<para>
Since DCP-o-matic is open-source you can also build it yourself,
though this can be quite a difficult process (especially on Windows and macOS).
-There are instructions for how to do it on <ulink url="https://dcpomatic.com/building">https://dcpomatic.com/</ulink>
+There are instructions for how to do it on <ulink url="https://dcpomatic.com/building">https://dcpomatic.com/building</ulink>
</para>
</section>
</chapter>
will write its working files.
</para>
+<para>
+DCPs can be very large (more than 100Gb for a feature-length DCP) so
+it's important to choose a folder on a disk with plenty of free space.
+</para>
+
</section>
</para>
<para>
-KDMs must be prepared by the organisation which created the DCP. They
+KDMs must be prepared by whoever created the DCP. They
contain the keys to decrypt the DCP wrapped up in such a way that only
the intended recipient can read them. You will need to provide the
-organisation with a certificate which identifies your copy of
+KDM creator with a certificate which identifies your copy of
DCP-o-matic and allows them to create a KDM for you.
</para>
dialogue (see <xref linkend="ch-preferences"/>) and go to the
<guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
decryption certificate...</guilabel> button at the bottom of this tab
-and save the certificate. Send this certificate to the DCP creators
-and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
+and save the certificate. Send this certificate to the KDM creators
+and they can make a KDM to allow DCP-o-matic to decrypt the DCP.
</para>
<para>
-Once you have your KDM, right-click the DCP's name in DCP-o-matic and
-choose <guilabel>Add KDM...</guilabel>. Specify your KDM and the DCP
+Once you have your KDM, right-click the DCP's name in the DCP-o-matic content list and
+choose <guilabel>Add KDM...</guilabel>. Select your KDM and the DCP
will be decrypted and become available for preview.
</para>
which has ten different translations for which the subtitles are
different but video and audio are the same. If the video and audio
content takes up, say, 100Gb this means that the set of DCPs for every
-translation would be about 1Tb with a lot of duplicated data.
+translation would be about 1Tb, with a lot of duplicated data.
</para>
<para>
<para>Adding existing DCPs to a DCP-o-matic film is a little different
to adding other types of content. Most content has to be converted to
-JPEG2000, the compression scheme used by DCPs, which is a very
+JPEG2000 (the compression scheme used by DCPs) which is a very
time-consuming process. Existing DCPs are already in JPEG2000 format
so do not require conversion. This means that, provided no settings
such as crop are used on the DCP content, picture and sound data will
<title>Use this DCP's video as OV and make VF</title>
<para>
-This option is only applicable if the selected content is an existing
+This option is only available if the selected content is an existing
DCP. It allows you make a VF DCP, using the video content from the
existing DCP by referencing it (rather than copying). See <xref
linkend="sec-overlay"/>.
converting the selected content into the XYZ colourspace for the DCP.
</para>
+<para>
+In particular, the setting you choose here should be the colour space <emphasis>that the content
+has been created or graded for</emphasis>. DCP-o-matic will take care of converting your content's
+colourspace into the correct one for the DCP.
+</para>
+
<para>
The easiest way to select the required conversion is to choose one of
-DCP-o-matic's presets. DCP-o-matic knows how to convert from four
-common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
+DCP-o-matic's presets. DCP-o-matic knows how to convert from seven
+common colourspaces: sRGB, Rec. 601, Rec. 709, Rec. 1886, Rec. 2020, S-Gamut3 and P3. If you do not
know which preset you should use, refer to the suggestions in <xref
linkend="tab-colour-conversion"/>.
</para>
</para>
<para>
-The <guilabel>Scale to</guilabel> option governs the shape that
-DCP-o-matic will scale the content's image into. Select the aspect
-ratio that your content should be presented in.
+The <guilabel>Scale</guilabel> option governs the shape that
+DCP-o-matic will scale the content's image into. In most cases <guilabel>to fit DCP</guilabel> will do the right thing; if not, choose <guilabel>custom</guilabel>
+and you can specify exactly how the image should be scaled.
</para>
</section>
At the bottom of the video tab is a short description of what will
happen to your video with the current settings. In the example of
<xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
-video file is 2048x872 pixels and it has square pixels (a pixel
-aspect ratio of 1.00) hence its display aspect ratio is 2.35:1. Since
-the controls specify ‘2.35’ for the ratio, DCP-o-matic
-does not scale the image but pads it to the DCP's container ratio of
-1.85:1. For a 2K DCP this is 1998x1080 pixels.
+video file is 720x576 pixels and has rectangular pixels (a pixel
+aspect ratio of 1.42:1) and so its display aspect ratio is 1.78:1. Since
+the controls specify <guilabel>to fit DCP</guilabel> DCP-o-matic scales the image
+to 1918x1080 and pads it to the DCP's container ratio of 1.85:1 (called ‘DCI Flat’). For a 2K DCP this is 1998x1080 pixels.
</para>
<para>
</para>
<para>
-When content channels are copied into DCP channels they can be done
+When content channels are copied into DCP channels the copy can be done
with variable gain. If, for example, you want to copy a channel
as-is, you can set a gain of 0dB. Alternatively, if you want to mix
two channels into one, you may want to use a gain of -6dB on each one
</para>
<para>
-‘Audio Gain’ is used to alter the volume of the
+<guilabel>Audio Gain</guilabel> is used to alter the volume of the
soundtrack. The specified gain (in dB) will be applied to each sound
channel of your content before it is written to the DCP.
</para>
your sound-rack fader.
</para>
-<para>
-Current versions of DCP-o-matic only know about the Dolby CP650 and
-CP750. If you use a different sound processor, and know the gain
-curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
-touch</ulink>.
-</para>
-
<para>
<guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
between audio and video. A positive delay will move the audio later
<itemizedlist>
<listitem>Extract timed text that is embedded in video files, or</listitem>
<listitem>Use timed text from SubRip (<code>.srt</code>), SubStation
- Alpha (<code>.ssa</code> or <code>.ass</code>) or DCP XML files. You may find the great
+ Alpha (<code>.ssa</code> or <code>.ass</code>) or DCP XML files. You may find the
free program <ulink
url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
for creating such files.</listitem>
especially on files that have come from DVD or BluRay. Such text can
be used as a subtitle, but not a closed caption (since the closed
captioning system requires the text to be delivered as
-character codes rather than an image).
+character codes rather than as an image).
</para>
<para>In contrast, SubRip, SubStation Alpha or DCP text can be used as either a subtitle or a closed caption.</para>
to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
</para>
-<para>
-<guilabel>Video frame rate</guilabel> specifies the frame rate for
-still-image content. It can also be used to override the detected
-frame rate of other content if DCP-o-matic has got it wrong.
-</para>
-
<para>
Each timecode control has a <guilabel>Set</guilabel> which you should
click when you have entered a new value for a timecode. The
</para>
<para>
-Consider, as a somewhat over-the-top example, that we have a 720 x 576
+Consider, as a rather contrived example, that we have a 720 x 576
image which is letterboxed with 36 black pixels each at the top and
bottom, and the video content within the letterbox should be presented
in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
<para>
The next step is to scale the image. Since this content should be
presented in a 2.39:1 (scope) aspect ratio inside a 1.85:1 (flat) DCP we would select
-<guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
-option in the <guilabel>Video</guilabel> tab and
-<guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
-option in the <guilabel>DCP</guilabel> tab.
+<guilabel>custom</guilabel> from the <guilabel>Scale</guilabel>
+option in the <guilabel>Video</guilabel> tab, then choose a ratio (<guilabel>Set ratio and
+fit to DCP container</guilabel>) of 2.39:1.
</para>
-<para>The <guilabel>Scale to</guilabel> option should always be set to
-the aspect ratio at which the content should be seen. The
-<guilabel>Container</guilabel> option should be set to the preset that
-you want to use on the projector. Of course, these two settings will
-often be the same.
+<para>Next, we would choose
+<guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
+option in the <guilabel>DCP</guilabel> tab.
</para>
<para>
‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
Scaling the source up whilst preserving its 1.85:1 aspect ratio will
result in the image hitting the sides of the container first, at a
-size of 1998 x 836. This gives us a new version of the image as shown
+size of 1998x836. This gives us a new version of the image as shown
in <xref linkend="fig-pipeline3"/>.
</para>
</para>
<para>
-Underneath the name field is a preview of the name that the DCP will
-get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
-name</guilabel> check-box. The ISDCF name will be composed using details
+Underneath the <guilabel>Use ISDCF name</guilabel> checkbox is a preview of the name that the DCP will
+get. The ISDCF name will be composed using details
of your content's soundtrack, the current date and other things that
-can be specified in the ISDCF name details dialogue box, which you can
-open by clicking on the <guilabel>Details</guilabel> button.
+can be specified in the <guilabel>Metadata</guilabel> dialogue box, which you can
+open by clicking on the <guilabel>Metadata</guilabel> button.
</para>
<para>
user interface, so take care to select an appropriate type.
</para>
-<para>
-The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
-is signed. This is rarely important; if in doubt, tick it.
-</para>
-
<para>
The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
should be encrypted or not. If this is ticked, the DCP will require a
</para>
<para>
-Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
-will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
+The <guilabel>Markers</guilabel> button opens the Markers dialogue,
+as shown in <xref linkend="fig-markers"/>.
+</para>
+
+<figure id="fig-markers">
+ <title>Markers dialogue</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/markers&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+This dialogue allows you to specify times for when certain things happen
+within your DCP. These times may be read by projection systems to automate
+actions such as setting house light levels.
+</para>
+
+<para>
+The <guilabel>Metadata</guilabel> button opens the Metadata dialogue,
+which allows you to specify various information about the DCP that you are
+making. Some of these data will be included in the DCP's files, and others
+used to make up the ISDCF name for the DCP (if that option is being used).
</para>
<para>
for the content's ratio and ‘Flat’ for the DCP.
</para>
+<para>
+The <guilabel>Resolution</guilabel> control allows you to choose the
+resolution for your DCP. Use 2K unless you have content that is of
+high enough resolution to be worth presenting in 4K.
+</para>
+
<para>
The <guilabel>Frame Rate</guilabel> control sets the frame rate of
your DCP. This can be a little tricky to get right. Ideally, you
more detail in <xref linkend="ch-frame-rates"/>.
</para>
-<para>
-The <guilabel>Use best</guilabel> button sets the DCP video frame rate
-to what DCP-o-matic thinks is the best given the content that you have
-added.
-</para>
-
<para>
The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
is checked. A 3D DCP will then be created, and any 2D content will be
</para>
<para>
-The <guilabel>Resolution</guilabel> tab allows you to choose the
-resolution for your DCP. Use 2K unless you have content that is of
-high enough resolution to be worth presenting in 4K.
-</para>
-
-<para>
-The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
+The <guilabel>JPEG2000 bandwidth for newly-encoded data</guilabel>; setting changes how big
the final image files used within the DCP will be. Larger numbers
will give better quality, but correspondingly larger DCPs. The
bandwidth can be between 50 and 250 megabits per second (Mbit/s).
</para>
<para>
-The <guilabel>Audio Channels</guilabel> control sets the number of
+The <guilabel>Channels</guilabel> control sets the number of
audio channels that the DCP will have. If the DCP has any channels
for which there is no content audio they will be replaced by silence.
You can only set an even number of channels here, since that is
</para>
<itemizedlist>
-<listitem>Mid-side decode — this will take a L/R
+<listitem>Mid-side decoder — this will take a L/R
stereo input and extract the common part (corresponding to the
‘Mid’ in a mid-side signal) into the DCP's centre channel.
The remaining L/R parts will be kept in the L/R channels of the DCP.
</para>
<para>
-Obviously the audio plot is no substitute for listening in an
-auditorium, but it can be useful to get levels in the right rough area.
+The audio plot is no substitute for listening in an
+cinema, but it can be useful to get levels in roughly the right area.
</para>
</section>
<listitem>Resolution</listitem>
<listitem>JPEG200 bandwidth</listitem>
<listitem>Video frame rate</listitem>
- <listitem>Signed and encrypted checkboxes</listitem>
+ <listitem>Encrypted checkbox</listitem>
<listitem>Audio channels</listitem>
<listitem>Standard (Interop / SMPTE)</listitem>
<listitem>Audio processor</listitem>
<listitem>Reel type and length</listitem>
- <listitem>Upload after make DCP checkbox</listitem>
</itemizedlist>
<para>
-In addition to this, the settings (but not the filenames) of any
+In addition, the settings (but not the filenames) of any
content in the template are stored, as discussed above. The status of
the <guilabel>Keep video and subtitles in sequence</guilabel> checkbox
from the timeline is also preserved.
</para>
<para>
- The time needed to export, and the resulting size, depend partly on the DCP resolution set in the project. To change that, see chapter <xref linkend="ch-dcp"/>.
+ The time needed to export, and the resulting size, depend partly on the DCP resolution set in the project. To change that, see <xref linkend="ch-dcp"/>.
</para>
<para>
</para>
<para>
-The first step in a DCP encryption is to encode its data with a random key
+The first step in encrypting a DCP is to encode its data with a random key
using symmetric-key encryption. The encrypted DCP can then be sent
anywhere, safe in the knowledge that even if Mallory got hold of a
copy, he could not decrypt it.
cinema. A simple approach might be for us to send Alice the key.
However, if Mallory can intercept the DCP, he might also be able to
intercept our communication of the key to Alice. Furthermore, if Alice
-happened to know Mallory, she could just send him a copy of the key.
+happened to know Mallory, he could just send her a copy of the key.
</para>
<para>
</para>
<para>
-The second part of distributions is to generate KDMs for the cinemas
+The second stage of distribution is to generate KDMs for the cinemas
that you wish to allow to play your DCP. There are two approaches to
this within DCP-o-matic: using the project, or using a DKDM. These
approaches are now described in turn.
problems.
</para>
+<!-- XXX: this is a sudden introduction of CPL as a concept -->
<para>
Once you have set up all the screens that you need KDMs for, select
the CPL that you want to create the KDM for. You can use the
</para>
<para>
-In other cases a DKDM is sent to a 3rd party so that they can create
+In other cases a DKDM is sent to a third party so that they can create
KDMs for your films. This can be useful if, for example, you have a
distributor who provides 24-hour KDM support to cinemas and can create
KDMs for anybody that requires them at short notice.
<title>Encryption keys</title>
<para>
- You must be careful when using encryption not to lose important keys.
+ You should be careful when using encryption not to lose important keys.
</para>
<para>
<para>
Preferences can be edited by choosing
<guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
-menu. This opens a dialogue which is split into eleven tabs.
+menu. This opens a dialogue which is split into tabs.
</para>
<!-- ============================================================== -->
</section>
-<!-- ============================================================== -->
-<section>
- <title>Interface complexity</title>
-
- <para>
- Choose <guilabel>Simple</guilabel> to see a cut-down, simplified
- interface or <guilabel>Full</guilabel> to see DCP-o-matic's full
- interface.
- </para>
-</section>
-
-
<!-- ============================================================== -->
<section>
<title>Number of threads DCP-o-matic should use</title>
</para>
</section>
-<!-- ============================================================== -->
-<section>
-<title>Issuer and creator</title>
-
-<para>
-With these controls you can set the issuer and creator strings that
-will be put into the DCPs which you create. The issuer is typically your name
-(or your organisation's name) and the creator is typically the name of the tool
-used to make the DCP (e.g. DCP-o-matic).
-</para>
-</section>
-
</section>
<!-- ============================================================== -->
projects / dcpomatic.git / blobdiff