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11 <book xmlns="http://docbook.org/ns/docbook" xmlns:mml="http://www.w3.org/1998/Math/MathML" version="5.0" xml:lang="en">
14 <title>DCP-o-matic users' manual</title>
15 <author><firstname>Carl</firstname><surname>Hetherington</surname></author>
18 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
19 <title>Introduction</title>
22 Hello, and welcome to DCP-o-matic!
25 <!-- ============================================================== -->
27 <title>What is DCP-o-matic?</title>
30 DCP-o-matic is a set of programs to make <ulink
31 url="http://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
32 Cinema Packages</ulink> (DCPs) from almost any video, audio and/or
33 subtitle files. The resulting DCPs will play on modern digital
40 <!-- ============================================================== -->
42 <title>Licence</title>
45 DCP-o-matic is free and open-source and is licensed under the <ulink
46 url="http://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
53 <!-- ============================================================== -->
55 <title>Acknowledgements</title>
58 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
63 <!-- ============================================================== -->
65 <title>This manual</title>
68 This manual presents bits of DCP-o-matic's user interface (such as menu items or buttons) <guilabel>like this</guilabel>.
72 Notes of an advanced nature are presented like this. Ignore them unless you want to know the gory details.
79 <!-- ============================================================== -->
80 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
81 <title>Installation</title>
84 <!-- ============================================================== -->
86 <title>Windows</title>
89 To install DCP-o-matic on Windows, download the installer from
90 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
91 and double-click it. Click through the installer wizard, and
92 DCP-o-matic will be installed onto your machine.
96 If you are using a 32-bit version of Windows, you will need the 32-bit
97 installer. For 64-bit Windows, either installer will work, but I
98 suggest you used the 64-bit version as it will allow DCP-o-matic to
99 use more memory. You may find that DCP-o-matic crashes if you run
100 many parallel encoding threads (more than 4) on the 32-bit
105 If you are still using Windows XP, download the specific XP version as
106 it should be more stable on your machine than the ‘normal’
113 <!-- ============================================================== -->
115 <title>Mac OS X</title>
118 DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
119 higher. DCP-o-matic is split into four separate applications, each of
120 which can be installed by downloading the <code>.dmg</code>,
121 double-clicking to open and then dragging the icon to your
122 <guilabel>Applications</guilabel> folder.
126 If you are not sure which parts of DCP-o-matic to install, start
127 with the first (main) part.
132 <!-- ============================================================== -->
134 <title>Debian, Ubuntu or Mint Linux</title>
137 You can install DCP-o-matic on:
141 <listitem>Debian 7 (‘wheezy’)</listitem>
142 <listitem>Debian 8 (‘jessie’)</listitem>
143 <listitem>Debian unstable (‘sid’)</listitem>
144 <listitem>Ubuntu 14.04 (‘Trusty Tahr’)</listitem>
145 <listitem>Ubuntu 16.04 (‘Xenial Xerus’)</listitem>
146 <listitem>Ubuntu 17.10 (‘Artful Aardvark’)</listitem>
147 <listitem>Mint 17</listitem>
148 <listitem>Mint 18</listitem>
152 using <code>.deb</code> packages: download the appropriate package
153 from <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
154 and double-click it. Debian or Ubuntu will install the necessary bits and
155 pieces and set DCP-o-matic up for you.
158 <!-- ============================================================== -->
161 <!-- ============================================================== -->
163 <title>Fedora, Centos and Mageia Linux</title>
165 <para>There are <code>.rpm</code> packages for Fedora 25, 26 and 27, Centos 6 and 7 and Mageia 6 on
166 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
169 <!-- ============================================================== -->
171 <!-- ============================================================== -->
173 <title>Arch Linux</title>
175 Packages for Arch Linux are available from <ulink
176 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
177 thanks to Stefan Karner.
182 <!-- ============================================================== -->
184 <title>Other Linux distributions</title>
187 Installation on other Linux systems (for which no packages are
188 available) is quite hard as it must be compiled from source. If you
189 can't download packages for your distribution, do let me know by
190 <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I will look
191 into providing packages on the website.
195 The following dependencies are required:
197 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
198 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
199 <listitem><ulink url="http://www.mega-nerd.com/SRC/">libsamplerate</ulink></listitem>
200 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
201 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
202 <listitem><ulink url="http://www.imagemagick.org/script/index.php">ImageMagick</ulink></listitem>
203 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
204 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
205 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
206 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
207 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
208 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
209 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
210 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
211 <listitem><ulink url="http://carlh.net/libdcp/">libdcp</ulink></listitem>
212 <listitem><ulink url="http://carlh.net/libsub/">libsub</ulink></listitem>
213 <listitem><ulink url="http://carlh.net/libcxml/">libcxml</ulink></listitem>
214 <listitem><ulink url="http://site.icu-project.org">libicu</ulink></listitem>
219 Once you have installed the development packages for the dependencies,
220 download the source code from <ulink
221 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>,
222 unpack it and run the following commands from inside the source
233 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
248 <!-- ============================================================== -->
249 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
250 <title>Creating a DCP from a video</title>
253 In this chapter we will see how to create a DCP from a video file using
254 DCP-o-matic. We will gloss over the details and look at the basics.
258 <title>Creating a new film</title>
261 Let's make a very simple DCP to see how DCP-o-matic works. First, we
262 need some content. Download the low-resolution trailer for the open
263 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
264 url="https://download.blender.org/durian/trailer/Sintel_Trailer.480p.DivX_Plus_HD.mkv">their
265 website</ulink>. Generally one would want to use the
266 highest-resolution material available, but for this test we will use
267 the low-resolution version to save everyone's bandwidth bills.
271 Now, start DCP-o-matic and its window will open. First, we will
272 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
273 some pieces of content, along with some settings, which we will make into
274 a DCP. DCP-o-matic stores its data in a folder on your disk while it
275 creates the DCP. You can create a new film by selecting
276 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
277 shown in <xref linkend="fig-file-new"/>.
280 <figure id="fig-file-new">
281 <title>Creating a new film</title>
284 <imagedata fileref="screenshots/file-new&scs;"/>
290 This will open a dialogue box for the new film, as shown in <xref
291 linkend="fig-video-new-film"/>.
294 <figure id="fig-video-new-film">
295 <title>Dialogue box for creating a new film</title>
298 <imagedata fileref="screenshots/video-new-film&scs;"/>
304 In this dialogue box you can choose a name for the film. This will be
305 used to name the folder to store its data in, and also as the initial
306 name for the DCP itself. You can also choose whereabouts you want to create
307 the film. In the example from the figure, DCP-o-matic will create a
308 folder called ‘DCP Test’ inside my home folder (carl) into which it
309 will write its working files.
315 <!-- ============================================================== -->
317 <title>Adding content</title>
320 The next step is to add the content that you want to use. DCP-o-matic
321 can make DCPs from multiple pieces of content, but in this simple
322 example we will just use a single piece. Click the <guilabel>Add
323 file(s)...</guilabel> button, as shown in <xref
324 linkend="fig-add-file"/>, and a file chooser will open for you to
325 select the content file to use, as shown in <xref
326 linkend="fig-video-select-content-file"/>.
329 <figure id="fig-add-file">
330 <title>Adding content files</title>
333 <imagedata fileref="screenshots/add-file&scs;"/>
338 <figure id="fig-video-select-content-file">
339 <title>Selecting a video content file</title>
342 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
348 Select your content file and click <guilabel>Open</guilabel>. In this
349 case we are using the Sintel trailer that we downloaded earlier.
353 When you do this, DCP-o-matic will take a look at your file. After a
354 short while (when the progress bar at the bottom right of the window
355 has finished), you can look through your content using the slider to
356 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
359 <figure id="fig-examine-content">
360 <title>Examining the content</title>
363 <imagedata fileref="screenshots/examine-content&scs;"/>
369 Dragging the slider will move through your video. You can also click
370 the <guilabel>Play</guilabel> button to play the content back.
378 <!-- ============================================================== -->
380 <title>Making the DCP</title>
382 <para>In most cases, some adjustments would be made to DCP-o-matic's
383 settings once the content has been added. For our simple test,
384 however, the default values will suffice, so we can go straight onto
385 making the DCP.</para>
388 Choose <guilabel>Make DCP</guilabel> from the
389 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
390 This may take some time (many hours in some cases). While the job is
391 in progress, DCP-o-matic will update you on how it is getting on with
392 the progress bar in the bottom of its window, as shown in <xref
393 linkend="fig-making-dcp"/>.
396 <figure id="fig-making-dcp">
397 <title>Making the DCP</title>
400 <imagedata scale="50" fileref="screenshots/making-dcp&scs;"/>
406 When it has finished, the DCP will end up on your disk inside the
407 film's folder. You can then copy this to a projector via a USB
408 stick, hard-drive or network connection. See <xref
409 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
413 Alternatively, if you have a projector or Theatre Management System
414 (TMS) that is accessible via SCP or FTP across your network, you can upload
415 the content directly from DCP-o-matic. See the <xref
416 linkend="sec-prefs-tms" endterm="sec-prefs-tms-short"/> in <xref linkend="sec-prefs-tms"/>.
423 <!-- ============================================================== -->
424 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
425 <title>Creating a DCP from a still image</title>
428 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
429 for an advertisement or an on-screen announcement. This chapter shows you
434 As with DCPs made from video files, the first step is to create a new
435 ‘Film’; select <guilabel>New</guilabel> from the
436 <guilabel>File</guilabel> menu and the new film dialogue will open as
437 shown in <xref linkend="fig-still-new-film"/>.
440 <figure id="fig-still-new-film">
441 <title>Dialogue box for creating a new film</title>
444 <imagedata fileref="screenshots/still-new-film&scs;"/>
450 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
451 the content. As before, click <guilabel>Add file(s)...</guilabel>.
452 For our example, we will add a single image file, as shown in <xref
453 linkend="fig-still-select-content-file"/>.
456 <figure id="fig-still-select-content-file">
457 <title>Selecting a still content file</title>
460 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
466 Most of the default settings will be fine for a simple test. The one
467 thing that you might wish to change is the length of the still.
468 Select the <guilabel>Timing</guilabel> tab and you will see a
469 <guilabel>Play length</guilabel> setting, as shown in <xref
470 linkend="fig-timing-tab"/>.
473 <figure id="fig-timing-tab">
474 <title>The timing tab</title>
477 <imagedata fileref="screenshots/timing-tab&scs;"/>
483 This length is a ‘timecode’: it consists of four numbers.
484 The first is hours, the second minutes, the third seconds, and the
485 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
489 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
490 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
491 be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
492 to encode a single frame which it can then repeat.
498 <!-- ============================================================== -->
499 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
500 <title>Manipulating existing DCPs</title>
503 Frequently DCP-o-matic is used to take content in formats such as MP4
504 and convert it to JPEG2000 for a DCP. It can also be used
505 to take existing DCPs and modify them in various ways.
509 <title>Importing a DCP into DCP-o-matic</title>
512 If you want to do something to an existing DCP the first step is to
513 import it. Click <guilabel>Add DCP...</guilabel> and select your
514 DCP's folder. It will be added to the DCP-o-matic project. If the
515 DCP is unencrypted you can preview it in the normal way, though
516 playback will be very slow as decoding of DCPs is almost as
517 computationally intensive as encoding them.
521 If your DCP is a Version File (VF), in other words it refers to
522 another DCP's assets, you should import it as follows:
526 <listitem>Use <guilabel>Add DCP...</guilabel> to import the VF DCP.
527 The VF DCP will be added to the content list and marked “NEEDS
528 OV”.</listitem>
529 <listitem>Right-click on the VF DCP in the content list and choose <guilabel>Add OV...</guilabel> from the menu.</listitem>
530 <listitem>Choose the folder that contains the OV DCP. The VF will now be playable as normal.</listitem>
537 <title>Decrypting encrypted DCPs</title>
540 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
541 details). If you import an encrypted DCP you will need a key, in the
542 form of a Key Delivery Message (KDM), to decrypt it.
546 KDMs must be prepared by the organisation which created the DCP. They
547 contain the keys to decrypt the DCP wrapped up in such a way that only
548 the intended recipient can read them. You will need to provide the
549 organisation with a certificate which identifies your copy of
550 DCP-o-matic and allows them to create a KDM for you.
554 To get DCP-o-matic's decryption certificate, open the Preferences
555 dialogue (see <xref linkend="ch-preferences"/>) and go to the
556 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
557 decryption certificate...</guilabel> button at the bottom of this tab
558 and save the certificate. Send this certificate to the DCP creators
559 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
563 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
564 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and the DCP
565 will be decrypted and become available for preview.
572 <title>Making a DCP from a DCP</title>
575 In many ways, using DCPs as <emphasis>content</emphasis> in
576 DCP-o-matic is the same as using any other content. There are a few
577 things to note, though.
582 <title>Re-use of existing data</title>
585 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
586 data from DCP content without modification. This has the advantage
587 that creation of the new DCP will be quick, as the time-consuming
588 JPEG2000 encoding is not necessary.
592 DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
593 the following content settings:
597 <listitem>Crop</listitem>
598 <listitem>Scaling</listitem>
599 <listitem>Subtitle burn-in</listitem>
600 <listitem>Fades</listitem>
601 <listitem>Colour conversion</listitem>
605 If you do change any of these settings on a piece of DCP content
606 DCP-o-matic will decode and then re-encode the JPEG2000 data.
612 <section xml:id="sec-overlay">
613 <title>Making overlay files</title>
616 With its default settings, DCP-o-matic will take any data from DCP
617 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
620 <figure id="fig-dcp-copy">
621 <title>Creating a new DCP by copying an existing one</title>
622 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
626 This can be inefficient in some cases. Consider, for example, a film
627 which has ten different translations for which the subtitles are
628 different but video and audio are the same. If the video and audio
629 content takes up, say, 100Gb this means that the set of DCPs for every
630 translation would be about 1Tb with a lot of duplicated data.
634 The DCP format has a solution to this problem. One DCP can refer to
635 the ‘assets’ (picture, sound or subtitle) of another DCP.
636 For our translation example this means that we could have a
637 ‘base’ DCP (often called the OV or Original Version)
638 containing video, audio and one set of subtitles and then any number
639 of overlay DCPs (often called VF or Version Files) which refer to the
640 base version and replace the original subtitles with their own. <xref
641 linkend="fig-dcp-refer"/> shows this principle for one of our
642 translations. The DCP that we make refers to the original content
643 DCP's video and audio rather than containing a copy.
646 <figure id="fig-dcp-refer">
647 <title>Creating a new DCP by referring to an existing one</title>
648 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
652 To play back the subtitled DCP the projectionist ingests both the base
653 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
657 To make a DCP like this:
661 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
662 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
663 <listitem>Select the DCP in the content list</listitem>
664 <listitem>Tick the <guilabel>Use's this DCP's ... as OV and make VF</guilabel> checkbox
665 in the tabs for the parts of the DCP that you want to refer to in your
666 new DCP. For example, to refer to the Content DCP's video and audio you would select the <guilabel>Video</guilabel> tab, click <guilabel>Use this DCP's video as OV and make VF</guilabel> then select the <guilabel>Audio</guilabel> tab and click <guilabel>Use this DCP's audio as OV and make VF</guilabel>.</listitem>
667 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
677 <!-- ============================================================== -->
680 <!-- ============================================================== -->
681 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
682 <title>Content settings</title>
685 The previous chapters showed DCP generation using the default
686 settings. DCP-o-matic offers a range of features to adjust the
687 content that goes into your DCP, and this chapter describes those
692 <title>Adding and removing content</title>
695 At the top of the <guilabel>Content</guilabel> tab is a list of the
696 content that will go into our DCP. There can be as many pieces of
697 content as you like, and they can be of the following types:
701 <listitem>Movie — a file containing some video, probably some
702 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
705 <listitem>Sound — a file containing one or more channels of
706 audio; for example, a WAV or AIFF file.
709 <listitem>Still image — a file containing a single still image; for
710 example, a JPEG, PNG or TIFF file.
713 <listitem>Moving image — a directory containing many still
714 images which should be treated as the frames of a video.
717 <listitem>Subtitle — a file containing subtitle which will be
718 superimposed on the image of the DCP. These can be
719 <guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel>, <guilabel>.ass</guilabel> or <guilabel>.xml</guilabel>
722 <listitem>DCP — an existing DCP.</listitem>
726 To add one or more movie, sound, still-image or subtitle files, select
727 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
731 To add a directory (folder) of images, choose <guilabel>Add
732 folder...</guilabel> and choose the directory from the selector.
733 DCP-o-matic will open a small dialogue box where you can enter the
734 frame rate that the image sequence should be run at.
738 To add a DCP, choose <guilabel>Add DCP...</guilabel> and choose the
739 DCP's directory from the selector.
743 You can remove a piece of content by clicking on its name and then
744 clicking the <guilabel>Remove</guilabel> button.
749 <!-- ============================================================== -->
751 <title>Adding existing DCPs</title>
753 <para>Adding existing DCPs to a DCP-o-matic film is a little different
754 to adding other types of content. Most content has to be converted to
755 JPEG2000, the compression scheme used by DCPs, which is a very
756 time-consuming process. Existing DCPs are already in JPEG2000 format
757 so do not require conversion. This means that, provided no settings
758 such as crop are used on the DCP content, picture and sound data will
759 be passed from existing to new DCP unaltered.
762 <para>Encrypted DCPs that are added as content will require a KDM
763 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
764 should ask the creator of the imported DCP to provide a KDM for
765 DCP-o-matic's decryption certificate, which can be obtained by
766 clicking <guilabel>Export DCP decryption certificate...</guilabel>
767 from the <guilabel>Keys</guilabel> tab of the
768 <guilabel>Preferences</guilabel> dialog (see <xref
769 linkend="sec-prefs-keys"/>).
774 <!-- ============================================================== -->
776 <title>Content Properties</title>
779 Below the content list are the controls to set content properties. To
780 adjust the properties for a piece of content, click its name in the
781 content list. The content property controls will then become active
782 for that piece of content.
786 If you want to change the properties for multiple pieces of content at
787 the same time, select the content in the list by clicking the first
788 piece then clicking the other pieces with <keycap>shift</keycap> key
789 held down. Note that not all settings can be changed in this way.
793 The content properties are split up into four sections:
794 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
795 <guilabel>Subtitles</guilabel> and <guilabel>Timing</guilabel>. Not
796 all of these sections will be active for all content types. The controls
797 in each section are described below.
803 <!-- ============================================================== -->
808 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
811 <figure id="fig-video-tab">
812 <title>Video settings tab</title>
815 <imagedata fileref="screenshots/video-tab&scs;"/>
821 <!-- ============================================================== -->
823 <title>Use this DCP's video as OV and make VF</title>
826 This option is only applicable if the selected content is an existing
827 DCP. It allows you make a VF DCP, using the video content from the
828 existing DCP by referencing it (rather than copying). See <xref
829 linkend="sec-overlay"/>.
834 <!-- ============================================================== -->
836 <title>Image type</title>
839 The next option on this tab is the ‘type’ of the video.
840 This specifies how DCP-o-matic should interpret the video's image.
841 <guilabel>2D</guilabel> is the default; this just takes the video
842 image as a standard 2D frame. The <guilabel>3D
843 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
844 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
847 <figure id="fig-3d-left-right">
848 <title>3D left/right image type</title>
851 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
857 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
858 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
859 linkend="fig-3d-top-bottom"/>.
862 <figure id="fig-3d-top-bottom">
863 <title>3D top/bottom image type</title>
866 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
872 Another option is <guilabel>3D alternate</guilabel> which takes the
873 first frame of the content as for the left eye, the second for the
874 right eye, the third for the left, and so on. Finally, you can
875 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
876 only</guilabel> if this content contains only the the left or right
877 eye images. This is useful when you have the left and right eye image
878 sets in different files; you can specify one content as <guilabel>3D
879 left only</guilabel> and another as <guilabel>3D right only</guilabel>
880 and DCP-o-matic will pick up the appropriate frames from each.
886 <!-- ============================================================== -->
888 <title>Filtering</title>
891 The ‘filters’ settings allow you to apply various video
892 filters to the image. These may be useful to try to improve
893 poor-quality sources like DVDs. You can set up the filters by clicking the
894 <guilabel>Edit</guilabel> button next to the filters entry in the
895 setup area of the DCP-o-matic window; this opens the filters selector
896 as shown in <xref linkend="fig-filters"/>.
899 <figure id="fig-filters">
900 <title>Filters selector</title>
903 <imagedata fileref="screenshots/filters&scs;"/>
909 After changing the filters setup, you will need to regenerate the DCP
910 to see the effect on the cinema screen. The preview in DCP-o-matic
911 will update itself whenever filters are changed, though of course this
912 image is much smaller and of lower resolution than a projected image!
918 <!-- ============================================================== -->
920 <title>Colour conversion</title>
923 The <guilabel>Colour conversion</guilabel> setting specifies what
924 colour transforms and gamma correction DCP-o-matic will use when
925 converting the selected content into the XYZ colourspace for the DCP.
929 The easiest way to select the required conversion is to choose one of
930 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
931 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
932 know which preset you should use, refer to the suggestions in <xref
933 linkend="tab-colour-conversion"/>.
936 <table id="tab-colour-conversion">
937 <title>Suggested colour conversion settings</title>
938 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
939 <colspec colwidth='1*'/>
940 <colspec colwidth='5*'/>
943 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs</entry>.
946 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
949 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
952 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
959 For other required colour conversions, and if you know what you are
960 doing, you can choose <guilabel>Custom</guilabel> which will open the full
961 colour conversion editing dialogue box:
964 <figure id="fig-colour-conversion">
965 <title>Dialogue box for custom colour conversion</title>
968 <imagedata fileref="screenshots/colour-conversion&scs;"/>
974 Alternatively, choose <guilabel>None</guilabel> if your source files
975 are already in the XYZ colour space and require no conversion.
979 DCP-o-matic's colour conversion processes are discussed in much more
980 detail in a separate document <ulink
981 url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
986 <!-- ============================================================== -->
988 <title>Other settings</title>
991 The <guilabel>crop</guilabel> settings can be used to crop your content,
992 which can be used to remove black borders from round the edges of DVD
993 images, for example. The specified number of pixels will be trimmed
994 from each edge, and the content image in the right of the window will
995 be updated to show the effect of the crop.
999 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
1000 settings can be used to apply linear fades into and out of a piece of
1001 content. Specify the time for each, clicking <guilabel>Set</guilabel>
1002 after making any changes.
1006 The <guilabel>Scale to</guilabel> option governs the shape that
1007 DCP-o-matic will scale the content's image into. Select the aspect
1008 ratio that your content should be presented in.
1013 <!-- ============================================================== -->
1015 <title>Video description</title>
1018 At the bottom of the video tab is a short description of what will
1019 happen to your video with the current settings. In the example of
1020 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
1021 video file is 1920x1080 pixels and it has square pixels (a pixel
1022 aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since
1023 the controls specify ‘16.9’ for the ratio, DCP-o-matic
1024 does not scale the image but pads it to the DCP's container ratio of
1025 1.85:1. For a 2K DCP this is 1998x1080 pixels.
1029 This description also gives the frame rate of the content and what
1030 will happen to it when it is played at the DCP's frame rate. See
1031 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
1032 frame-rate conversion.
1040 <!-- ============================================================== -->
1042 <title>Audio</title>
1045 The <guilabel>Audio</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-audio-tab"/>.
1048 <figure id="fig-audio-tab">
1049 <title>Audio settings tab</title>
1052 <imagedata fileref="screenshots/audio-tab&scs;"/>
1057 <!-- ============================================================== -->
1059 <title>The audio map</title>
1062 The section at the bottom of the audio tab is the ‘audio
1063 map’. This governs how sound from the content will be arranged
1068 Down the left-hand side of the map is the list of audio channels in
1069 the currently-selected piece of content. These are labelled with two
1070 numbers; the first is the stream index within the content and the
1071 second is the channel number within that stream. Some content will
1072 have different streams for different languages or audio mixes. Along
1073 the top is each channel in the DCP. A green box means that the
1074 corresponding content channel will be copied into the corresponding
1079 When content channels are copied into DCP channels they can be done
1080 with variable gain. If, for example, you want to copy a channel
1081 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1082 two channels into one, you may want to use a gain of -6dB on each one
1083 to prevent clipping when the two channels are added.
1087 The green boxes of the audio mapping view tell you (very roughly) how
1088 much gain is applied to each channel. A full-height box means 0dB
1089 (i.e. unity) gain. Any less height indicates lower gain.
1093 To map one channel to another with 0dB gain, click in the empty box
1094 and it will turn green to reflect the mapping. A second click will
1095 turn the mapping back off. To set some other gain, right-click on the
1096 box to open the gain menu. This allows you to set
1097 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1098 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1099 <guilabel>Edit</guilabel> which allows you to set the required gain
1104 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1107 <figure id="fig-audio-map-eg1">
1108 <title>Audio map example 1</title>
1111 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1117 Here, we have two channels in the source which are mapped to left and
1118 right, respectively, in the DCP. The full green boxes show that the
1119 mapping is at unity gain (0dB) in each case. Imagine that we modify
1120 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1123 <figure id="fig-audio-map-eg2">
1124 <title>Audio map example 2</title>
1127 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1133 We now have the content's streams mapped to left and right and also
1134 mixed together and placed in the DCP's centre channel. The smaller
1135 green boxes on the centre mappings show that those channels are added
1136 with some non-unity gain; you can see by hovering the mouse pointer
1137 over those boxes that the gain for content channels 1 and 2 is -6dB
1138 when being sent to the centre channel and 0dB when being sent to left
1142 <figure id="fig-audio-map-eg3">
1143 <title>Audio map example 3</title>
1146 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1152 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1153 shows the mapping of a 5.1 source into a 5.1 DCP.
1159 <!-- ============================================================== -->
1161 <title>Other controls</title>
1164 The <guilabel>Use this DCP's audio as OV and make VF</guilabel>
1165 checkbox is only applicable if the selected content is an existing
1166 DCP. It allows you to make a VF DCP, using the audio content from the
1167 existing DCP by referencing it (rather than copying). See <xref
1168 linkend="sec-overlay"/>.
1172 <guilabel>Show graphs of audio levels</guilabel> will analyse the
1173 audio of the selected content and plot it on a graph. See <xref
1174 linkend="sec-show-audio"/> for more details.
1178 ‘Audio Gain’ is used to alter the volume of the
1179 soundtrack. The specified gain (in dB) will be applied to each sound
1180 channel of your content before it is written to the DCP.
1184 If you use a sound processor that DCP-o-matic knows about, it can help
1185 you calculate changes in gain that you should apply. Say, for
1186 example, that you make a test DCP and find that you have to run it at
1187 volume 5 instead of volume 7 to get a good sound level in the screen.
1188 If this is the case, click the <guilabel>Calculate...</guilabel>
1189 button next to the audio gain entry, and the dialogue box in <xref
1190 linkend="fig-calculate-audio-gain"/> will open.
1193 <figure id="fig-calculate-audio-gain">
1194 <title>Calculating audio gain</title>
1197 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1203 For our example, put 5 in the first box and 7 in the second and click
1204 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1205 that it should apply to make this happen. Then you can re-make the
1206 DCP (this will be reasonably fast, as the video data will already have
1207 been done) and it should play back at the correct volume with 7 on
1208 your sound-rack fader.
1212 Current versions of DCP-o-matic only know about the Dolby CP650 and
1213 CP750. If you use a different sound processor, and know the gain
1214 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1219 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1220 between audio and video. A positive delay will move the audio later
1221 with respect to the video, and a negative delay will move it earlier.
1228 <!-- ============================================================== -->
1230 <title>Subtitles</title>
1233 The subtitles tab contains settings related to subtitles in your
1234 content, as shown in <xref linkend="fig-subtitles-tab"/>.
1237 <figure id="fig-subtitles-tab">
1238 <title>Subtitle settings tab</title>
1241 <imagedata fileref="screenshots/subtitles-tab&scs;"/>
1247 DCP-o-matic can either:
1251 <listitem>Extract subtitles that are embedded in video files, or</listitem>
1252 <listitem>Use subtitles from SubRip (<code>.srt</code>), SubStation
1253 Alpha (<code>.ssa</code> or <code>.ass</code>) or DCP XML files. You may find the great
1255 url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
1256 for creating such files.</listitem>
1260 Embedded subtitles are usually represented using a set of bitmaps,
1261 especially on files that have come from DVD or BluRay. Such subtitles
1262 can (currently) only be ‘burnt’ into the DCP (that is,
1263 they are included in the image and not overlaid by the projector).
1267 With SubRip, SubStation Alpha or DCP subtitles you have the choice to
1268 either burn-in or include the subtitles as separate subtitle
1269 ‘asset’ within your DCP (in which case the projector
1270 overlays them onto the image on playback). The difference between
1271 burn-in and overlay is illustrated by <xref linkend="fig-burn-in"/>
1272 and <xref linkend="fig-discrete"/>.
1275 <figure id="fig-burn-in">
1276 <title>Burnt-in subtitles</title>
1279 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1284 <figure id="fig-discrete">
1285 <title>Separate subtitles</title>
1288 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1294 The advantage of separate subtitles is that the same video content can
1295 be used for DCPs in many different languages. This means that only a
1296 small text file needs to be changed for each target language, rather
1297 than a large video file. It also means that the time-consuming video
1298 encoding need only be done once for the project rather than once for
1303 Select the <guilabel>Use Subtitles</guilabel> check-box to enable
1304 the subtitles in the selected content.
1308 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1309 burn these subtitles into the image; if this is not ticked the
1310 subtitles will be included separately in the DCP to be rendered by the
1311 projector. This check-box will always be ticked if you are using
1312 embedded ‘image’ subtitles.
1316 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1317 controls move the subtitles around within the image. The offsets are
1318 expressed as a percentage of the video frame size; 100% X offset is
1319 the entire width of the frame, and 100% Y offset is the entire height.
1320 Hence, to move the subtitles down by half the frame height you would
1321 use a Y offset of 50%.
1325 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1326 controls scale the subtitles. Scale values of 1 make the subtitles
1327 the same size (relative to the size of the image) as they are on the
1328 original. Values lower than 1 make them smaller, and values higher
1329 make them larger. You can stretch the subtitles in either direction
1330 by specifying different values for X and Y scale. Subtitles from DVD
1331 and Blu Ray sources are frequently larger (relative to the video
1332 frame) than those typically used for DCP, so it is often useful to
1333 scale such subtitles down using these controls.
1337 The <guilabel>Line spacing</guilabel> control adjusts the line spacing
1338 of the subtitles. This only works for non-embedded (text) subtitles.
1342 The <guilabel>Stream</guilabel> control changes the subtitle stream
1343 that is used when the content has more than one.
1347 If you are using non-embedded (text) subtitles you can see the
1348 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1349 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1353 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1354 change how the subtitles look.
1360 <!-- ============================================================== -->
1362 <title>Timing</title>
1365 The timing tab contains settings related to the timing of your
1366 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1369 <figure id="fig-timing-tab-detail">
1370 <title>Timing settings tab</title>
1373 <imagedata fileref="screenshots/timing-tab&scs;"/>
1379 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1380 These are expressed as four numbers, as shown in <xref
1381 linkend="fig-timecode"/>.
1384 <figure id="fig-timecode">
1385 <title>Timecode</title>
1388 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1394 <guilabel>Position</guilabel> is the time at which this piece of
1395 content should start within the DCP. In most cases, this will be
1396 <code>0:0:0:0</code> to make the content start at the beginning of the
1401 <guilabel>Full length</guilabel> is the length of the piece of
1402 content. This can only be set for still-image content: for video or
1403 sound content, it is fixed by the nature of the content file. If
1404 still-image content is being used you can set the length for which it
1405 should be displayed using this control.
1409 <guilabel>Trim from start</guilabel> specifies the amount that should
1410 be trimmed from the start of the content. You can set this amount to
1411 trim up to the current preview position by clicking <guilabel>Trim up
1412 to current position</guilabel>.
1416 <guilabel>Trim from end</guilabel> specifies the amount that should be
1417 trimmed from the end of the content. You can set this amount to trim
1418 after the current preview position by clicking <guilabel>Trim after to
1419 current position</guilabel>.
1423 <guilabel>Play length</guilabel> indicates how long this piece of
1424 content will be once the trims have been applied. This will be equal
1425 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1429 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1430 still-image content. It can also be used to override the detected
1431 frame rate of other content if DCP-o-matic has got it wrong.
1435 Each timecode control has a <guilabel>Set</guilabel> which you should
1436 click when you have entered a new value for a timecode. The
1437 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1438 any changes to the corresponding timecode.
1444 <!-- ============================================================== -->
1446 <title>Video processing pipeline</title>
1449 This section gives a little more detail about how DCP-o-matic process
1450 video as it takes it from a source and puts it into a DCP.
1454 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1455 image which is letterboxed with 36 black pixels each at the top and
1456 bottom, and the video content within the letterbox should be presented
1457 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1458 happen with a trailer). The source image is shown in <xref
1459 linkend="fig-pipeline1"/>.
1462 <figure id="fig-pipeline1">
1463 <title>Example image to demonstrate video processing</title>
1466 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1472 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1476 <listitem>Crop</listitem>
1477 <listitem>Scale</listitem>
1478 <listitem>Place in container</listitem>
1482 First, some amount of the image can be cropped. This is almost always
1483 used to remove black borders (letterboxing and/or pillarboxing) around
1488 In our example image, we would use 36 pixels of crop from the top and
1489 bottom. This would give the new image shown in <xref
1490 linkend="fig-pipeline2"/>.
1493 <figure id="fig-pipeline2">
1494 <title>Example image after cropping</title>
1497 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1503 The next step is to scale the image. Since this content should be
1504 presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select
1505 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1506 option in the <guilabel>Video</guilabel> tab and
1507 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1508 option in the <guilabel>DCP</guilabel> tab.
1511 <para>The <guilabel>Scale to</guilabel> option should always be set to
1512 the aspect ratio at which the content should be seen. The
1513 <guilabel>Container</guilabel> option should be set to the preset that
1514 you want to use on the projector. Of course, these two settings will
1519 Given the scaling and container information, DCP-o-matic will look at
1520 the DCP's container size, and then scale the source image up until one
1521 or both of its dimensions (width, height or both) fits the size of the
1522 container, all the while preserving the desired aspect ratio.
1526 In our example here, the DCP's container is specified as 1.85:1 (so
1527 that the DCP will play back correctly using the projector's
1528 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1529 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1530 result in the image hitting the sides of the container first, at a
1531 size of 1998 x 836. This gives us a new version of the image as shown
1532 in <xref linkend="fig-pipeline3"/>.
1535 <figure id="fig-pipeline3">
1536 <title>Example image after cropping and scaling</title>
1539 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1545 The final step is to place the image into the DCP. In this case,
1546 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1547 we have set the <guilabel>container</guilabel> in the
1548 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1549 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1550 be some black bars at the top and bottom of the image. DCP-o-matic
1551 shares out this black equally, as shown in <xref
1552 linkend="fig-pipeline3"/>.
1555 <figure id="fig-pipeline4">
1556 <title>Example image in the DCP</title>
1559 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1568 <title>Copy and paste settings</title>
1571 Once you have set up a piece of content it is possible to copy the
1572 settings you have applied to another piece of content. To do this,
1573 select the content to copy from and choose <guilabel>Copy</guilabel>
1574 from the <guilabel>Edit</guilabel> menu. Then select the content to
1575 copy to and choose <guilabel>Paste</guilabel>. A dialogue box will
1576 open to allow you to choose which settings you want to copy. Clicking
1577 <guilabel>OK</guilabel> will apply the copied settings.
1586 <!-- ============================================================== -->
1587 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1588 <title>DCP settings</title>
1591 This chapter describes the settings that apply to the whole DCP. The
1592 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1593 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1596 <figure id="fig-dcp-tab">
1597 <title>DCP settings tab</title>
1600 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1606 The first thing here is the name. This is generally set to the title
1607 of the film that is being encoded. If <guilabel>Use ISDCF
1608 name</guilabel> is not ticked, the name that you specify will be used
1609 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1610 is ticked, the name that you enter will be used as part of a
1611 ISDCF-compliant name.
1615 Underneath the name field is a preview of the name that the DCP will
1616 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1617 name</guilabel> check-box. The ISDCF name will be composed using details
1618 of your content's soundtrack, the current date and other things that
1619 can be specified in the ISDCF name details dialogue box, which you can
1620 open by clicking on the <guilabel>Details</guilabel> button.
1624 If you want to take the ISDCF-compliant name that DCP-o-matic
1625 generates and modify it, click <guilabel>Copy as name</guilabel> and
1626 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1627 You can then edit it as you wish. The DCP name should not matter (in
1628 that it should not affect how the DCP ingests or plays) but
1629 projectionists will appreciate it if you use the standard naming
1630 scheme as it makes it easier to identify details of the content.
1634 The <guilabel>Content Type</guilabel> option can be
1635 ‘feature’, ‘trailer’ or whatever; select the
1636 required type from the drop-down list. On some projection systems
1637 this will affect where your content appears in the projector's server
1638 user interface, so take care to select an appropriate type.
1642 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1643 is signed. This is rarely important; if in doubt, tick it.
1647 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1648 should be encrypted or not. If this is ticked, the DCP will require a
1649 KDM to play back. Encryption is discussed in <xref
1650 linkend="ch-encryption"/>.
1654 If you use encryption DCP-o-matic will generate a random encryption
1655 key for you. To specify your own key, click the
1656 <guilabel>Edit..</guilabel> button next to the key.
1660 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1661 controls specify how the DCP will be split up into
1662 ‘reels’. See <xref linkend="sec-reels"/> below.
1666 The <guilabel>Standard</guilabel> option specifies which of the two
1667 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1668 more modern of the two).
1672 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1673 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1677 At the bottom of the DCP tab are a further two tabs, one each to
1678 contain the settings for the DCP's video and audio parts.
1682 The <guilabel>Container</guilabel> option sets the ratio of the image
1683 in the DCP. If this ratio is different to the ratio used for any
1684 content, DCP-o-matic will pad the content with black. In simple cases
1685 this should be set to the same ratio as that for the the primary piece
1686 of video content. Alternatively, you might want to pillarbox a small
1687 format into a Flat container: in this case, select the small format
1688 for the content's ratio and ‘Flat’ for the DCP.
1692 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1693 your DCP. This can be a little tricky to get right. Ideally, you
1694 want it to be the same as the video content that you are using. If it
1695 is not the same, DCP-o-matic must resort to some tricks to alter your
1696 content to fit the specified frame rate. Frame rates are discussed in
1697 more detail in <xref linkend="ch-frame-rates"/>.
1701 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1702 to what DCP-o-matic thinks is the best given the content that you have
1707 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1708 is checked. A 3D DCP will then be created, and any 2D content will be
1709 made 3D compatible by repeating the same frame for both left and right
1710 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1711 Real-D etc.) but not on a 2D system.
1715 The <guilabel>Resolution</guilabel> tab allows you to choose the
1716 resolution for your DCP. Use 2K unless you have content that is of
1717 high enough resolution to be worth presenting in 4K.
1721 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1722 the final image files used within the DCP will be. Larger numbers
1723 will give better quality, but correspondingly larger DCPs. The
1724 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1725 Most commercial DCPs use bit rates between 75 and 125 MBit/s.
1729 The <guilabel>Audio Channels</guilabel> control sets the number of
1730 audio channels that the DCP will have. If the DCP has any channels
1731 for which there is no content audio they will be replaced by silence.
1732 You can only set an even number of channels here, since that is
1733 required by the DCI standard. If you want an odd number of channels,
1734 set the DCP channel count to one greater than you need and the
1735 unused channel will be filled with silence.
1739 The <guilabel>Processor</guilabel> control allows you to select a
1740 process to apply to the audio before it goes into the DCP. Three processes are currently provided:
1744 <listitem>Mid-side decode — this will take a L/R
1745 stereo input and extract the common part (corresponding to the
1746 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1747 The remaining L/R parts will be kept in the L/R channels of the DCP.
1748 This may be useful to make near-field L/R mixes more compatible with
1749 cinema audio systems.</listitem>
1750 <listitem>Stereo to 5.1 up-mixer A — this will take a stereo input and up-mix it to ‘fake’ 5.1. The input L/R are treated as follows:
1752 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1753 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1754 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1755 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1756 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1757 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1760 This upmixing algorithm is due to Gérald Maruccia.
1763 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1765 <listitem>DCP L is input L.</listitem>
1766 <listitem>DCP R is input R.</listitem>
1767 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1768 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1769 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1774 <!-- ============================================================== -->
1775 <section xml:id="sec-reels">
1776 <title>Reels</title>
1779 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1780 way as a 35mm reel is a section of a film. A DCP can be split up into
1781 any number of reels and the joins (the equivalent to 35mm splices)
1782 between the reels are seamless.
1786 There is no reason why you can't just use a single reel for the whole
1787 of your DCP, as there is no limit on their length. Many people choose
1792 There are, however, some possible advantages of splitting things up
1798 The picture, sound and subtitle data of the DCP will be
1799 split up into more smaller files on disk, rather than fewer larger
1800 files. This can be useful if the DCP is to be transferred on storage
1801 that have file size limits. The FAT32 filesystem, for example, can
1802 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1803 not be transferred using a FAT32-formatted disk. If that DCP were
1804 split up into two 3Gb reels it could be transferred.
1807 It is easier to re-use DCP components if they are in reels. Consider,
1808 for example, a film company who wants to put a 5 second ident onto the
1809 beginning of DCPs that they distribute. If they receive a feature
1810 film DCP they can modify it to add their ident as a separate reel.
1811 This is easier than attaching the picture data in the DCP.
1816 DCP-o-matic offers three options for setting up the reels in your DCP:
1817 single reel, split by video content or custom.
1821 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1822 This is a perfectly good option if you have no particular reason to
1827 <guilabel>Split by video content</guilabel> puts each piece of source
1828 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1831 <figure id="fig-reels-by-video">
1832 <title>Making reels using split by video content</title>
1833 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1837 Here we have three video files (<code>ident.mp4</code>,
1838 <code>feature.ts</code> and <code>cred.mov</code>). With
1839 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1840 reel to hold each video file.
1844 <guilabel>Custom</guilabel> splits reels by the size of the files that
1845 will make up their video content. With <guilabel>Custom</guilabel>
1846 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1852 <!-- ============================================================== -->
1853 <section xml:id="sec-show-audio">
1854 <title>Show audio</title>
1857 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1858 to examine the audio in your content and plot a graph of its level
1859 over time. This can be useful for getting a rough idea of how loud
1860 the sound will be in the cinema auditorium. A typical plot is shown
1861 in <xref linkend="fig-audio-plot"/>
1864 <figure id="fig-audio-plot">
1865 <title>Audio plot</title>
1868 <imagedata fileref="screenshots/audio-plot&scs;"/>
1874 The plot gives the audio level (vertical axis, in dB) with time
1875 (horizontal axis). 0dB represents full scale, so if there is anything
1876 near this you are in danger of clipping the projector's audio outputs.
1880 There are two plot types: the peak level and the RMS, which can be
1881 shown or hidden using the check-boxes on the right hand side of the
1886 The channel check-boxes will show or hide the plot(s) for
1887 the corresponding channels in the DCP.
1891 The smoothing slider applies a variable degree of temporal smoothing
1892 to the plots, which can make them easier to read in some cases.
1896 Obviously the audio plot is no substitute for listening in an
1897 auditorium, but it can be useful to get levels in the right rough area.
1905 <!-- ============================================================== -->
1906 <chapter xml:id="ch-templates" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1907 <title>Templates</title>
1910 If you frequently make DCPs with similar settings you may find it
1911 useful to use templates.
1915 Say, for example, you often make 4K feature DCPs from video files in
1916 ’scope at 25fps. You can speed up this process by following
1921 <listitem>Create a film with any content and set it up how you like;
1922 in our example, set the content to scale to DCP, the DCP resolution
1923 to 4K, and so on.</listitem>
1924 <listitem>Choose <guilabel>Save as template...</guilabel> from the <guilabel>File</guilabel> menu.</listitem>
1925 <listitem>Enter a name for your template.</listitem>
1929 Then in the future you can create a new film, tick the
1930 <guilabel>Template</guilabel> box and choose your previously-saved
1931 template. The basic film's settings will come from your template, and
1932 when you add some content it will take on the settings of the
1933 first similarly-typed piece of content in your template.
1937 For example if the template has a piece of video content and some
1938 subtitles, any video that you add to the new film will take on the
1939 settings of the video in the template. Similarly, any subtitles that
1940 you add will take on the settings of the subtitles from the template.
1944 The following settings from the <guilabel>DCP</guilabel> tab are saved
1949 <listitem>“Use ISDCF name” checkbox</listitem>
1950 <listitem>Content type (FTR, TLR etc.)</listitem>
1951 <listitem>Container</listitem>
1952 <listitem>Resolution</listitem>
1953 <listitem>JPEG200 bandwidth</listitem>
1954 <listitem>Video frame rate</listitem>
1955 <listitem>Signed and encrypted checkboxes</listitem>
1956 <listitem>Audio channels</listitem>
1957 <listitem>Standard (Interop / SMPTE)</listitem>
1958 <listitem>Audio processor</listitem>
1959 <listitem>Reel type and length</listitem>
1960 <listitem>Upload after make DCP checkbox</listitem>
1964 In addition to this, the settings (but not the filenames) of any
1965 content in the template are stored, as discussed above. The status of
1966 the <guilabel>Keep video and subtitles in sequence</guilabel> checkbox
1967 from the timeline is also preserved.
1974 <!-- ============================================================== -->
1975 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1976 <title>Encryption</title>
1979 It is not required that DCPs be encrypted, but they can be. This
1980 chapter discusses the basic principles of DCP encryption, and how
1981 DCP-o-matic can create encrypted DCPs and KDMs for them.
1985 <!-- ============================================================== -->
1987 <title>Basics</title>
1990 DCPs can be encrypted. This means that the picture and sound data are
1991 encoded in such a way that only cinemas ‘approved’ by the
1992 DCP's creators can read them. In particular, this means copies of the
1993 DCP can be distributed by insecure means: if an ne'er-do-well called
1994 Mallory obtains a hard drive containing an encrypted DCP, there is no
1995 way that he can play it. Only those cinemas who receive a correct key
1996 delivery message (KDM) can play the DCP.
2000 <!-- ============================================================== -->
2002 <title>How it works (in a nutshell)</title>
2005 This section attempts to summarise how DCP encryption works. You can
2006 skip it if you like. You may need some knowledge of encryption
2007 methods to understand it.
2011 We suppose that we are trying to send a DCP to
2012 Alice's cinema without a troublemaker called Mallory being able to
2017 There are two main families of encryption techniques. The first,
2018 symmetric-key encryption, allows us to encode some data using some
2019 numeric key. After encoding, no-one can decode the data unless they
2024 The first step in a DCP encryption is to encode its data with some key
2025 using symmetric-key encryption. The encrypted DCP can then be sent
2026 anywhere, safe in the knowledge that even if Mallory got hold of a
2027 copy, he could not decrypt it.
2031 Alice, however, needs to know the key so she can play the DCP in her
2032 cinema. A simple approach might be for us to send Alice the key.
2033 However, if Mallory can intercept the DCP, he might also be able to
2034 intercept our communication of the key to Alice. Furthermore, if Alice
2035 happened to know Mallory, she could just send him a copy of the key.
2039 The clever bit in the process requires the use of public-key
2040 encryption. With this technique we can encrypt a block of data using
2041 some ‘public’ key. That data can then only be decrypted
2042 using a corresponding private key which is
2043 <emphasis>different</emphasis> to the public key. The private and
2044 public keys form a pair which are related mathematically, but it is
2045 extremely hard (or rather, virtually impossible) to derive the private
2046 key from the public key.
2050 Public-key encryption allows us to distribute the DCP's key to Alice
2051 securely. The manufacturer of Alice's projector generates a public
2052 and private key. They hide the private key deep inside the bowels of
2053 the projector (inside an integrated circuit) where no-one can read it.
2054 They then make the public key available to anyone who is interested.
2058 We take our DCP's symmetric key and encrypt it using the public key of
2059 Alice's projector. We send the result to Alice over email (using a
2060 format called a Key Delivery Message, or KDM). Her projector then
2061 decrypts our message using its private key, yielding the magic
2062 symmetric key which can decrypt the DCP.
2066 If is fine if Mallory intercepts our email to Alice, since the only
2067 key which can decrypt the message is the private key buried inside
2068 Alice's projector. The projector manufacturer is very careful that
2069 no-one ever finds out what this key is. Our DCP is secure: only Alice
2070 can play it back, since only her projector knows the key (even Alice
2078 <!-- ============================================================== -->
2080 <title>Encryption using DCP-o-matic</title>
2083 There are two steps to distributing an encrypted DCP. First, the
2084 DCP's data must be encrypted, and secondly KDMs must be generated for
2085 those cinemas that are allowed to play the DCP.
2089 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
2090 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
2091 encrypt the DCP that it makes using a random key that DCP-o-matic
2092 generates. The key will be written to the film's metadata file, which
2093 should be kept secure.
2097 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
2098 ticked will not play on any projector as-is (it will be marked as
2099 ‘locked’, or whatever the projector manufacturer's term
2104 The second part of distributions is to generate KDMs for the cinemas
2105 that you wish to allow to play your DCP. There are two approaches to
2106 this within DCP-o-matic: using the project, or using a DKDM. These
2107 approaches are now described in turn.
2111 <title>Creating KDMs from a DCP-o-matic project</title>
2114 You can create KDMs from inside a DCP-o-matic project using the
2115 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
2116 menu. This will open the KDM dialogue box, as shown in <xref
2117 linkend="fig-kdm"/>.
2120 <figure id="fig-kdm">
2121 <title>KDM dialog</title>
2124 <imagedata scale="40" fileref="screenshots/kdm&scs;"/>
2130 In order to generate KDMs for a particular projector, you need to know
2131 its <emphasis>certificate</emphasis>. These are usually made
2132 available by the projector manufacturers as text files with a
2133 <code>.pem</code> extension.
2137 DCP-o-matic can store these certificates along with details of their
2138 cinemas and screens within those cinemas. Each screen has a
2139 certificate for its projector (and optionally certificates for other
2140 trusted devices, such as the sound processor). DCP-o-matic can
2141 generate KDMs for any screens that it knows about.
2145 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
2146 a dialogue box into which you can enter the cinema's name, and
2147 optionally an email address. This email address can be used to
2148 get DCP-o-matic to deliver KDMs via email.
2152 Once you have added a cinema, select it by clicking on its name, then
2153 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2154 allows you to enter a name for the screen and load in its certificate
2155 from a file. The certificate should be in SHA256 PEM format.
2159 Alternatively, certificates for projection systems made by some
2160 manufacturers can be downloaded from databases provided by the
2161 manufacturer. Currently this is supported for Doremi and Dolby
2162 equipment. If you are targeting a screen with equipment by one of
2163 these manufacturers you can click <guilabel>Download</guilabel> then
2164 enter the serial number of the server in the screen and click
2165 <guilabel>Download</guilabel> again and, all being well, the certificate
2170 Using the download system you will need to know the serial number of
2171 the media server in use in the screen. Most cinema projection or
2172 technical departments will know these serial numbers.
2176 Note that the reliability of the manufacturers' certificate databases
2177 cannot be guaranteed. It is vital that KDMs are tested by the
2178 destination cinema will in advance of show time to identify any
2183 Once you have set up all the screens that you need KDMs for, select
2184 the CPL that you want to create the KDM for. You can use the
2185 drop-down list to select the CPLs in the current film project, or load
2186 a CPL from somewhere else. Select the cinemas and/or screens that you
2187 want KDMs for and fill in the start and end dates and times.
2191 You must also select the type of KDM that you want to generate. If in
2192 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2196 The differences between the three KDM types are fairly subtle.
2197 <guilabel>DCI Specific</guilabel> and <guilabel>DCI Any</guilabel> add
2198 a <code><ContentAuthenticator></code> tag to the KDM which
2199 allows the exhibitor to check that the DCP and KDM have come from a
2200 bona-fide source. In addition, <guilabel>DCI Specific</guilabel> adds
2201 information on trusted devices to the KDM. This allows the KDM
2202 creator to specify devices (such as sound processors) that are allowed
2203 to use keys delivered by the KDM. At present it is not clear how
2204 widely the <guilabel>DCI Specific</guilabel> and <guilabel>DCI
2205 Any</guilabel> features are supported (or even tolerated) by servers
2206 so you are advised to use <guilabel>Modified Transitional
2211 Finally, choose what you want to do with the KDMs. They can be
2212 written to disk, to a location that you can specify by clicking
2213 <guilabel>Browse</guilabel>. Alternatively, if you choose
2214 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2215 emailed to the appropriate cinema email addresses. Click
2216 <guilabel>Make KDMs</guilabel> to generate the KDMs.
2222 <title>Creating KDMs using a DKDM</title>
2226 It can be inconvenient to need a whole DCP-o-matic project just to
2227 create KDMs for its film. Perhaps you want to archive the project to
2228 save space, or create KDMs on a different machine. In such situations
2229 it is easier to use a DKDM. This is a normal KDM, but instead of
2230 being targeted at a projection system (to allow it to decrypt the
2231 content) it is targeted at a particular users's certificate. This
2232 means that the certificate owner can create new KDMs for other users.
2233 The DKDM holds everything that is required to create further KDMs.
2237 Sometimes it is useful to create DKDMs that can be used by
2238 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2239 any point in the future, use DCP-o-matic's standalone KDM creator to
2240 make KDMs for the DKDM's film for any cinema.
2244 In other cases a DKDM is sent to a 3rd party so that they can create
2245 KDMs for your films. This can be useful if, for example, you have a
2246 distributor who provides 24-hour KDM support to cinemas and can create
2247 KDMs for anybody that requires them at short notice.
2251 To create a DKDM for DCP-o-matic, open your encrypted project and
2252 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2253 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2254 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2255 be available in the KDM creator. This is a separate program which you
2256 can start from the same place that you start the ‘normal’
2257 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2260 <figure id="fig-kdm-creator">
2261 <title>The KDM creator</title>
2264 <imagedata scale="35" fileref="screenshots/kdm-creator&scs;"/>
2270 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2271 to be created for, the date range, the DCP that the KDMs are for and
2272 the destination for the KDMs and click <guilabel>Create
2277 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2278 which you have clicked <guilabel>Make DKDM for
2279 DCP-o-matic</guilabel>in the main DCP-o-matic program. If you have
2280 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2281 specifying the file containing the DKDM.
2285 If another organisation wants to send you a DKDM they will ask you for
2286 a target certificate. You can get DCP-o-matic's target certificate by
2287 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2288 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2296 <title>Encryption keys</title>
2299 You must be careful when using encryption not to lose important keys.
2303 If you are making KDMs from a DCP-o-matic film you
2304 <emphasis>must</emphasis> ensure that you have a backup of the
2305 <code>metadata.xml</code> file from the project, as well as the DCP
2310 If you are using a DKDM you <emphasis>must</emphasis> ensure that you
2311 have a backup of DCP-o-matic's <code>config.xml</code> file, since it
2312 contains the only key which can decrypt the DKDM. The
2313 <code>config.xml</code> file location depends on your operating
2314 system; possible locations are listed in <xref linkend="ch-config"/>
2320 <title>Encryption overview</title>
2322 <figure id="fig-encryption-overview">
2323 <title>Overview of encryption</title>
2326 <imagedata fileref="diagrams/crypt&dia;"/>
2336 <!-- ============================================================== -->
2337 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2338 <title>Preferences</title>
2341 DCP-o-matic provides a few preferences which can be used to modify its
2342 behaviour. This chapter explains those options.
2346 Preferences can be edited by choosing
2347 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2348 menu. This opens a dialogue which is split into seven tabs.
2351 <!-- ============================================================== -->
2353 <title>General</title>
2356 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2359 <figure id="fig-prefs-general">
2360 <title>General preferences</title>
2363 <imagedata fileref="screenshots/prefs-general&scs;"/>
2369 <!-- ============================================================== -->
2371 <title>Language</title>
2374 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2375 a language from the list, that language will be used for DCP-o-matic.
2376 You will need to restart DCP-o-matic to see the new language.
2380 The translations for DCP-o-matic have been contributed by helpful
2381 users. If your language is not on the last, head to <ulink
2382 url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2383 read about how to contribute a translation.
2388 <!-- ============================================================== -->
2390 <title>Threads</title>
2393 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2394 to speed things up. Set this value to the number of threads
2395 DCP-o-matic should use. This should normally be the number of
2396 processors (or processor cores) in your machine. DCP-o-matic will try
2397 to set this up correctly when you run it for the first time.
2402 <!-- ============================================================== -->
2404 <title>Cinema and screen database file</title>
2407 This option allows you to change the file that DCP-o-matic uses to
2408 store details of the cinemas and screens used to make KDMs.
2414 <title>Integrated loudness</title>
2417 If <guilabel>Find integrated loudness, true peak and loudness range
2418 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2419 work when analysing audio. Leave this ticked if the extra parameters
2420 are useful to you. If not, untick it and audio analysis will be
2426 <!-- ============================================================== -->
2428 <title>Updates</title>
2431 The <guilabel>Check for updates on startup</guilabel> option, if
2432 enabled, will tell DCP-o-matic to check on <ulink
2433 url="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2434 newer versions of DCP-o-matic then the one you are running. If so, a
2435 dialogue box will open with a link to download the new version.
2440 The <guilabel>Check for testing updates as well as stable
2441 ones</guilabel> option will also check for test updates as well as
2442 those that are formally ‘released’. This is useful if you
2443 like to live on the bleeding edge!
2447 <!-- ============================================================== -->
2449 <title>Issuer and creator</title>
2452 With these controls you can set the issuer and creator strings that
2453 will be put into the DCPs which you create.
2459 <!-- ============================================================== -->
2461 <title>Defaults</title>
2464 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2467 <figure id="fig-prefs-defaults">
2468 <title>Defaults preferences</title>
2471 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2477 The options in this tab simply allow you to set up default values for
2478 various properties of new films.
2483 <!-- ============================================================== -->
2485 <title>Servers</title>
2488 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2491 <figure id="fig-prefs-servers">
2492 <title>Servers preferences</title>
2495 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2501 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2502 locate encoding servers automatically (see <xref
2503 linkend="ch-servers"/>).
2507 Instead of this (or in addition) servers can be specified explicitly.
2508 To add a server, click <guilabel>Add...</guilabel> and enter the host
2509 name or IP address of the server to use.
2515 <!-- ============================================================== -->
2516 <section xml:id="sec-prefs-keys">
2520 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) holds options
2521 related to the keys and certificates used in some parts of DCP
2525 <figure id="fig-prefs-keys">
2526 <title>Keys preferences</title>
2529 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2535 At the top of the tab is the chain of certificates that will be used
2536 to sign DCPs and KDMs. DCP-o-matic creates a random chain when you
2537 first run it and if you are happy to use this chain you can ignore the
2538 preferences. Otherwise, you can add or remove certificates from the
2539 chain using the <guilabel>Add...</guilabel> and
2540 <guilabel>Remove</guilabel> buttons.
2544 If you want DCP-o-matic to re-create the certificate chain (using new,
2545 random certificates) click <guilabel>Re-make
2546 certificates...</guilabel> and specify your organisation and common
2547 names in the dialogue box that opens.
2551 Underneath the certificate chain is the private key that corresponds
2552 to the leaf certificate in the chain. You can specify your own
2553 private key by clicking <guilabel>Load...</guilabel>. You must do
2554 this if you change the leaf certificate, so that the leaf private key
2555 corresponds to the public key held in the leaf certificate.
2559 Underneath the details of the certificate chain and private key for
2560 signing of DCPs and KDMs is a second chain and key which is used by
2561 DCP-o-matic when you import an encrypted DCP as a piece of content.
2562 The leaf certificate of this chain contains the public key that should
2563 be used when targeting a KDM at DCP-o-matic.
2567 If you want to import an encrypted DCP you will need to give the
2568 decryption certificate to the distributor of the DCP so that they can
2569 generate a DKDM for you. You can save this certificate to disk by
2570 clicking <guilabel>Export DCP decryption certificate...</guilabel>.
2571 As with the signing chain, DCP-o-matic will create a certificate chain
2572 and private key for you. You can also choose to load your own
2573 certificates and key or re-make the chain and key with new, random
2578 Clicking <guilabel>Export DCP decryption chain...</guilabel> will
2579 export the whole certificate chain, rather than just the leaf
2585 <!-- ============================================================== -->
2586 <section xml:id="sec-prefs-tms">
2588 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2591 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2592 options for specifying details about your theatre management system
2593 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2594 you can upload DCPs directly from DCP-o-matic to the TMS using the
2595 <guilabel>Send DCP to TMS</guilabel> option in the
2596 <guilabel>Jobs</guilabel> menu.
2599 <figure id="fig-prefs-tms">
2600 <title>TMS preferences</title>
2603 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2609 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2610 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2611 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2612 FTP. Do let us know if you use any other type of TMS with the
2613 <guilabel>Send DCP to TMS</guilabel> feature.
2617 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2618 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2619 should be uploaded to (which will be relative to the home directory of
2620 the SSH or FTP user). Finally, the user name and password are the
2621 credentials required to log into the TMS via SSH or FTP.
2625 Note that for this to work on Doremi servers you will need to set the
2626 <code>PasswordAuthentication</code> option in your server's
2627 <code>sshd_config</code> to <code>yes</code>.
2633 <!-- ============================================================== -->
2635 <title>KDM email</title>
2638 The KDM email is shown in <xref linkend="fig-prefs-kdm-email"/>.
2641 <figure id="fig-prefs-kdm-email">
2642 <title>KDM email preferences</title>
2645 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2651 This is a template for the email that is used to send KDMs out to
2652 cinemas. You can change it to say whatever you like. A few
2653 ‘magic’ strings will be replaced by information from the
2654 KDM that is being sent:
2658 <title>‘Magic’ KDM strings</title>
2659 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2662 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2665 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2668 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2671 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2674 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2681 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2687 <!-- ============================================================== -->
2688 <section xml:id="sec-prefs-advanced">
2689 <title>Advanced</title>
2690 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
2693 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
2696 <figure id="fig-prefs-advanced">
2697 <title>Advanced preferences</title>
2700 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
2706 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
2707 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
2708 are advised to leave this at 250Mbit/s in normal use for maximum DCP
2713 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
2714 the DCP video frame rates that DCP-o-matic will create. This may be
2715 useful for experimentation. Again, you are strongly advised to leave
2716 this unticked for normal use.
2720 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
2721 JPEG2000 data only on encoding servers and not on the host. We
2722 suggest you leave this un-ticked unless you have a good reason to do otherwise.
2726 With the filename format fields you can adjust the filenames that are
2727 used for metadata (CPL and PKL files) and assets (MXF and subtitle
2728 files). Below each field there is a list of the ‘magic’
2729 values that you can use in the format and an example of a filename
2730 that you might see with your current settings.
2734 The four checkboxes labelled <guilabel>Log</guilabel> control what
2735 sort of messages DCP-o-matic writes to its log file when creating a
2736 DCP. It is useful to leave <guilabel>General</guilabel>,
2737 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
2738 as this makes the log files useful for tracking down bugs.
2742 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
2743 to allow developers to investigate and optimize the speed of
2744 DCP-o-matic. It will significantly increase the size of the log files
2745 that are generated, so in normal use it is best to leave this
2752 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
2753 <title>Frame rates</title>
2756 In an ideal world, a DCP would be created using content at the same
2757 video frame and audio sampling rates as the DCP. This is not,
2758 however, always possible.
2762 <!-- ============================================================== -->
2764 <title>DCP frame rate limitations</title>
2767 There are some limitations to video and audio frame rates in DCPs. This is
2768 complicated by the fact that not all projectors will play DCPs at the
2769 same frame rates. It is possible to create a DCP which one projector will
2770 play fine, but another (of a different type) will refuse to play, or
2771 even refuse to ingest.
2775 <!-- ============================================================== -->
2777 <title>Guaranteed rates</title>
2780 The only rates that are (pretty much) guaranteed to work on all DCI
2781 projectors are 24 frames per second (fps) for video and 48kHz or 96kHz
2782 for audio. If you are sending your DCPs to unknown places it wise to
2783 consider using these rates if at all possible.
2789 <!-- ============================================================== -->
2791 <title>Other often-supported rates</title>
2793 Many projectors now in the wild support additional video frame rates:
2799 <!-- ============================================================== -->
2801 <title>Adapting content to fit the DCP rate</title>
2804 DCP-o-matic has a few tricks to allow you to use content that is not
2805 in one of the ‘approved’ rates.
2809 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
2810 with minimal loss in quality.
2814 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
2815 with a non-supported content rate is to run it at the wrong speed, and
2816 to adjust the audio to keep it in sync.
2819 <para>Let us consider the example of a 25fps source for which you want
2820 to create a 24fps DCP. DCP-o-matic will put the frames from the
2821 source directly into the DCP without modification, but will tell the
2822 projector to play them back at 24fps. This means that the DCP's video
2823 will run slightly slower than the original.
2827 If DCP-o-matic did nothing else, the result of this would be that the
2828 audio would be running at the original speed with the video running
2829 slowly. Hence the audio would drift slowly out of sync. To avoid
2830 this, DCP-o-matic also resamples the audio such that the projector
2831 will play it too slow by the same amount. Hence it will sound
2832 slightly different but will remain in sync with the video.
2836 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
2843 <!-- ============================================================== -->
2845 <title>Setting up</title>
2848 The <guilabel>Frame Rate</guilabel> control in the
2849 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
2850 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
2851 what DCP-o-matic thinks is the best for your content. With this
2852 button, DCP-o-matic assumes that the whole range of frame rates (24,
2853 25, 30 and 48fps) are allowable.
2857 After this, the <guilabel>Video</guilabel> tab for each piece of
2858 content will give a summary of what DCP-o-matic is doing with that
2863 If you want to experiment with other non-standard frame rates, you can
2864 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
2865 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
2866 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
2867 use this only on your own equipment, and only for experimentation
2876 <!-- ============================================================== -->
2877 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
2878 <title>Encoding servers</title>
2881 One way to increase the speed of DCP encoding is to use more
2882 than one machine at the same time. An instance of DCP-o-matic can
2883 offload some of the time-consuming JPEG2000 encoding to any number of
2884 other machines on a network. To do this, one ‘master’
2885 machine runs DCP-o-matic, and the ‘server’ machines run
2886 a small program called <code>dcpomatic_server</code>.
2890 The master and server machines do not need to be the same type, so you
2891 can mix Windows PCs, Macs and Linux machines as you wish.
2895 <!-- ============================================================== -->
2897 <title>Running the servers</title>
2900 There are two options for the encoding server;
2901 <code>dcpomatic_server_cli</code>, which runs on the command line, and
2902 <code>dcpomatic_server</code>, which has a simple GUI. The command line
2903 version is well-suited to headless servers, especially on Linux, and
2904 the GUI version works best on Windows where it will put an icon in the
2909 To run the command line version, simply enter:
2913 dcpomatic2_server_cli
2917 at a command prompt. If you are running the program on a machine with
2918 a multi-core processor, you can run multiple parallel encoding threads
2919 by doing something like:
2923 dcpomatic2_server_cli -t 4
2927 to run 4 threads in parallel.
2931 To run the GUI version on windows, run the ‘DCP-o-matic encode
2932 server’ from the start menu. An icon will appear in the system
2933 tray; right-click it to open a menu from whence you can quit the
2934 server or open a window to show its status.
2937 <para>If you would rather not bother installing DCP-o-matic on your
2938 server computers, the other option is to use the live-CD
2939 image that you can download from the <ulink
2940 url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
2942 <para>Either burn the image to CD, or write it to a USB stick (using
2943 something like <ulink
2944 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
2945 PC from the CD or USB stick and it becomes a DCP-o-matic server
2946 without touching your standard operating system install.
2951 <!-- ============================================================== -->
2953 <title>Setting up DCP-o-matic</title>
2956 DCP-o-matic periodically looks on the local network for servers. Any
2957 that it finds are given work to do during encodes. Selecting
2958 <guilabel>Encoding Servers</guilabel> from the
2959 <guilabel>Tools</guilabel> menu brings up a window which shows that
2960 servers that DCP-o-matic has found.
2965 <!-- ============================================================== -->
2967 <title>Some notes about encode servers</title>
2970 DCP-o-matic does not mind if servers come and go; if a server
2971 disappears, DCP-o-matic will stop sending work to it, and will check
2972 it every minute or so in case it has come back online.
2976 You will probably find that using a 1Gb/s or faster network will
2977 provide a significant speed-up compared to a 100Mb/s network.
2984 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2985 <title>Generated files</title>
2988 DCP-o-matic generates a number of files as it makes a DCP. <xref
2989 linkend="fig-file-structure"/> shows the files that might be generated
2990 after you have created a DCP for a film called ‘DCP Test’.
2993 <figure id="fig-file-structure">
2994 <title>Creating a new film</title>
2997 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
3003 The <code>DCP Test</code> folder is the one that you specify when you
3004 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
3005 menu. Everything is stored inside this folder.
3009 DCP-o-matic generates some working files as it goes along. These are as follows:
3012 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
3013 along. This can be useful for debugging purposes if something goes
3016 <listitem><code>metadata</code> stores the settings that you have made
3017 for this film: things like cropping, output format and so on.</listitem>
3019 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
3020 video data as it encodes it.</listitem>
3022 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
3024 <listitem><code>info</code> contains details of each video frame that
3025 DCP-o-matic has written so far. This is used when an encoding
3026 operation is interrupted and DCP-o-matic must resume it.</listitem>
3031 Following this is the DCP itself:
3032 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
3033 contains some small XML files, which describe the DCP, and two large
3034 MXF files, which contain the DCP's audio and video data. It may also
3035 contain subtitles in either XML or MXF format. This folder
3036 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
3037 to the cinema which is showing your DCP.
3044 <title>Command-line tools</title>
3047 DCP-o-matic includes some tools which allow DCP creation from the
3048 command line or from scripting languages. This chapter covers the
3053 There are three command-line tools in DCP-o-matic.
3054 <code>dcpomatic2_create</code> creates film directories, with the
3055 associated metadata, from a list of content files. Then
3056 <code>dcpomatic2_cli</code> runs the transcode process on these
3057 film directories. Finally, <code>dcpomatic2_kdm_cli</code> can be
3058 used to create KDMs.
3062 Some applications will benefit from setting up the films using the
3063 main DCP-o-matic GUI and then using <code>dcpomatic2_cli</code> to
3064 do the encode. This allows, for example, setup on a relatively
3065 low-powered machine before running the encode on a higher-powered
3070 <title><code>dcpomatic2_create</code></title>
3073 The syntax for <code>dcpomatic2_create</code> is:
3077 <code>dcpomatic2_create [OPTION] [CONTENT] [<CONTENT> ...]</code>
3081 <code>[CONTENT]</code> are the files or folders that you want to use in the
3084 <listitem>‘Movie’ files in almost any common format (e.g. MP4, MOV, MKV, etc.)</listitem>
3085 <listitem>A folder containing and image sequence in almost any common format (e.g. TIFF, DPX etc.)</listitem>
3086 <listitem>Sound files (e.g. WAV, MP3, AIFF)</listitem>
3087 <listitem>Subtitles files (e.g. <code>.srt</code>, DCP XML, <code>.ssa</code> etc.)</listitem>
3096 <listitem><code>-v</code>, <code>--version</code> — show DCP-o-matic version</listitem>
3097 <listitem><code>-h</code>, <code>--help</code> — show this help</listitem>
3098 <listitem><code>-n</code>, <code>--name</code> — <name> film name</listitem>
3099 <listitem><code>-t, --template <name></code> — template name</listitem>
3100 <listitem><code>-c, --dcp-content-type <type></code> — FTR, SHR, TLR, TST, XSN, RTG, TSR, POL, PSA or ADV</listitem>
3101 <listitem><code>--container-ratio <ratio></code> — 119, 133, 137, 138, 166, 178, 185 or 239</listitem>
3102 <listitem><code>--content-ratio <ratio></code> — 119, 133, 137, 138, 166, 178, 185 or 239</listitem>
3103 <listitem><code>-s, --still-length <n></code> — number of seconds that still content should last</listitem>
3104 <listitem><code>--standard <standard></code> — SMPTE or interop (default SMPTE)</listitem>
3105 <listitem><code>--no-use-isdcf-name></code> — do not use an ISDCF name; use the specified name unmodified</listitem>
3106 <listitem><code>--no-sign</code>— do not sign the DCP</listitem>
3107 <listitem><code>-o</code>, <code>--output <dir></code> — output directory</listitem>
3111 For example, to setup a film using a MP4 file you might do:
3115 <code>dcpomatic2_create -o my_film --container-ratio 185 --content-ratio 185 -c FTR -n "My Film" Stuff.mp4</code>
3119 This will create a folder called <code>my_film</code> which is ready for a DCP to be made by <code>dcpomatic2_cli</code>.
3123 <code>dcpomatic2_create</code> will use any default settings that you have configured in the main DCP-o-matic preferences.
3128 <title><code>dcpomatic2_cli</code></title>
3131 The syntax for <code>dcpomatic2_cli</code> is:
3135 <code>dcpomatic2_cli [OPTION] [FILM]</code>
3140 <listitem><code>-v</code>, <code>--version</code> — show DCP-o-matic version</listitem>
3141 <listitem><code>-h</code>, <code>--help</code> — show this help</listitem>
3142 <listitem><code>-f</code>, <code>--flags</code> — show flags passed to C++ compiler on build</listitem>
3143 <listitem><code>-n</code>, <code>--no-progress</code> — do not print progress to stdout</listitem>
3144 <listitem><code>-r</code>, <code>--no-remote</code> — do not use any remote servers</listitem>
3145 <listitem><code>-t</code>, <code>--threads</code> — specify number of local encoding threads (overriding configuration)</listitem>
3146 <listitem><code>-j</code>, <code>--json</code> <port> — run a JSON server on the specified port</listitem>
3147 <listitem><code>-k</code>, <code>--keep-going</code> — keep running even when the job is complete</listitem>
3148 <listitem><code>-s</code>, <code>--servers</code> — just display a list of encoding servers that DCP-o-matic is configured to use; don't encode</listitem>
3149 <listitem><code>-d</code>, <code>--dcp-path</code> — echo DCP's path to stdout on successful completion (implies -n)</listitem>
3150 <listitem><code>--dump</code> — just dump a summary of the film's settings; don't encode</listitem>
3155 For example, to encode a film called <code>my_film</code> you might do:
3159 <code>dcpomatic2_cli my_film</code>
3164 <title><code>dcpomatic2_kdm_cli</code></title>
3167 The syntax for <code>dcpomatic2_kdm_cli</code> is:
3171 <code>dcpomatic2_kdm_cli [OPTION] <FILM|CPL-ID></code>
3176 <listitem><code>-o</code>, <code>--output</code> — output file or directory</listitem>
3177 <listitem><code>-f</code>, <code>--valid-from</code> — valid from time (in local time zone of the cinema) (e.g. "2013-09-28 01:41:51") or "now"</listitem>
3178 <listitem><code>-t</code>, <code>--valid-to</code> — valid to time (in local time zone of the cinema) (e.g. "2014-09-28 01:41:51")</listitem>
3179 <listitem><code>-d</code>, <code>--valid-duration</code> — valid duration (e.g. "1 day", "4 hours", "2 weeks")</listitem>
3180 <listitem><code>--formulation</code> — modified-transitional-1, dci-any or dci-specific [default modified-transitional-1]</listitem>
3181 <listitem><code>-z</code>, <code>--zip</code> — ZIP each cinema's KDMs into its own file</listitem>
3182 <listitem><code>-v</code>, <code>--verbose</code> — be verbose</listitem>
3183 <listitem><code>-c</code>, <code>--cinema</code> — specify a cinema, either by name or email address</listitem>
3184 <listitem><code>--certificate</code> — file containing projector certificate</listitem>
3185 <listitem><code>--cinemas</code> — list known cinemas from the DCP-o-matic settings</listitem>
3186 <listitem><code>--dkdm-cpls</code> — list CPLs for which DCP-o-matic has DKDMs</listitem>
3195 <!-- ============================================================== -->
3197 <title>Loose ends</title>
3200 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
3204 <!-- ============================================================== -->
3206 <title>Resuming encodes</title>
3209 If you cancel a DCP encoding run half-way through, or your computer
3210 crashes... fear not. DCP-o-matic takes care to ensure that, in most
3211 cases, it can resume encoding from where it left off. When you
3212 re-start a DCP creation, using the same settings are a previous run,
3213 DCP-o-matic will first check that the existing picture frames are
3214 correct, and then resume from where it left off. The checking of
3215 existing frames does take some time, but it is much faster than
3216 running a full re-encode.
3220 This resumption is achieved by writing a digest (hash) to disk for
3221 every image frame that is written. On resumption, the existing MXF
3222 file for image data is read and its contents checked against the
3230 <!-- ============================================================== -->
3231 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3232 <title>Common tasks</title>
3235 This chapter describes how to carry out some commonly-required tasks
3236 with DCP-o-matic. The full details are elsewhere in the manual: here
3237 we just discuss different approaches to these tasks and how to carry
3242 <title>Adding subtitles to an existing DCP</title>
3245 You have three options:
3249 <listitem>Make a “Version File” (VF) DCP.</listitem>
3250 <listitem>Make a complete DCP with projector-added subtitles.</listitem>
3251 <listitem>Make a complete DCP with burnt-in subtitles.</listitem>
3255 Making a VF DCP is usually the best option. This will be a very small
3256 DCP which contains only the subtitles: it refers to your existing DCP
3257 for the picture and sound. The projectionist will ingest both the
3258 existing and VF DCPs and play back the VF. The advantages of this
3259 approach are that the VF is very quick to generate, and small in size,
3260 making it easy to distribute. This is especially useful if you have
3261 to make VF DCPs in many different languages.
3265 Making a complete DCP with projector-added subtitles gives you a new,
3266 single DCP which the projectionist can ingest and play. It will be
3267 the same size as your existing DCP, and fairly quick to create. This
3268 approach relies on the projector (or server) to create the subtitles
3269 and overlay them on the image, which mostly works well but is not
3270 100% reliable.
3274 Making a complete DCP with burnt-in subtitles gives you a new, single DCP
3275 but with the subtitles rendered by DCP-o-matic and copied into your
3276 image. This is slower to create than a DCP with projector-added
3277 subtitles as every video frame with a subtitle must be re-encoded.
3278 The advantage of this approach is that it is less likely to go wrong,
3279 especially if you are using unusual subtitle positioning or character
3284 <title>Making a VF DCP</title>
3287 <listitem>Start a new DCP-o-matic film.</listitem>
3288 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3289 <listitem>Go to the <guilabel>DCP</guilabel> tab and choose <guilabel>Split by video content</guilabel> for <guilabel>Reel type</guilabel>.</listitem>
3290 <listitem>Go to the <guilabel>Video</guilabel> and
3291 <guilabel>Audio</guilabel> tabs in turn and tick the <guilabel>Use this DCP's audio as OV and make VF</guilabel> checkboxes.</listitem>
3292 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3293 <listitem>Check the subtitle appearance in the preview; it will be
3294 slow to respond as it is having to decompress images from the existing
3296 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3302 <title>Making a complete DCP with projector-added subtitles</title>
3305 <listitem>Start a new DCP-o-matic film.</listitem>
3306 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3307 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3308 <listitem>Check the subtitle appearance in the preview; it will be
3309 slow to respond as it is having to decompress images from the existing
3310 DCP. Adjust the appearance using controls in the
3311 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3312 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3318 <title>Making a complete DCP with burnt-in subtitles</title>
3321 <listitem>Start a new DCP-o-matic film.</listitem>
3322 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3323 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3324 <listitem>Go to the <guilabel>Subtitle</guilabel> tab and tick the <guilabel>Burn subtitles into image</guilabel> checkbox.</listitem>
3325 <listitem>Check the subtitle appearance in the preview; it will be
3326 slow to respond as it is having to decompress images from the existing
3327 DCP. Adjust the appearance using controls in the
3328 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3329 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3336 <title>Adding soundtracks or subtitles in different languages</title>
3339 If you have a film that is to be dubbed or subtitled in several
3340 languages, the best approach with DCP-o-matic is as follows:
3344 <listitem>Make a DCP with the common elements (perhaps just the video, or maybe the video and sound); this is known as the Original Version (OV).</listitem>
3345 <listitem>For each language, make a new Version File (VF) DCP which refers to the OV.</listitem>
3349 Once you have done this, you send the OV DCP to every cinema and then
3350 the appropriate VF to each cinema depending on what language they want
3351 to play the film in. The projectionist ingests both DCPs and then plays the VF.
3355 The advantage of this approach is that the VF DCPs are much smaller
3356 than the OV since they only have the language-specific parts. If you
3357 are just changing the subtitles you can often ship the OV by normal
3358 transport means (e.g. a hard drive or high-speed download) and send
3363 The full details of OV and VF files are discussed in <xref linkend="sec-overlay"/>. The steps can be summarised as follows:
3367 <listitem>Create a new DCP-o-matic project for the OV, as normal, adding video and perhaps sound. Make the DCP.</listitem>
3368 <listitem>Create a new DCP-o-matic project for the VF.</listitem>
3369 <listitem>Use <guilabel>Add folder...</guilabel> to add your OV DCP to the project.</listitem>
3370 <listitem>Select the video tab and tick <guilabel>Use this DCP's video as OV and make VF</guilabel> (you may need to select <guilabel>By video content</guilabel> for <guilabel>Reel type</guilabel> in the <guilabel>DCP</guilabel> tab).</listitem>
3371 <listitem>Do the same in the <guilabel>Audio</guilabel> tab if your OV has audio.</listitem>
3372 <listitem>Add your language-specific audio and/or subtitles and Make DCP.</listitem>
3379 <!-- ============================================================== -->
3380 <chapter xml:id="ch-config" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3381 <title>Configuration files</title>
3383 <para>Most of DCP-o-matic's configuration is stored in an XML file called <code>config.xml</code>. This is stored in different places depending on your operating system:</para>
3386 <listitem>Windows: <code>c:\Users\your_user_name\AppData\Local\dcpomatic</code></listitem>
3387 <listitem>OS X: <code>/Users/your_user_Name/Library/Preferences/com.dcpomatic/2</code></listitem>
3388 <listitem>Linux: <code>~/.config/dcpomatic2</code></listitem>
3391 <para>Possible XML tags are as follows:</para>
3393 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="config.xml"/>
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