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19 <title>DCP-o-matic users' manual</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
45 <!-- ============================================================== -->
47 <title>Licence</title>
50 DCP-o-matic is licensed under the <ulink url="http://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU GPL</ulink>.
56 <!-- ============================================================== -->
58 <title>Acknowledgements</title>
61 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
68 <!-- ============================================================== -->
69 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
70 <title>Installation</title>
73 <!-- ============================================================== -->
75 <title>Windows</title>
78 To install DCP-o-matic on Windows, download the installer from
79 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
80 and double-click it. Click through the installer wizard, and
81 DCP-o-matic will be installed onto your machine.
85 If you are using a 32-bit version of Windows, you will need the 32-bit
86 installer. For 64-bit Windows, either installer will work, but I
87 suggest you used the 64-bit version as it will allow DCP-o-matic to
88 use more memory. You may find that DCP-o-matic crashes if you run
89 many parallel encoding threads (more than 4) on the 32-bit
96 <!-- ============================================================== -->
98 <title>Mac OS X</title>
101 DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
102 higher. To install it, download the <code>.dmg</code> from <ulink
103 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink> and double
104 click to open it. Then drag the DCP-o-matic icon to your
105 <guilabel>Applications</guilabel> folder or wherever else you would
112 <title>Ubuntu Linux</title>
115 You can install DCP-o-matic on Ubuntu 12.04 (‘Precise
116 Pangolin’) or 14.04 (‘Trusty Tahr’) using <code>.deb</code> packages: download the
117 appropriate package from <ulink
118 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink> and
119 double-click it. Ubuntu will install the necessary bits and pieces
120 and set DCP-o-matic up for you.
126 <!-- ============================================================== -->
128 <title>Debian Linux</title>
130 Packages are available for Debian 7 (squeeze) and unstable (sid) from <ulink
131 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>.
136 <!-- ============================================================== -->
138 <title>Centos Linux</title>
140 Packages are available for Centos 6.5 and 7 from <ulink
141 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>.
146 <!-- ============================================================== -->
148 <title>Arch Linux</title>
150 Packages for Arch Linux are available from <ulink
151 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
152 thanks to Stefan Karner.
157 <!-- ============================================================== -->
159 <title>Other Linux distributions</title>
162 Installation on non-Ubuntu Linux is currently a little involved, as
163 there are no packages available (yet); you will have to compile it
164 from source. If you are using a non-Ubuntu distribution, do let me
165 know by <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I will see about building some packages.
169 The following dependencies are required:
171 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
172 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
173 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
174 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
175 <listitem><ulink url="http://www.imagemagick.org/script/index.php">ImageMagick</ulink></listitem>
176 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
177 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
178 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
179 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
180 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
181 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
182 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
183 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
184 <listitem><ulink url="http://carlh.net/software/libdcp/">libdcp</ulink></listitem>
185 <listitem><ulink url="http://carlh.net/software/libcxml/">libcxml</ulink></listitem>
190 Once you have installed the development packages for the dependencies,
191 download the source code from <ulink
192 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>,
193 unpack it and run the following commands from inside the source
204 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
219 <!-- ============================================================== -->
220 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
221 <title>Creating a video DCP</title>
224 In this chapter we will see how to create a video DCP using
225 DCP-o-matic. We will gloss over the details and look at the basics.
229 <title>Creating a new film</title>
232 Let's make a very simple DCP to see how DCP-o-matic works. First, we
233 need some content. Download the low-resolution trailer for the open
234 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
235 url="http://ftp.nluug.nl/ftp/graphics/blender/apricot/trailer/Sintel_Trailer1.480p.DivX_Plus_HD.mkv">their
236 website</ulink>. Generally, of course, one would want to use the
237 highest-resolution material available, but for this test we will use
238 the low-resolution version to save everyone's bandwidth bills.
242 Now, start DCP-o-matic and its window will open. First, we will
243 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
244 some pieces of content, along with some settings, which we will make into
245 a DCP. DCP-o-matic stores its data in a folder on your disk while it
246 creates the DCP. You can create a new film by selecting
247 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
248 shown in <xref linkend="fig-file-new"/>.
251 <figure id="fig-file-new">
252 <title>Creating a new film</title>
255 <imagedata fileref="screenshots/file-new&scs;"/>
261 This will open a dialogue box for the new film, as shown in <xref
262 linkend="fig-video-new-film"/>.
265 <figure id="fig-video-new-film">
266 <title>Dialogue box for creating a new film</title>
269 <imagedata fileref="screenshots/video-new-film&scs;"/>
275 In this dialogue box you can choose a name for the film. This will be
276 used to name the folder to store its data in, and also as the initial
277 name for the DCP itself. You can also choose whereabouts you want to create
278 the film. In the example from the figure, DCP-o-matic will create a
279 folder called ‘DCP Test’ inside my home folder (carl) into which it
280 will write its working files.
286 <!-- ============================================================== -->
288 <title>Adding content</title>
291 The next step is to add the content that you want to use. DCP-o-matic
292 can make DCPs from multiple pieces of content, but in this simple
293 example we will just use a single piece. Click the <guilabel>Add
294 file(s)...</guilabel> button, as shown in <xref
295 linkend="fig-add-file"/>, and a file chooser will open for you to
296 select the content file to use, as shown in <xref
297 linkend="fig-video-select-content-file"/>.
300 <figure id="fig-add-file">
301 <title>Adding content files</title>
304 <imagedata fileref="screenshots/add-file&scs;"/>
309 <figure id="fig-video-select-content-file">
310 <title>Selecting a video content file</title>
313 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
319 Select your content file and click <guilabel>Open</guilabel>. In this
320 case we are using the Sintel trailer that we downloaded earlier.
324 When you do this, DCP-o-matic will take a look at your file. After a
325 short while (when the progress bar at the bottom right of the window
326 has finished), you can look through your content using the slider to
327 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
330 <figure id="fig-examine-content">
331 <title>Examining the content</title>
334 <imagedata fileref="screenshots/examine-content&scs;"/>
340 Dragging the slider will move through your video. You can also click
341 the <guilabel>Play</guilabel> button to play the content back. Note
342 that there will be no sound, and playback might not be entirely
343 accurate (it may be slightly slower or faster than it should be, for
344 example). This player is really only intended for brief inspection of
345 content; if you need to check it more thoroughly, use another player
347 url="http://projects.gnome.org/totem/index.html">Totem</ulink>, <ulink
348 url="http://www.mplayerhq.hu/design7/news.html">mplayer</ulink> or
349 <ulink url="http://www.videolan.org/vlc/index.html">VLC</ulink>.
357 <!-- ============================================================== -->
359 <title>Making the DCP</title>
361 <para>In most cases, some adjustments would be made to DCP-o-matic's
362 settings once the content has been added. For our simple test,
363 however, the default values will suffice, so we can go straight onto
364 making the DCP.</para>
367 Choose <guilabel>Make DCP</guilabel> from the
368 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
369 This may take some time (many hours in some cases). While the job is
370 in progress, DCP-o-matic will update you on how it is getting on with
371 the progress bar in the bottom of its window, as shown in <xref
372 linkend="fig-making-dcp"/>.
375 <figure id="fig-making-dcp">
376 <title>Making the DCP</title>
379 <imagedata scale="30" fileref="screenshots/making-dcp&scs;"/>
385 When it has finished, the DCP will end up on your disk inside the
386 film's folder. You can then copy this to a projector via a USB
387 stick, hard-drive or network connection. See <xref
388 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
392 Alternatively, if you have a projector or TMS that is accessible via
393 SCP across your network, you can upload the content directly from
394 DCP-o-matic. See the <xref linkend="sec-prefs-tms" endterm="sec-prefs-tms-short"/>.
401 <!-- ============================================================== -->
402 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
403 <title>Creating a still-image DCP</title>
406 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
407 for an advertisement or an on-screen announcement. This chapter shows you
412 As with video DCPs, the first step is to create a new
413 ‘Film’; select <guilabel>New</guilabel> from the
414 <guilabel>File</guilabel> menu and the new film dialogue will open as
415 shown in <xref linkend="fig-still-new-film"/>.
418 <figure id="fig-still-new-film">
419 <title>Dialogue box for creating a new film</title>
422 <imagedata fileref="screenshots/still-new-film&scs;"/>
428 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
429 the content. As before, click <guilabel>Add file(s)...</guilabel>.
430 For our example, we will add a single image file, as shown in <xref
431 linkend="fig-still-select-content-file"/>.
434 <figure id="fig-still-select-content-file">
435 <title>Selecting a still content file</title>
438 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
444 As with video DCPs, most of the default settings will be fine for a
445 simple test. The one thing that you might wish to change is the
446 length of the still. Select the <guilabel>Timing</guilabel> tab and
447 you will see a <guilabel>Length</guilabel> setting, as shown in <xref
448 linkend="fig-timing-tab"/>.
451 <figure id="fig-timing-tab">
452 <title>The timing tab</title>
455 <imagedata fileref="screenshots/timing-tab&scs;"/>
461 This length is a ‘timecode’: it consists of four numbers.
462 The first is hours, the second minutes, the third seconds, and the
463 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
467 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
468 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
469 be much quicker than creating a video DCP, as DCP-o-matic only needs
470 to encode a single frame which it can then repeat.
476 <!-- ============================================================== -->
477 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
478 <title>Content settings</title>
481 The previous chapters showed DCP generation using the default
482 settings. DCP-o-matic offers a range of features to adjust the
483 content that goes into your DCP, and this chapter describes those features in
488 <title>Adding and removing content</title>
491 At the top of the <guilabel>Content</guilabel> tab is a list of the
492 content that will go into our DCP. There can be as many pieces of
493 content as you like, and they can be of the following types:
497 <listitem>Movie — a file containing some video, probably some
498 audio and possibly some subtitles; for example, a MOV, MP4 or VOB.
501 <listitem>Sound — a file containing one or more channels of
502 audio; for example, a WAV or AIFF file.
505 <listitem>Still image — a file containing a single still image; for
506 example, a JPEG, PNG or TIFF file.
509 <listitem>Moving image — a directory containing many still
510 images which should be treated as the frames of a video.
515 To add one or more movie, sound or still-image files, select
516 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
520 To add a directory (folder) of images, choose <guilabel>Add
521 folder...</guilabel> and choose the directory from the selector.
522 DCP-o-matic will open a small dialogue box where you can enter the
523 frame rate that your image sequence should be run at.
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 If you want to change the properties for multiple pieces of content at
547 the same time, select the content in the list by clicking the first
548 piece then clicking the other pieces with <keycap>shift</keycap> key
549 held down. Note that not all settings can be changed in this way.
553 The content properties are split up into four sections:
554 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
555 <guilabel>Subtitles</guilabel> and <guilabel>Timing</guilabel>. Not
556 all of these sections will be active for all content types. The controls
557 in each section are described below.
563 <!-- ============================================================== -->
568 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
571 <figure id="fig-video-tab">
572 <title>Video settings tab</title>
575 <imagedata fileref="screenshots/video-tab&scs;"/>
581 <!-- ============================================================== -->
583 <title>Image type</title>
586 The first option on this tab is the ‘type’ of the video.
587 This specifies how DCP-o-matic should interpret the video's image.
588 <guilabel>2D</guilabel> is the default; this just takes the video
589 image as a standard 2D frame. The <guilabel>3D
590 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
591 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
594 <figure id="fig-3d-left-right">
595 <title>3D left/right image type</title>
598 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
604 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
605 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
606 linkend="fig-3d-top-bottom"/>.
609 <figure id="fig-3d-top-bottom">
610 <title>3D top/bottom image type</title>
613 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
619 Another option is <guilabel>3D alternate</guilabel> which takes the
620 first frame of the content as for the left eye, the second for the
621 right eye, the third for the left, and so on. Finally, you can
622 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
623 only</guilabel> if this content contains only the the left or right
624 eye images. This is useful when you have the left and right eye image
625 sets in different files; you can specify one content as <guilabel>3D
626 left only</guilabel> and another as <guilabel>3D right only</guilabel>
627 and DCP-o-matic will pick up the appropriate frames from each.
633 <!-- ============================================================== -->
635 <title>Filtering</title>
638 The ‘filters’ settings allow you to apply various video
639 filters to the image. These may be useful to try to improve
640 poor-quality sources like DVDs. You can set up the filters by clicking the
641 <guilabel>Edit</guilabel> button next to the filters entry in the
642 setup area of the DCP-o-matic window; this opens the filters selector
643 as shown in <xref linkend="fig-filters"/>.
646 <figure id="fig-filters">
647 <title>Filters selector</title>
650 <imagedata fileref="screenshots/filters&scs;"/>
656 After changing the filters setup, you will need to regenerate the DCP
657 to see the effect on the cinema screen. The preview in DCP-o-matic
658 will update itself whenever filters are changed, though of course this
659 image is much smaller and of lower resolution than a projected image!
665 <!-- ============================================================== -->
667 <title>Colour conversion</title>
670 The <guilabel>Colour conversion</guilabel> setting specifies what
671 colour transforms and gamma correction DCP-o-matic will use when
672 converting the selected content into the XYZ colourspace for the DCP.
676 Clicking <guilabel>Edit...</guilabel> will open the colour conversion
677 dialogue box, as shown in <xref linkend="fig-colour-conversion"/>.
680 <figure id="fig-colour-conversion">
681 <title>Dialogue box for setting colour conversion</title>
684 <imagedata fileref="screenshots/colour-conversion&scs;"/>
690 In most cases, it is only necessary to select one of DCP-o-matic's
691 presets. DCP-o-matic knows how to convert from four common
692 colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not know
693 which preset you should use, refer to the suggestions in <xref
694 linkend="tab-colour-conversion"/>.
697 <table id="tab-colour-conversion">
698 <title>Suggested colour conversion settings</title>
699 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
700 <colspec colwidth='1*'/>
701 <colspec colwidth='5*'/>
704 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs</entry>
707 <entry>Rec. 601</entry><entry>Standard-definition content (lower than about 1000 pixels across) including DVD rips.</entry>
710 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
713 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
720 For other required colour conversion, and if you know what you are
721 doing, you can edit the values in the lower half of the dialogue box.
725 Colour conversion is discussed in much more detail in a separate
727 url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
732 <!-- ============================================================== -->
734 <title>Other settings</title>
737 The ‘crop’ settings can be used to crop your content,
738 which can be used to remove black borders from round the edges of DVD
739 images, for example. The specified number of pixels will be trimmed
740 from each edge, and the content image in the right of the window will
741 be updated to show the effect of the crop.
745 The <guilabel>Scale to</guilabel> option governs the shape that
746 DCP-o-matic will scale the content's image into. Select the aspect
747 ratio that your content should be presented in.
752 <!-- ============================================================== -->
754 <title>Video description</title>
757 At the bottom of the video tab is a short description of what will
758 happen to your video with the current settings. In the example of
759 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
760 video file is 1920x1080 pixels and it has square pixels (a pixel
761 aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since
762 the controls specify ‘16.9’ for the ratio, DCP-o-matic
763 does not scale the image but pads it to the DCP's container ratio of
764 1.85:1. For a 2K DCP this is 1998x1080 pixels.
768 This description also gives the frame rate of the content and what
769 will happen to it when it is played at the DCP's frame rate.
770 <!-- XXX: link to more detailed discussion of this -->
778 <!-- ============================================================== -->
783 The <guilabel>Audio</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-audio-tab"/>.
786 <figure id="fig-audio-tab">
787 <title>Audio settings tab</title>
790 <imagedata fileref="screenshots/audio-tab&scs;"/>
796 <!-- ============================================================== -->
798 <title>Show audio</title>
801 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
802 to examine the audio in your content and plot a graph of its level
803 over time. This can be useful for getting a rough idea of how loud
804 the sound will be in the cinema auditorium. A typical plot is shown
805 in <xref linkend="fig-audio-plot"/>
808 <figure id="fig-audio-plot">
809 <title>Audio plot</title>
812 <imagedata fileref="screenshots/audio-plot&scs;"/>
818 The plot gives the audio level (vertical axis, in dB) with time
819 (horizontal axis). 0dB represents full scale, so if there is anything
820 near this you are in danger of clipping the projector's audio outputs.
824 There are two plot types: the peak level and the RMS, which can be
825 shown or hidden using the check-boxes on the right hand side of the
830 The channel check-boxes will show or hide the plot(s) for
831 the corresponding channels in the DCP.
835 The smoothing slider applies a variable degree of temporal smoothing
836 to the plots, which can make them easier to read in some cases.
840 Obviously the audio plot is no substitute for listening in an
841 auditorium, but it can be useful to get levels in the right rough area.
847 <!-- ============================================================== -->
849 <title>The audio map</title>
852 The section at the bottom of the audio tab is the ‘audio
853 map’. This governs how sound from the content will be arranged
858 Down the left-hand side of the map is the list of audio channels in
859 the currently-selected piece of content. Along the top is each
860 channel in the DCP. A green box means that the corresponding
861 content channel will be copied into the corresponding DCP channel.
865 When content channels are copied into DCP channels they can be done
866 with variable gain. If, for example, you want to copy a channel
867 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
868 two channels into one, you may want to use a gain of -6dB on each one
869 to prevent clipping when the two channels are added.
873 The green boxes of the audio mapping view tell you (very roughly) how
874 much gain is applied to each channel. A full-height box means 0dB
875 (i.e. unity) gain. Any less height indicates lower gain.
879 To map one channel to another with 0dB gain, click in the empty box
880 and it will turn green to reflect the mapping. A second click will
881 turn the mapping back off. To set some other gain, right-click on the
882 box to open the gain menu. This allows you to set
883 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
884 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
885 <guilabel>Edit</guilabel> which allows you to set the required gain
890 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
893 <figure id="fig-audio-map-eg1">
894 <title>Audio map example 1</title>
897 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
903 Here, we have two channels in the source which are mapped to left and
904 right, respectively, in the DCP. The full green boxes show that the
905 mapping is at unity gain (0dB) in each case. Imagine that we modify
906 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
909 <figure id="fig-audio-map-eg2">
910 <title>Audio map example 2</title>
913 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
919 We now have the content's streams mapped to left and right and also
920 mixed together and placed in the DCP's centre channel. The smaller
921 green boxes on the centre mappings show that those channels are added
922 with some non-unity gain; you can see by hovering the mouse pointer
923 over those boxes that the gain for content channels 1 and 2 is -6dB
924 when being sent to the centre channel and 0dB when being sent to left
928 <figure id="fig-audio-map-eg3">
929 <title>Audio map example 3</title>
932 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
938 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
939 shows the mapping of a 5.1 source into a 5.1 DCP.
945 <!-- ============================================================== -->
947 <title>Other controls</title>
950 ‘Audio Gain’ is used to alter the volume of the
951 soundtrack. The specified gain (in dB) will be applied to each sound
952 channel of your content before it is written to the DCP.
956 If you use a sound processor that DCP-o-matic knows about, it can help
957 you calculate changes in gain that you should apply. Say, for
958 example, that you make a test DCP and find that you have to run it at
959 volume 5 instead of volume 7 to get a good sound level in the screen.
960 If this is the case, click the <guilabel>Calculate...</guilabel>
961 button next to the audio gain entry, and the dialogue box in <xref
962 linkend="fig-calculate-audio-gain"/> will open.
965 <figure id="fig-calculate-audio-gain">
966 <title>Calculating audio gain</title>
969 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
975 For our example, put 5 in the first box and 7 in the second and click
976 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
977 that it should apply to make this happen. Then you can re-make the
978 DCP (this will be reasonably fast, as the video data will already have
979 been done) and it should play back at the correct volume with 7 on
980 your sound-rack fader.
984 Current versions of DCP-o-matic only know about the Dolby CP650 and
985 CP750. If you use a different sound processor, and know the gain
986 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
991 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
992 between audio and video. A positive delay will move the audio later
993 with respect to the video, and a negative delay will move it earlier.
997 The <guilabel>Audio Stream</guilabel> option allows you to select the
998 audio stream to use, if the content contains more than one. There
999 might be different soundtrack languages, for example.
1006 <!-- ============================================================== -->
1008 <title>Subtitles</title>
1011 The subtitles tab contains settings related to subtitles in your
1012 content, as shown in <xref linkend="fig-subtitles-tab"/>.
1015 <figure id="fig-subtitles-tab">
1016 <title>Subtitle settings tab</title>
1019 <imagedata fileref="screenshots/subtitles-tab&scs;"/>
1025 DCP-o-matic will extract subtitles from the content, if present, and
1026 they can be ‘burnt into’ the DCP (that is, they are
1027 included in the image and not overlaid by the projector).
1031 Select the <guilabel>With Subtitles</guilabel> check-box to enable
1036 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1037 controls move the subtitles around within the image. The offsets are
1038 expressed as a percentage of the video frame size; 100% X offset is
1039 the entire width of the frame, and 100% Y offset is the entire height.
1040 Hence, to move the subtitles down by half the frame height you would
1041 use a Y offset of 50%.
1045 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1046 controls scale the subtitles. Scale values of 1 make the subtitles
1047 the same size (relative to the size of the image) as they are on the
1048 original. Values lower than 1 make them smaller, and values higher
1049 make them larger. You can stretch the subtitles in either direction
1050 by specifying different values for X and Y scale. Subtitles from DVD
1051 and Blu Ray sources are frequently larger (relative to the video
1052 frame) than those typically used for DCP, so it is often useful to
1053 scale such subtitles down using these controls.
1057 The <guilabel>Stream</guilabel> control changes the subtitle stream
1058 that is used when the content has more than one.
1064 <!-- ============================================================== -->
1066 <title>Timing</title>
1069 The timing tab contains settings related to the timing of your
1070 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1073 <figure id="fig-timing-tab-detail">
1074 <title>Timing settings tab</title>
1077 <imagedata fileref="screenshots/timing-tab&scs;"/>
1083 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1084 These are expressed as four numbers, as shown in <xref
1085 linkend="fig-timecode"/>.
1088 <figure id="fig-timecode">
1089 <title>Timecode</title>
1092 <imagedata fileref="diagrams/timecode&dia;"/>
1098 <guilabel>Position</guilabel> is the time at which this piece of
1099 content should start within the DCP. In most cases, this will be
1100 <code>0:0:0:0</code> to make the content start at the beginning of the
1105 <guilabel>Full length</guilabel> is the length of the piece of
1106 content. This can only be set for still-image content: for video or
1107 sound content, it is fixed by the nature of the content file. If
1108 still-image content is being used you can set the length for which it
1109 should be displayed using this control.
1113 <guilabel>Trim from start</guilabel> specifies the amount that should be trimmed from the start of the content.
1117 <guilabel>Trim from end</guilabel> specifies the amount that should be trimmed from the end of the content.
1121 <guilabel>Play length</guilabel> indicates how long this piece of
1122 content will be once the trims have been applied. This will be equal
1123 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1127 <guilabel>Video frame rate</guilabel> specifies the frame rate for still-image content.
1131 Each timecode control has a <guilabel>Set</guilabel> which you should
1132 click when you have entered a new value for a timecode. The
1133 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1134 any changes to the corresponding timecode.
1140 <!-- ============================================================== -->
1142 <title>Video processing pipeline</title>
1145 This section gives a little more detail about how DCP-o-matic process
1146 video as it takes it from a source and puts it into a DCP.
1150 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1151 image which is letterboxed with 36 black pixels each at the top and
1152 bottom, and the video content within the letterbox should be presented
1153 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1154 happen with a trailer). The source image is shown in <xref
1155 linkend="fig-pipeline1"/>.
1158 <figure id="fig-pipeline1">
1159 <title>Example image to demonstrate video processing</title>
1162 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1168 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1172 <listitem>Crop</listitem>
1173 <listitem>Scale</listitem>
1174 <listitem>Place in container</listitem>
1178 First, some amount of the image can be cropped. This is almost always
1179 used to remove black borders (letterboxing and/or pillarboxing) around
1184 In our example image, we would use 36 pixels of crop from the top and
1185 bottom. This would give the new image shown in <xref
1186 linkend="fig-pipeline2"/>.
1189 <figure id="fig-pipeline2">
1190 <title>Example image after cropping</title>
1193 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1199 The next step is to scale the image. Since this content should be
1200 presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select
1201 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1202 option in the <guilabel>Video</guilabel> tab and
1203 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1204 option in the <guilabel>DCP</guilabel> tab.
1207 <para>The <guilabel>Scale to</guilabel> option should always be set to
1208 the aspect ratio at which the content should be seen. The
1209 <guilabel>Container</guilabel> option should be set to the preset that
1210 you want to use on the projector. Of course, these two settings will
1215 Given the scaling and container information, DCP-o-matic will look at
1216 the DCP's container size, and then scale the source image up until one
1217 or both of its dimensions (width, height or both) fits the size of the
1218 container, all the while preserving the desired aspect ratio.
1222 In our example here, the DCP's container is specified as 1.85:1 (so
1223 that the DCP will play back correctly using the projector's
1224 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1225 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1226 result in the image hitting the sides of the container first, at a
1227 size of 1998 x 836. This gives us a new version of the image as shown
1228 in <xref linkend="fig-pipeline3"/>.
1231 <figure id="fig-pipeline3">
1232 <title>Example image after cropping and scaling</title>
1235 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1241 The final step is to place the image into the DCP. In this case,
1242 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1243 we have set the <guilabel>container</guilabel> in the
1244 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1245 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1246 be some black bars at the top and bottom of the image. DCP-o-matic
1247 shares out this black equally, as shown in <xref
1248 linkend="fig-pipeline3"/>.
1251 <figure id="fig-pipeline4">
1252 <title>Example image in the DCP</title>
1255 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1264 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1265 <title>DCP settings</title>
1268 This chapter describes the settings that apply to the whole DCP. The
1269 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1270 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1273 <figure id="fig-dcp-tab">
1274 <title>DCP settings tab</title>
1277 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1283 The first thing here is the name. This is generally set to the title
1284 of the film that is being encoded. If <guilabel>Use ISDCF
1285 name</guilabel> is not ticked, the name that you specify will be used
1286 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1287 is ticked, the name that you enter will be used as part of a
1288 ISDCF-compliant name.
1292 Underneath the name field is a preview of the name that the DCP will
1293 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1294 name</guilabel> check-box. The ISDCF name will be composed using details
1295 of your content's soundtrack, the current date and other things that
1296 can be specified in the ISDCF name details dialogue box, which you can
1297 open by clicking on the <guilabel>Details</guilabel> button.
1301 If you want to take the ISDCF-compliant name that DCP-o-matic
1302 generates and modify it, click <guilabel>Copy as name</guilabel> and
1303 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1304 You can then edit it as you wish. The DCP name should not matter (in
1305 that it should not affect how the DCP ingests or plays) but
1306 projectionists will appreciate it if you use the standard naming
1307 scheme as it makes it easier to identify details of the content.
1311 If the DCP name is long, it may not all be visible. You can see the
1312 full name by hovering the mouse pointer over the partial name.
1316 The <guilabel>Container</guilabel> option sets the ratio of the image
1317 in the DCP. If this ratio is different to the ratio used for any
1318 content, DCP-o-matic will pad the content with black. In simple cases
1319 this should be set to the same ratio as that for the the primary piece
1320 of video content. Alternatively, you might want to pillarbox a small
1321 format into a Flat container: in this case, select the small format
1322 for the content's ratio and ‘Flat’ for the DCP.
1326 Next up is the content type. This can be
1327 ‘feature’, ‘trailer’ or whatever; select the
1328 required type from the drop-down list.
1332 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1333 your DCP. This can be a little tricky to get right. Ideally, you
1334 want it to be the same as the video content that you are using. If it
1335 is not the same, DCP-o-matic must resort to some tricks to alter your
1336 content to fit the specified frame rate. Frame rates are discussed in
1337 more detail in <xref linkend="ch-frame-rates"/>.
1341 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1342 to what DCP-o-matic thinks is the best given the content that you have
1347 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1348 is signed. This is rarely important; if in doubt, tick it.
1352 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1353 should be encrypted or not. If this is ticked, the DCP will require a
1354 KDM to play back. Encryption is discussed in <xref
1355 linkend="ch-encryption"/>.
1359 If you use encryption DCP-o-matic will generate a random encryption
1360 key for you. To specify your own key, click the
1361 <guilabel>Edit..</guilabel> button next to the key.
1365 The <guilabel>Audio Channels</guilabel> control sets the number of
1366 audio channels that the DCP will have. If the DCP has any channels
1367 for which there is no content audio they will be replaced by silence.
1368 You can only set an even number of channels here, since that is
1369 required by the DCI standard. If you want an odd number of channels,
1370 set the DCP channel count to one greater than you need and the
1371 unused channel will be filled with silence.
1375 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1376 is checked. A 3D DCP will then be created, and any 2D content will be
1377 made 3D compatible by repeating the same frame for both left and right
1378 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1379 Real-D etc.) but not on a 2D system.
1383 The <guilabel>Resolution</guilabel> tab allows you to choose the
1384 resolution for your DCP. Use 2K unless you have content that is of
1385 high enough resolution to be worth presenting in 4K.
1389 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1390 the final image files used within the DCP will be. Larger numbers
1391 will give better quality, but correspondingly larger DCPs. The
1392 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1393 Most commercial DCPs use bit rates between 75 and 125 MBit/s.
1397 The <guilabel>Standard</guilabel> option specifies which of the two
1398 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1399 more modern of the two).
1403 Finally, the <guilabel>Scaler</guilabel> is the method that will be used to scale up
1404 your content for the DCP, if required. Bicubic is a fine choice in
1410 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1411 <title>Encryption</title>
1414 It is not required that DCPs be encrypted, but they can be. This
1415 chapter discusses the basic principles of DCP encryption, and how
1416 DCP-o-matic can create encrypted DCPs and KDMs for them.
1420 <!-- ============================================================== -->
1422 <title>Basics</title>
1425 DCPs can be encrypted. This means that the picture and sound data are
1426 encoded in such a way that only cinemas ‘approved’ by the
1427 DCP's creators can read them. In particular, this means copies of the
1428 DCP can be distributed by insecure means: if an ne'er-do-well called
1429 Mallory obtains a hard drive containing an encrypted DCP, there is no
1430 way that he can play it. Only those cinemas who receive a correct key
1431 delivery message (KDM) can play the DCP.
1435 <!-- ============================================================== -->
1437 <title>How it works (in a nutshell)</title>
1440 This section attempts to summarise how DCP encryption works. You can
1441 skip it if you like. You may need some knowledge of encryption
1442 methods to understand it.
1446 We suppose that we are trying to distribute a DCP, to
1447 Alice's cinema, without a troublemaker called Mallory being able to
1452 There are two main families of encryption techniques. The first,
1453 symmetric-key encryption, allows us to encode some data using some
1454 numeric key. After encoding, no-one can decode the data unless they
1459 The first step in a DCP encryption is to encode its data with some key
1460 using symmetric-key encryption. The encrypted DCP can then be sent
1461 anywhere, safe in the knowledge that even if Mallory got hold of a
1462 copy, he could not decrypt it.
1466 Alice, however, needs to know the key so she can play the DCP in her
1467 cinema. A simple approach might be for us to send Alice the key.
1468 However, if Mallory can intercept the DCP, he might also be able to
1469 intercept our communication of the key to Alice. Furthermore, if Alice
1470 happened to know Mallory, she could just send him a copy of the key.
1474 The clever bit in DCP encryption requires the use of public-key
1475 encryption. With this technique we can encrypt a block of data using
1476 some ‘public’ key. That data can then only be decrypted
1477 using a <emphasis>different</emphasis> ‘private’ key. The
1478 private and public keys are related mathematically, but it is
1479 extremely hard (or rather, virtually impossible) to derive the private
1480 key from the public key.
1484 Public-key encryption allows us to distribute the DCP's key to Alice
1485 securely. The manufacturer of Alice's projector generates a public
1486 and private key. They hide the private key deep inside the bowels of
1487 the projector (inside an integrated circuit) where no-one can read it.
1488 They then make the public key available to anyone who is interested.
1492 We take our DCP's symmetric key and encrypt it using the public key of
1493 Alice's projector. We send the result to Alice over email (using a
1494 format called a Key Delivery Message, or KDM). Her projector then
1495 decrypts our message using its private key, yielding the magic
1496 symmetric key which can decrypt the DCP.
1500 If is fine if Mallory intercepts our email to Alice, since the only
1501 key which can decrypt the message is the private key buried inside
1502 Alice's projector. The projector manufacturer is very careful that
1503 no-one ever finds out what this key is. Our DCP is secure: only Alice
1504 can play it back, since only her projector knows the key (even Alice
1512 <!-- ============================================================== -->
1514 <title>Encryption using DCP-o-matic</title>
1517 There are two steps to distributing an encrypted DCP. First, the
1518 DCP's data must be encrypted, and secondly KDMs must be generated for
1519 those cinemas that are allowed to play the DCP.
1523 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
1524 box in the <guilabel>DCP</guilabel> tab of DCP-o-matic will encrypt
1525 the DCP using a random key that DCP-o-matic generates. The key will
1526 be written to the film's metadata file, which should be kept
1531 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
1532 ticked will not play on any projector as-is (it will be marked as
1533 ‘locked’, or whatever the projector manufacturer's term
1538 The second part is to generate KDMs for the cinemas that you wish to
1539 allow to play your DCP. This is done using the <guilabel>Make
1540 KDMs</guilabel> option on the <guilabel>Jobs</guilabel> menu. This
1541 will open the KDM dialogue box, as shown in <xref linkend="fig-kdm"/>.
1544 <figure id="fig-kdm">
1545 <title>KDM dialog</title>
1548 <imagedata fileref="screenshots/kdm&scs;"/>
1554 In order to generate KDMs for a particular projector, you need to know
1555 its <emphasis>certificate</emphasis>. These are usually made
1556 available by the projector manufacturers as text files with a
1557 <code>.pem</code> extension.
1561 DCP-o-matic can store these certificates to make life easier. It
1562 stores details of cinemas and screens within those cinemas. Each
1563 screen has a certificate for its projector. DCP-o-matic can generate
1564 KDMs for any screens that it knows about.
1568 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
1569 a dialogue box into which you can enter the cinema's name, and
1570 optionally an email address. This email address can be used to
1571 get DCP-o-matic to deliver KDMs via email, but it is optional.
1575 Once you have added a cinema, select it by clicking on its name, then
1576 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
1577 allows you to enter a name for the screen and load in its certificate
1578 from a file. The certificate should be in SHA256 PEM format.
1582 Alternatively, certificates for projection systems made by some
1583 manufacturers can be downloaded from databases provided by the
1584 manufacturer. Currently this is supported for Doremi and Dolby
1585 equipment. If you are targeting a screen with equipment by one of
1586 these manufacturers you can select Doremi or Dolby from the
1587 <guilabel>Server manufacturer</guilabel> selection and then click
1588 <guilabel>Download</guilabel>. In the next dialogue box, enter
1589 details of the screen and click <guilabel>Download</guilabel> and, all
1590 being well, the certificate will be fetched.
1594 Using the download system you will need to know the serial number of
1595 the media server in use in the screen. Most cinema projection or
1596 technical departments will know these serial numbers.
1600 Note that the reliability of the manufacturers' certificate databases
1601 cannot be guaranteed. It is vital that KDMs are tested by the
1602 destination cinema will in advance of show time to identify any
1607 Once you have set up all the screens that you need KDMs for, select
1608 the CPL that you want to create the KDM for. You can use the
1609 drop-down list to select the CPLs in the current film project, or load
1610 a CPL from somewhere else. Select the cinemas and/or screens that you
1611 want KDMs for and fill in the start and end dates and times.
1615 You must also select the type of KDM that you want to generate. If in
1616 doubt, use <guilabel>Modified Transitional 1</guilabel>.
1620 Finally, choose what you want to do with the KDMs. They can be
1621 written to disk, to a location that you can specify by clicking
1622 <guilabel>Browse</guilabel>. Alternatively, if you choose
1623 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
1624 emailed to the appropriate cinema email addresses. Click OK to
1634 <!-- ============================================================== -->
1635 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1636 <title>Preferences</title>
1639 DCP-o-matic provides a few preferences which can be used to modify its
1640 behaviour. This chapter explains those options.
1644 <!-- ============================================================== -->
1646 <title>The preferences dialogue</title>
1649 The preferences dialogue is opened by choosing
1650 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
1651 menu. The dialogue is split into seven tabs.
1654 <!-- ============================================================== -->
1656 <title>General</title>
1659 The general tab is shown in <xref linkend="fig-prefs-general"/>.
1662 <figure id="fig-prefs-general">
1663 <title>General preferences</title>
1666 <imagedata fileref="screenshots/prefs-general&scs;"/>
1672 <!-- ============================================================== -->
1674 <title>Language</title>
1677 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
1678 a language from the list, that language will be used for DCP-o-matic.
1679 You will need to restart DCP-o-matic to see the new language.
1683 The translations for DCP-o-matic have been contributed by helpful
1684 users. If your language is not on the last, head to <ulink
1685 url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
1686 read about how to contribute a translation.
1691 <!-- ============================================================== -->
1693 <title>Threads</title>
1696 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
1697 to speed things up. Set this value to the number of threads
1698 DCP-o-matic should use. This should normally be the number of
1699 processors (or processor cores) in your machine. DCP-o-matic will try
1700 to set this up correctly when you run it for the first time.
1705 <!-- ============================================================== -->
1707 <title>Updates</title>
1710 The <guilabel>Check for updates on startup</guilabel> option, if
1711 enabled, will tell DCP-o-matic to check on <ulink
1712 url="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
1713 newer versions of DCP-o-matic then the one you are running. If so, a
1714 dialogue box will open with a link to download the new version.
1719 The <guilabel>Check for testing updates as well as stable
1720 ones</guilabel> option will also check for test updates as well as
1721 those that are formally ‘released’. This is useful if you
1722 like to live on the bleeding edge!
1728 <!-- ============================================================== -->
1730 <title>Defaults</title>
1733 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
1736 <figure id="fig-prefs-defaults">
1737 <title>Defaults preferences</title>
1740 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
1746 The options in this tab simply allow you to set up default values for
1747 various properties of new films.
1752 <!-- ============================================================== -->
1754 <title>Servers</title>
1757 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
1760 <figure id="fig-prefs-servers">
1761 <title>Servers preferences</title>
1764 <imagedata fileref="screenshots/prefs-servers&scs;"/>
1770 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
1771 locate encoding servers automatically (see <xref
1772 linkend="ch:servers"/>).
1776 Instead of this (or in addition) servers can be specified explicitly.
1777 To add a server, click <guilabel>Add...</guilabel> and enter the host
1778 name or IP address of the server to use.
1783 <!-- ============================================================== -->
1784 <section xml:id="sec-prefs-colour">
1785 <title>Colour conversions</title>
1788 The colour conversions tab is shown in <xref linkend="fig-prefs-colour-conversions"/>.
1791 <figure id="fig-prefs-colour-conversions">
1792 <title>Colour conversions preferences</title>
1795 <imagedata fileref="screenshots/prefs-colour-conversions&scs;"/>
1801 As part of the encoding process, DCP-o-matic has to convert the colour
1802 space of the source files that you use into XYZ, the colour space used
1803 by the DCI standard.
1807 Colour conversion is discussed in more detail in a separate document
1808 <ulink url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
1812 These preferences control a list of presets which are suitable for
1813 converting from common input colour spaces to XYZ.
1819 <!-- ============================================================== -->
1824 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) holds options
1825 related to the keys and certificates used in some parts of DCP
1829 <figure id="fig-prefs-keys">
1830 <title>Keys preferences</title>
1833 <imagedata fileref="screenshots/prefs-keys&scs;"/>
1839 At the top of the tab is the chain of certificates that will be used
1840 to sign DCPs and KDMs. DCP-o-matic creates a random chain when you
1841 first run it, so if you are happy to use a randomly-generated chain
1842 you can ignore the preferences. Otherwise, you can add or remove
1843 certificates from the chain using the <guilabel>Add...</guilabel> and
1844 <guilabel>Remove</guilabel> buttons.
1848 If you want DCP-o-matic to re-create the certificate chain (using new,
1849 random certificates) click <guilabel>Re-make
1850 certificates...</guilabel> and specify your organisation and common
1851 names in the dialogue box that opens.
1855 Underneath the certificate chain is the private key that corresponds
1856 to the leaf certificate in the chain. You can specify your own
1857 private key by clicking <guilabel>Load...</guilabel>. You must do
1858 this if you change the leaf certificate, so that the leaf private key
1859 corresponds to the public key held in the leaf certificate.
1863 The bottom of the tab specifies the certificate and private key that
1864 is used to decrypt DCPs if they are imported as sources to
1865 DCP-o-matic. If you want to import an encrypted DCP you will need to
1866 give the decryption certificate to the distributor of the DCP so that
1867 they can generate a DKDM for you. As with the certificate chain,
1868 DCP-o-matic will create a certificate and private key for you. You
1869 can also choose to load your own certificate and key.
1874 <!-- ============================================================== -->
1875 <section xml:id="sec-prefs-tms">
1877 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
1880 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
1881 options for specifying details about your theatre management system
1882 (TMS). If you do this, and your TMS accepts SSH connections, you can
1883 upload DCPs directly from DCP-o-matic to the TMS using the
1884 <guilabel>Send DCP to TMS</guilabel> option in the
1885 <guilabel>Jobs</guilabel> menu.
1888 <figure id="fig-prefs-tms">
1889 <title>TMS preferences</title>
1892 <imagedata fileref="screenshots/prefs-tms&scs;"/>
1898 <guilabel>TMS IP address</guilabel> should be set to the IP address of
1899 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
1900 should be uploaded to (which will be relative to the home directory of
1901 the SSH user). Finally, the user name and password are the
1902 credentials required to log into the TMS via SSH.
1907 <!-- ============================================================== -->
1909 <title>KDM email</title>
1912 The KDM email is shown in <xref linkend="fig-prefs-kdm-email"/>.
1915 <figure id="fig-prefs-kdm-email">
1916 <title>KDM email preferences</title>
1919 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
1925 This is a template for the email that is used to send KDMs out to
1926 cinemas. You can change it to say whatever you like. A few
1927 ‘magic’ strings will be replaced by information from the
1928 KDM that is being sent:
1932 <title>‘Magic’ KDM strings</title>
1933 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
1936 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
1939 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
1942 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
1945 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
1948 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
1955 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
1961 <!-- ============================================================== -->
1962 <section xml:id="sec-prefs-advanced">
1963 <title>Advanced</title>
1964 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
1967 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
1970 <figure id="fig-prefs-advanced">
1971 <title>Advanced preferences</title>
1974 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
1980 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
1981 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
1982 are advised to leave this at 250Mbit/s in normal use for maximum DCP
1987 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
1988 the DCP video frame rates that DCP-o-matic will create. This may be
1989 useful for experimentation. Again, you are strongly advised to leave
1990 this unticked for normal use.
1994 The four checkboxes labelled <guilabel>Log</guilabel> control what
1995 sort of messages DCP-o-matic writes to its log file when creating a
1996 DCP. It is useful to leave <guilabel>General</guilabel>,
1997 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
1998 as this makes the log files useful for tracking down bugs.
2002 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
2003 to allow developers to investigate and optimize the speed of
2004 DCP-o-matic. It will significantly increase the size of the log files
2005 that are generated, so in normal use it is best to leave this
2013 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
2014 <title>Frame rates</title>
2017 In an ideal world, a DCP would be created using content at the same
2018 video frame and audio sampling rates as the DCP. This is not,
2019 however, always possible.
2023 <!-- ============================================================== -->
2025 <title>DCP frame rate limitations</title>
2028 There are some limitations to video and audio frame rates in DCPs. This is
2029 complicated by the fact that not all projectors will play DCPs at the
2030 same frame rates. It is possible to create a DCP which one projector will
2031 play fine, but another (of a different type) will refuse to play, or
2032 even refuse to ingest.
2036 <!-- ============================================================== -->
2038 <title>Guaranteed rates</title>
2041 The only rates that are (pretty much) guaranteed to work on all DCI
2042 projectors is 24 frames per second (fps) for video and 48kHz or 96kHz
2043 for audio. If you are sending your DCPs to unknown places it wise to
2044 consider using these rates if at all possible.
2050 <!-- ============================================================== -->
2052 <title>Other often-supported rates</title>
2054 Many projectors now in the wild support additional video frame rates:
2060 <!-- ============================================================== -->
2062 <title>Adapting content to fit the DCP rate</title>
2065 DCP-o-matic has a few tricks to allow you to use content that is not
2066 in one of the ‘approved’ rates.
2070 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
2071 with minimal loss in quality.
2075 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
2076 with a non-supported content rate is to run it at the wrong speed, and
2077 to adjust the audio to keep it in sync.
2080 <para>Let us consider the example of a 25fps source for which you want
2081 to create a 24fps DCP. DCP-o-matic will put the frames from the
2082 source directly into the DCP without modification, but will tell the
2083 projector to play them back at 24fps. This means that the DCP's video
2084 will run slightly slower than the original.
2088 If DCP-o-matic did nothing else, the result of this would be that the
2089 audio would be running at the original speed with the video running
2090 slowly. Hence the audio would drift slowly out of sync. To avoid
2091 this, DCP-o-matic also resamples the audio such that the projector
2092 will play it too slow by the same amount. Hence it will sound
2093 slightly different but will remain in sync with the video.
2097 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
2104 <!-- ============================================================== -->
2106 <title>Setting up</title>
2109 The <guilabel>Frame Rate</guilabel> control in the
2110 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
2111 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
2112 what DCP-o-matic thinks is the best for your content. With this
2113 button, DCP-o-matic assumes that the whole range of frame rates (24,
2114 25, 30 and 48fps) are allowable.
2118 After this, the <guilabel>Video</guilabel> tab for each piece of
2119 content will give a summary of what DCP-o-matic is doing with that
2124 If you want to experiment with other non-standard frame rates, you can
2125 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
2126 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
2127 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
2128 use this only on your own equipment, and only for experimentation
2137 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
2138 <title>Encoding servers</title>
2141 One way to increase the speed of DCP encoding is to use more
2142 than one machine at the same time. An instance of DCP-o-matic can
2143 offload some of the time-consuming JPEG2000 encoding to any number of
2144 other machines on a network. To do this, one ‘master’
2145 machine runs DCP-o-matic, and the ‘server’ machines run
2146 a small program called <code>dcpomatic_server</code>.
2150 The master and server machines do not need to be the same type, so you
2151 can mix Windows PCs, Macs and Linux machines as you wish.
2155 <!-- ============================================================== -->
2157 <title>Running the servers</title>
2160 There are two options for the encoding server;
2161 <code>dcpomatic_server_cli</code>, which runs on the command line, and
2162 <code>dcpomatic_server</code>, which has a simple GUI. The command line
2163 version is well-suited to headless servers, especially on Linux, and
2164 the GUI version works best on Windows where it will put an icon in the
2169 To run the command line version, simply enter:
2173 dcpomatic_server_cli
2177 at a command prompt. If you are running the program on a machine with
2178 a multi-core processor, you can run multiple parallel encoding threads
2179 by doing something like:
2183 dcpomatic_server_cli -t 4
2187 to run 4 threads in parallel.
2191 To run the GUI version on windows, run the ‘DCP-o-matic encode
2192 server’ from the start menu. An icon will appear in the system
2193 tray; right-click it to open a menu from whence you can quit the
2194 server or open a window to show its status.
2197 <para>If you would rather not bother installing DCP-o-matic on your
2198 server computers, the other option is to use the live-CD
2199 image that you can download from the <ulink
2200 url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
2202 <para>Either burn the image to CD, or write it to a USB stick (using
2203 something like <ulink
2204 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
2205 PC from the CD or USB stick and it becomes a DCP-o-matic server
2206 without touching your standard operating system install.
2211 <!-- ============================================================== -->
2213 <title>Setting up DCP-o-matic</title>
2216 DCP-o-matic periodically looks on the local network for servers. Any
2217 that it finds are given work to do during encodes. Selecting
2218 <guilabel>Encoding Servers</guilabel> from the
2219 <guilabel>Tools</guilabel> menu brings up a window which shows that
2220 servers that DCP-o-matic has found.
2225 <!-- ============================================================== -->
2227 <title>Some notes about encode servers</title>
2230 DCP-o-matic does not mind if servers come and go; if a server
2231 disappears, DCP-o-matic will stop sending work to it, and will check
2232 it every minute or so in case it has come back online.
2236 You will probably find that using a 1Gb/s or faster network will
2237 provide a significant speed-up compared to a 100Mb/s network.
2244 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2245 <title>Generated files</title>
2248 DCP-o-matic generates a number of files as it makes a DCP. <xref
2249 linkend="fig-file-structure"/> shows the files that might be generated
2250 after you have created a DCP for a film called ‘DCP Test’.
2253 <figure id="fig-file-structure">
2254 <title>Creating a new film</title>
2257 <imagedata fileref="diagrams/file-structure&dia;"/>
2263 The <code>DCP Test</code> folder is the one that you specify when you
2264 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
2265 menu. Everything is stored inside this folder.
2269 DCP-o-matic generates some working files as it goes along. These are as follows:
2272 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
2273 along. This can be useful for debugging purposes if something goes
2276 <listitem><code>metadata</code> stores the settings that you have made
2277 for this film: things like cropping, output format and so on.</listitem>
2279 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
2280 video data as it encodes it.</listitem>
2282 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
2284 <listitem><code>info</code> contains details of each video frame that
2285 DCP-o-matic has written so far. This is used when an encoding
2286 operation is interrupted and DCP-o-matic must resume it.</listitem>
2291 Following this is the DCP itself:
2292 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
2293 contains some small XML files, which describe the DCP, and two large
2294 MXF files, which contain the DCP's audio and video data. This folder
2295 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
2296 to the cinema which is showing your DCP.
2302 <title>Loose ends</title>
2305 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
2309 <!-- ============================================================== -->
2311 <title>Resuming encodes</title>
2314 If you cancel a DCP encoding run half-way through, or your computer
2315 crashes... fear not. DCP-o-matic takes care to ensure that, in most
2316 cases, it can resume encoding from where it left off. When you
2317 re-start a DCP creation, using the same settings are a previous run,
2318 DCP-o-matic will first check that the existing picture frames are
2319 correct, and then resume from where it left off. The checking of
2320 existing frames does take some time, but it is much faster than
2321 running a full re-encode.
2325 This resumption is achieved by writing a digest (hash) to disk for
2326 every image frame that is written. On resumption, the existing MXF
2327 file for image data is read and its contents checked against the