================================================== -->
1611 <title>Updates</title>
1614 The <guilabel>Check for updates on startup</guilabel> option, if
1615 enabled, will tell DCP-o-matic to check on <ulink
1616 url="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
1617 newer versions of DCP-o-matic then the one you are running. If so, a
1618 dialogue box will open with a link to download the new version.
1623 The <guilabel>Check for testing updates as well as stable
1624 ones</guilabel> option will also check for test updates as well as
1625 those that are formally ‘released’. This is useful if you
1626 like to live on the bleeding edge!
1632 <!-- ============================================================== -->
1634 <title>Defaults</title>
1637 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
1640 <figure id="fig-prefs-defaults">
1641 <title>Defaults preferences</title>
1644 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
1650 The options in this tab simply allow you to set up default values for
1651 various properties of new films.
1656 <!-- XXX: servers -->
1658 <!-- ============================================================== -->
1659 <section xml:id="sec-prefs-colour">
1660 <title>Colour conversions</title>
1663 The colour conversions tab is shown in <xref linkend="fig-prefs-colour-conversions"/>.
1666 <figure id="fig-prefs-colour-conversions">
1667 <title>Colour conversions preferences</title>
1670 <imagedata fileref="screenshots/prefs-colour-conversions&scs;"/>
1676 As part of the encoding process, DCP-o-matic has to convert the colour
1677 space of the source files that you use into XYZ, the colour space used
1678 by the DCI standard.
1682 Colour conversion is discussed in more detail in a separate document
1683 <ulink url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
1687 These preferences control a list of presets which are suitable for
1688 converting from common input colour spaces to XYZ.
1694 <!-- ============================================================== -->
1699 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) holds options
1700 related to the keys and certificates used in some parts of DCP
1704 <figure id="fig-prefs-keys">
1705 <title>Keys preferences</title>
1708 <imagedata fileref="screenshots/prefs-keys&scs;"/>
1714 At the top of the tab is the chain of certificates that will be used
1715 to sign DCPs and KDMs. DCP-o-matic creates a random chain when you
1716 first run it, so if you are happy to use a randomly-generated chain
1717 you can ignore the preferences. Otherwise, you can add or remove
1718 certificates from the chain using the <guilabel>Add...</guilabel> and
1719 <guilabel>Remove</guilabel> buttons.
1723 If you want DCP-o-matic to re-create the certificate chain (using new,
1724 random certificates) click <guilabel>Re-make
1725 certificates...</guilabel> and specify your organisation and common
1726 names in the dialogue box that opens.
1730 Underneath the certificate chain is the private key that corresponds
1731 to the leaf certificate in the chain. You can specify your own
1732 private key by clicking <guilabel>Load...</guilabel>. You must do
1733 this if you change the leaf certificate, so that the leaf private key
1734 corresponds to the public key held in the leaf certificate.
1738 The bottom of the tab specifies the certificate and private key that
1739 is used to decrypt DCPs if they are imported as sources to
1740 DCP-o-matic. If you want to import an encrypted DCP you will need to
1741 give the decryption certificate to the distributor of the DCP so that
1742 they can generate a DKDM for you. As with the certificate chain,
1743 DCP-o-matic will create a certificate and private key for you. You
1744 can also choose to load your own certificate and key.
1749 <!-- ============================================================== -->
1750 <section xml:id="sec-prefs-tms">
1752 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
1755 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
1756 options for specifying details about your theatre management system
1757 (TMS). If you do this, and your TMS accepts SSH connections, you can
1758 upload DCPs directly from DCP-o-matic to the TMS using the
1759 <guilabel>Send DCP to TMS</guilabel> option in the
1760 <guilabel>Jobs</guilabel> menu.
1763 <figure id="fig-prefs-tms">
1764 <title>TMS preferences</title>
1767 <imagedata fileref="screenshots/prefs-tms&scs;"/>
1773 <guilabel>TMS IP address</guilabel> should be set to the IP address of
1774 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
1775 should be uploaded to (which will be relative to the home directory of
1776 the SSH user). Finally, the user name and password are the
1777 credentials required to log into the TMS via SSH.
1782 <!-- ============================================================== -->
1784 <title>KDM email</title>
1787 The KDM email is shown in <xref linkend="fig-prefs-kdm-email"/>.
1790 <figure id="fig-prefs-kdm-email">
1791 <title>KDM email preferences</title>
1794 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
1800 This is a template for the email that is used to send KDMs out to
1801 cinemas. You can change it to say whatever you like. A few
1802 ‘magic’ strings will be replaced by information from the
1803 KDM that is being sent:
1807 <title>‘Magic’ KDM strings</title>
1808 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
1811 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
1814 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
1817 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
1820 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
1823 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
1830 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
1836 <!-- ============================================================== -->
1837 <section xml:id="sec-prefs-advanced">
1838 <title>Advanced</title>
1839 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
1842 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
1845 <figure id="fig-prefs-advanced">
1846 <title>Advanced preferences</title>
1849 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
1855 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
1856 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
1857 are advised to leave this at 250Mbit/s in normal use for maximum DCP
1862 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
1863 the DCP video frame rates that DCP-o-matic will create. This may be
1864 useful for experimentation. Again, you are strongly advised to leave
1865 this unticked for normal use.
1869 The four checkboxes labelled <guilabel>Log</guilabel> control what
1870 sort of messages DCP-o-matic writes to its log file when creating a
1871 DCP. It is useful to leave <guilabel>General</guilabel>,
1872 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
1873 as this makes the log files useful for tracking down bugs.
1877 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
1878 to allow developers to investigate and optimize the speed of
1879 DCP-o-matic. It will significantly increase the size of the log files
1880 that are generated, so in normal use it is best to leave this
1888 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
1889 <title>Frame rates</title>
1892 In an ideal world, a DCP would be created using content at the same
1893 video frame and audio sampling rates as the DCP. This is not,
1894 however, always possible.
1898 <!-- ============================================================== -->
1900 <title>DCP frame rate limitations</title>
1903 There are some limitations to video and audio frame rates in DCPs. This is
1904 complicated by the fact that not all projectors will play DCPs at the
1905 same frame rates. It is possible to create a DCP which one projector will
1906 play fine, but another (of a different type) will refuse to play, or
1907 even refuse to ingest.
1911 <!-- ============================================================== -->
1913 <title>Guaranteed rates</title>
1916 The only rates that are (pretty much) guaranteed to work on all DCI
1917 projectors is 24 frames per second (fps) for video and 48kHz or 96kHz
1918 for audio. If you are sending your DCPs to unknown places it wise to
1919 consider using these rates if at all possible.
1925 <!-- ============================================================== -->
1927 <title>Other often-supported rates</title>
1929 Many projectors now in the wild support additional video frame rates:
1935 <!-- ============================================================== -->
1937 <title>Adapting content to fit the DCP rate</title>
1940 DCP-o-matic has a few tricks to allow you to use content that is not
1941 in one of the ‘approved’ rates.
1945 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
1946 with minimal loss in quality.
1950 Video rate conversion is harder. DCP-o-matic's strategy to deal
1951 with a non-supported content rate is to run it at the wrong speed, and
1952 to adjust the audio to keep it in sync.
1955 <para>Consider the example of a 25fps source for which you want
1956 to create a 24fps DCP. DCP-o-matic will put the frames from the
1957 source directly into the DCP without modification, but will tell the
1958 projector to play them back at 24fps. This means that the DCP's video
1959 will run slightly slower than the original.
1963 If DCP-o-matic did nothing else, the result of this would be that the
1964 audio would be running at the original speed with the video running
1965 slowly. Hence the audio would drift slowly out of sync. To avoid
1966 this, DCP-o-matic also resamples the audio such that the projector
1967 will play it too slow by the same amount. Hence it will sound
1968 slightly different but will remain in sync with the video.
1972 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
1979 <!-- ============================================================== -->
1981 <title>Setting up</title>
1984 The <guilabel>Frame Rate</guilabel> control in the
1985 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
1986 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
1987 what DCP-o-matic thinks is the best for your content. With this
1988 button, DCP-o-matic assumes that the whole range of frame rates (24,
1989 25, 30 and 48fps) are allowable.
1993 After this, the <guilabel>Video</guilabel> tab for each piece of
1994 content will give a summary of what DCP-o-matic is doing with that
1999 If you want to experiment with other non-standard frame rates, you can
2000 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
2001 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
2002 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
2003 use this only on your own equipment, and only for experimentation
2012 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
2013 <title>Encoding servers</title>
2016 One way to increase the speed of DCP encoding is to use more
2017 than one machine at the same time. An instance of DCP-o-matic can
2018 offload some of the time-consuming JPEG2000 encoding to any number of
2019 other machines on a network. To do this, one ‘master’
2020 machine runs DCP-o-matic, and the ‘server’ machines run
2021 a small program called <code>dcpomatic_server</code>.
2025 The master and server machines do not need to be the same type, so you
2026 can mix Windows PCs, Macs and Linux machines as you wish.
2030 <!-- ============================================================== -->
2032 <title>Running the servers</title>
2035 There are two options for the encoding server;
2036 <code>dcpomatic_server_cli</code>, which runs on the command line, and
2037 <code>dcpomatic_server</code>, which has a simple GUI. The command line
2038 version is well-suited to headless servers, especially on Linux, and
2039 the GUI version works best on Windows where it will put an icon in the
2044 To run the command line version, simply enter:
2048 dcpomatic_server_cli
2052 at a command prompt. If you are running the program on a machine with
2053 a multi-core processor, you can run multiple parallel encoding threads
2054 by doing something like:
2058 dcpomatic_server_cli -t 4
2062 to run 4 threads in parallel.
2066 To run the GUI version on windows, run the ‘DCP-o-matic encode
2067 server’ from the start menu. An icon will appear in the system
2068 tray; right-click it to open a menu from whence you can quit the
2069 server or open a window to show its status.
2072 <para>If you would rather not bother installing DCP-o-matic on your
2073 server computers, the other option is to use the live-CD
2074 image that you can download from the <ulink
2075 url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
2077 <para>Either burn the image to CD, or write it to a USB stick (using
2078 something like <ulink
2079 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
2080 PC from the CD or USB stick and it becomes a DCP-o-matic server
2081 without touching your standard operating system install.
2086 <!-- ============================================================== -->
2088 <title>Setting up DCP-o-matic</title>
2091 DCP-o-matic periodically looks on the local network for servers. Any
2092 that it finds are given work to do during encodes. Selecting
2093 <guilabel>Encoding Servers</guilabel> from the
2094 <guilabel>Tools</guilabel> menu brings up a window which shows that
2095 servers that DCP-o-matic has found.
2100 <!-- ============================================================== -->
2102 <title>Some notes about encode servers</title>
2105 DCP-o-matic does not mind if servers come and go; if a server
2106 disappears, DCP-o-matic will stop sending work to it, and will check
2107 it every minute or so in case it has come back online.
2111 You will probably find that using a 1Gb/s or faster network will
2112 provide a significant speed-up compared to a 100Mb/s network.
2119 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2120 <title>Generated files</title>
2123 DCP-o-matic generates a number of files as it makes a DCP. <xref
2124 linkend="fig-file-structure"/> shows the files that might be generated
2125 after you have created a DCP for a film called ‘DCP Test’.
2128 <figure id="fig-file-structure">
2129 <title>Creating a new film</title>
2132 <imagedata fileref="diagrams/file-structure&dia;"/>
2138 The <code>DCP Test</code> folder is the one that you specify when you
2139 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
2140 menu. Everything is stored inside this folder.
2144 DCP-o-matic generates some working files as it goes along. These are as follows:
2147 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
2148 along. This can be useful for debugging purposes if something goes
2151 <listitem><code>metadata</code> stores the settings that you have made
2152 for this film: things like cropping, output format and so on.</listitem>
2154 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
2155 video data as it encodes it.</listitem>
2157 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
2159 <listitem><code>info</code> contains details of each video frame that
2160 DCP-o-matic has written so far. This is used when an encoding
2161 operation is interrupted and DCP-o-matic must resume it.</listitem>
2166 Following this is the DCP itself:
2167 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
2168 contains some small XML files, which describe the DCP, and two large
2169 MXF files, which contain the DCP's audio and video data. This folder
2170 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
2171 to the cinema which is showing your DCP.
2177 <title>Loose ends</title>
2180 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
2184 <!-- ============================================================== -->
2186 <title>Resuming encodes</title>
2189 If you cancel a DCP encoding run half-way through, or your computer
2190 crashes... fear not. DCP-o-matic takes care to ensure that, in most
2191 cases, it can resume encoding from where it left off. When you
2192 re-start a DCP creation, using the same settings are a previous run,
2193 DCP-o-matic will first check that the existing picture frames are
2194 correct, and then resume from where it left off. The checking of
2195 existing frames does take some time, but it is much faster than
2196 running a full re-encode.
2200 This resumption is achieved by writing a digest (hash) to disk for
2201 every image frame that is written. On resumption, the existing MXF
2202 file for image data is read and its contents checked against the
projects / dcpomatic.git / blob