X-Git-Url: https://main.carlh.net/gitweb/?p=dcpomatic.git;a=blobdiff_plain;f=doc%2Fmanual%2Fdcpomatic.xml;h=18fe753b59b49cb54cf6b3fe76bdc53050023cbf;hp=b5d270442462864ff97bbab9e970ae99c267423a;hb=a0bba66b8a34d594a62750bd595e5cdc561abdf4;hpb=293d15f16146594c381270eb2363a258c835dc11 diff --git a/doc/manual/dcpomatic.xml b/doc/manual/dcpomatic.xml index b5d270442..18fe753b5 100644 --- a/doc/manual/dcpomatic.xml +++ b/doc/manual/dcpomatic.xml @@ -31,9 +31,8 @@ Hello, and welcome to DCP-o-matic! Creation of Digital - Cinema Packages (DCPs) from video, audio and/or - subtitle files. - Playback of DCPs on a PC. + Cinema Packages (DCPs) from video, audio, subtitle and closed-caption files. + Playback and verification of DCPs on a PC/Mac. Creation of KDMs for DCPs. @@ -107,7 +106,8 @@ version. If you are still using Windows XP, download the specific XP version as it should be more stable on your machine than the ‘normal’ -Windows version. +Windows version. Be aware, though, that support for Windows XP will +not last forever and you should plan to upgrade if at all possible. @@ -119,7 +119,7 @@ Windows version. DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and -higher. DCP-o-matic is split into four separate applications, each of +higher. DCP-o-matic is split into five separate applications, each of which can be installed by downloading the .dmg, double-clicking to open and then dragging the icon to your Applications folder. @@ -141,22 +141,15 @@ with the first (main) part. - Debian 7 (‘wheezy’) - Debian 8 (‘jessie’) - Debian 9 (‘squeeze’) - Debian unstable (‘sid’) - Ubuntu 14.04 (‘Trusty Tahr’) - Ubuntu 16.04 (‘Xenial Xerus’) - Ubuntu 18.04 (‘Bionic Beaver’) - Mint 17 - Mint 18 - Mint 19 + Debian 7 (‘wheezy’), 8 (‘jessie’), 9 (‘squeeze’) and unstable (‘sid’) + Ubuntu 14.04 (‘Trusty Tahr’), 16.04 (‘Xenial Xerus’), 18.04 (‘Bionic Beaver’) and 18.10 (‘Cosmic Cuttlefish’) + Mint 17, 18 and 19 using .deb packages: download the appropriate package from http://dcpomatic.com/ -and double-click it. Debian or Ubuntu will install the necessary bits and +and double-click it. Debian, Ubuntu or Mint will install the necessary bits and pieces and set DCP-o-matic up for you. @@ -167,7 +160,7 @@ pieces and set DCP-o-matic up for you.
Fedora, Centos and Mageia Linux - There are .rpm packages for Fedora 27 and 28, Centos 6 and 7 and Mageia 6 on + There are .rpm packages for Fedora 27, 28 and 29, Centos 6 and 7 and Mageia 6 on http://dcpomatic.com/
@@ -204,7 +197,6 @@ The following dependencies are required: libsamplerate OpenSSL libopenjpeg -ImageMagick Boost libssh GTK (on Linux) @@ -232,7 +224,7 @@ directory: -./waf configure +./waf configure --disable-tests ./waf build sudo ./waf install @@ -248,11 +240,40 @@ dcpomatic2 in a shell. + + + +
+‘Simple’ and ‘Full’ modes + +When you start DCP-o-matic for the first time it will ask you if +you want to use ‘simple’ or ‘full’ mode. + + +The difference between these two is that some of DCP-o-matic's +more complex or less-used controls are hidden from view in +‘Simple’ mode. This makes the interface simpler to +navigate. You may wish to choose this mode if you do not have much +experience with DCP or video processing. + + +Even if you choose ‘Simple’ mode you can always go +back to ‘Full’ mode by changing the Interface +complexity setting in the General tab +of Preferences. + + + +All the screenshots in this manual are from a copy of DCP-o-matic in ‘Full’ mode. +
+ + + Creating a DCP from a video @@ -289,7 +310,7 @@ shown in . Creating a new film - + @@ -313,7 +334,7 @@ In this dialogue box you can choose a name for the film. This will be used to name the folder to store its data in, and also as the initial name for the DCP itself. You can also choose whereabouts you want to create the film. In the example from the figure, DCP-o-matic will create a -folder called ‘DCP Test’ inside my home folder (carl) into which it +folder called ‘DCP Test’ inside my existing folder DCP into which it will write its working files. @@ -326,8 +347,8 @@ will write its working files. The next step is to add the content that you want to use. DCP-o-matic -can make DCPs from multiple pieces of content, but in this simple -example we will just use a single piece. Click the Add +can make DCPs from multiple pieces of content, but in this example we +will use a single piece. Click the Add file(s)... button, as shown in , and a file chooser will open for you to select the content file to use, as shown in . Making the DCP - + @@ -418,10 +439,10 @@ linkend="ch-files"/> for details about the files that DCP-o-matic creates. -Alternatively, if you have a projector or Theatre Management System -(TMS) that is accessible via SCP or FTP across your network, you can upload -the content directly from DCP-o-matic. See the in . +Alternatively, DCP-o-matic can upload your DCP directly to a projector +or Theatre Management System (TMS) that is accessible via SCP or FTP +across your network. See the in . @@ -474,7 +495,7 @@ linkend="fig-still-select-content-file"/>. Most of the default settings will be fine for a simple test. The one thing that you might wish to change is the length of the still. Select the Timing tab and you will see a -Play length setting, as shown in Full length setting, as shown in . @@ -504,25 +525,25 @@ to encode a single frame which it can then repeat. - + Manipulating existing DCPs -Frequently DCP-o-matic is used to take content in formats such as MP4 -and convert it to JPEG2000 for a DCP. It can also be used -to take existing DCPs and modify them in various ways. +DCP-o-matic is often used to take content in formats such as MP4 and +make it into a DCP. It can also be used to take existing DCPs and +modify them in various ways.
Importing a DCP into DCP-o-matic -If you want to do something to an existing DCP the first step is to -import it. Click Add DCP... and select your -DCP's folder. It will be added to the DCP-o-matic project. If the -DCP is unencrypted you can preview it in the normal way, though -playback will be very slow as decoding of DCPs is almost as -computationally intensive as encoding them. +The first step in manipulating an existing DCP is to import it. Click +Add DCP... and select your DCP's folder. It will +be added to the DCP-o-matic project. If the DCP is unencrypted you +can preview it in the normal way, though playback will be slow as +decoding of DCPs is almost as computationally intensive as encoding +them. @@ -610,8 +631,8 @@ the following content settings: -If you do change any of these settings on a piece of DCP content -DCP-o-matic will decode and then re-encode the JPEG2000 data. +DCP-o-matic will be forced to decode and re-encode your JPEG2000 data +if you change any of these settings on a piece of DCP content.
@@ -735,6 +756,55 @@ To add one or more movie, sound, still-image or subtitle files, select Add file(s)... and choose them from the selector. + +DCP-o-matic will automatically map a set of audio files to the correct channels if you include appropriate ‘tags’ in your filenames, as shown in . + + + + Audio file naming + + + + Tag + Examples + Channel + + + + + L surrounded by . _ or - + film-L.wav my_movie_L_final.wav + Left + + + R surrounded by . _ or - + film-R.wav my_movie_R_final.wav + Right + + + C surrounded by . _ or - + film-C.wav my_movie_C_final.wav + Centre + + + Lfe surrounded by . _ or - + film-Lfe.wav my_movie_Lfe_final.wav + LFE (sub) + + + Ls surrounded by . _ or - + film-Ls.wav my_movie_Ls_final.wav + Left surround + + + Rs surrounded by . _ or - + film-Rs.wav my_movie_Rs_final.wav + Right surround + + + +
+ To add a directory (folder) of images, choose Add folder... and choose the directory from the selector. @@ -800,7 +870,7 @@ held down. Note that not all settings can be changed in this way. The content properties are split up into four sections: Video, Audio, -Subtitles and Timing. Not +Timed text and Timing. Not all of these sections will be active for all content types. The controls in each section are described below. @@ -917,7 +987,7 @@ as shown in . After changing the filters setup, you will need to regenerate the DCP to see the effect on the cinema screen. The preview in DCP-o-matic will update itself whenever filters are changed, though of course this -image is much smaller and of lower resolution than a projected image! +image may be smaller and of lower resolution than a projected image! @@ -948,7 +1018,7 @@ linkend="tab-colour-conversion"/>. -sRGBStill images in RGB, e.g. photographs. +sRGBStill images in RGB, e.g. photographs. Rec. 601Standard-definition content (fewer than about 1000 pixels across) including DVD rips. @@ -996,11 +1066,11 @@ url="http://dcpomatic.com/manual/colour.pdf">colour.pdf. Other settings -The crop settings can be used to crop your content, -which can be used to remove black borders from round the edges of DVD -images, for example. The specified number of pixels will be trimmed -from each edge, and the content image in the right of the window will -be updated to show the effect of the crop. +The crop settings can be used to crop your +content, which is often used to remove black borders from the edges of +the image. The specified number of pixels will be trimmed from each +edge, and the content image in the right of the window will be updated +to show the effect of the crop. @@ -1026,9 +1096,9 @@ ratio that your content should be presented in. 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 , DCP-o-matic is telling you that the -video file is 1920x1080 pixels and it has square pixels (a pixel -aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since -the controls specify ‘16.9’ for the ratio, DCP-o-matic +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. @@ -1050,7 +1120,7 @@ frame-rate conversion. Audio -The Audio tab controls properties of the image, as shown in . +The Audio tab controls properties of the sound, as shown in .
@@ -1235,29 +1305,37 @@ with respect to the video, and a negative delay will move it earlier.
-Subtitles +Timed text (subtitles and closed captions) -The subtitles tab contains settings related to subtitles in your -content, as shown in . +The timed text tab contains settings related to subtitles and closed captions in your +content, as shown in . -
- Subtitle settings tab +
+ Timed text settings tab - +
+ +Depending on where timed text comes from it can sometimes be used as +either an open subtitle (to be overlaid onto the cinema screen and +seen by everybody) or as a closed caption (to be displayed to +individual viewers using a special system such as the Doremi +CaptiView™) + + DCP-o-matic can either: - Extract subtitles that are embedded in video files, or - Use subtitles from SubRip (.srt), SubStation + Extract timed text that is embedded in video files, or + Use timed text from SubRip (.srt), SubStation Alpha (.ssa or .ass) or DCP XML files. You may find the great free program Subtitle Edit useful @@ -1265,15 +1343,18 @@ DCP-o-matic can either: -Embedded subtitles are usually represented using a set of bitmaps, -especially on files that have come from DVD or BluRay. Such subtitles -can (currently) only be ‘burnt’ into the DCP (that is, -they are included in the image and not overlaid by the projector). +Embedded timed text is usually represented using a set of bitmaps, +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). +In contrast, SubRip, SubStation Alpha or DCP text can be used as either a subtitle or a closed caption. + -With SubRip, SubStation Alpha or DCP subtitles you have the choice to -either burn-in or include the subtitles as separate subtitle +With subtitles you have the further choice of whether to burn the +subtitles into the image or include them as a separate subtitle ‘asset’ within your DCP (in which case the projector overlays them onto the image on playback). The difference between burn-in and overlay is illustrated by @@ -1308,42 +1389,44 @@ every language. -Select the Use Subtitles check-box to enable -the subtitles in the selected content. +Select the Use as check-box to enable the timed +text in the selected content, then choose what you want to use the +text for: open subtitles or closed captions. Select the Burn subtitles into image check-box to -burn these subtitles into the image; if this is not ticked the +burn subtitles into the image; if this is not ticked the subtitles will be included separately in the DCP to be rendered by the -projector. This check-box will always be ticked if you are using -embedded ‘image’ subtitles. +projector. The X Offset and Y Offset -controls move the subtitles around within the image. The offsets are -expressed as a percentage of the video frame size; 100% X offset is -the entire width of the frame, and 100% Y offset is the entire height. -Hence, to move the subtitles down by half the frame height you would -use a Y offset of 50%. +controls move subtitles around within the image. These controls have +no effect for closed captions. The offsets are expressed as a +percentage of the video frame size; 100% X offset is the entire width +of the frame, and 100% Y offset is the entire height. Hence, to move +the subtitles down by half the frame height you would use a Y offset +of 50%. The X Scale and Y Scale -controls scale the subtitles. Scale values of 1 make the subtitles -the same size (relative to the size of the image) as they are on the -original. Values lower than 1 make them smaller, and values higher -make them larger. You can stretch the subtitles in either direction -by specifying different values for X and Y scale. Subtitles from DVD -and Blu Ray sources are frequently larger (relative to the video -frame) than those typically used for DCP, so it is often useful to -scale such subtitles down using these controls. +controls scale subtitles. These controls have no effect for closed +captions. Scale values of 1 make the subtitles the same size +(relative to the size of the image) as they are on the original. +Values lower than 1 make them smaller, and values higher make them +larger. You can stretch the subtitles in either direction by +specifying different values for X and Y scale. Subtitles from DVD and +Blu Ray sources are frequently larger (relative to the video frame) +than those typically used for DCP, so it is often useful to scale such +subtitles down using these controls. The Line spacing control adjusts the line spacing -of the subtitles. This only works for non-embedded (text) subtitles. +of the subtitles. This only works for subtitles that did not come from bitmaps. @@ -1352,14 +1435,17 @@ that is used when the content has more than one. -If you are using non-embedded (text) subtitles you can see the +If you are using non-image (text) subtitles or closed captions you can see the subtitle text and timings by clicking the View... button, or specify the fonts that should be used by clicking Fonts.... With any subtitles you can click Appearance... to -change how the subtitles look. +change how the subtitles look. Some of the controls in the +Appearance only apply to burnt-in subtitles, as +only limited control is available for subtitles rendered by the +projection system.
@@ -1449,6 +1535,54 @@ any changes to the corresponding timecode. + +
+ Timeline + + + The timeline window gives an overview of all the pieces of content + in your film, and how they are arranged. You can open the + timeline by clicking the Timeline... button + next to the content list. This will open a window like the one in . + + +
+ Timeline + + + + + +
+ + + The horizontal axis represents time, and you can see the time codes (in + hours:minutes:seconds) along the bottom of the window. Pieces of + content are represented with rectangles in the main part of the + window. Content containing different types of data (e.g. a MP4 + file with video, audio and subtitles) have a rectangle for each + type. + + + + Within the timeline you can select content by clicking, and drag + it to change its position. Right-clicking a piece of content will + open the content menu. + + + + The toolbar at the top of the window offers the following tools: + + + + Select — to select and move content. + Zoom in — to drag out an area that you want to see more closely. + Zoom out — to zoom out so that the window shows the whole film. + Snap — when enabled, content will snap to other content when you drag it close. + Sequence — when enabled, content will be kept in sequence, without gaps, even if some content is removed. + +
+
Video processing pipeline @@ -1509,7 +1643,7 @@ linkend="fig-pipeline2"/>. The next step is to scale the image. Since this content should be -presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select +presented in a 2.39:1 (scope) aspect ratio inside a 1.85:1 (flat) DCP we would select Scope from the Scale to option in the Video tab and Flat from the Container @@ -1667,7 +1801,7 @@ key for you. To specify your own key, click the The Reels and Reel length controls specify how the DCP will be split up into -‘reels’. See below. +‘reels’. See . @@ -1733,6 +1867,17 @@ bandwidth can be between 50 and 250 megabits per second (Mbit/s). Most commercial DCPs use bit rates between 75 and 125 Mbit/s. + +Re-encode JPEG2000 data from input governs +whether or not JPEG2000-encoded data from a piece of content (usually +a DCP) will be re-used in the output data as-is or whether it will be +decoded and re-encoded by DCP-o-matic. If the option is enabled +DCP-o-matic will decompress any JPEG2000 data it finds and re-encode +it. This is useful if you want to reduce the bitrate of a DCP. +Usually you will achieve better quality and quicker results by leaving +this option switched off. + + The Audio Channels control sets the number of audio channels that the DCP will have. If the DCP has any channels @@ -1779,6 +1924,8 @@ This upmixing algorithm is due to Gérald Maruccia. +The up-mixers are not particularly advanced and should be used with care. You are strongly advised to check how the DCPs sound in a cinema if you have used one of DCP-o-matic's upmixers. +
Reels @@ -1786,13 +1933,13 @@ This upmixing algorithm is due to Gérald Maruccia. A ‘reel’ in a DCP is a subsection of the DCP, in the same way as a 35mm reel is a section of a film. A DCP can be split up into -any number of reels and the joins (the equivalent to 35mm splices) +any number of reels and the joins (the equivalent to 35mm splices or changeovers) between the reels are seamless. There is no reason why you can't just use a single reel for the whole -of your DCP, as there is no limit on their length. Many people choose +of your DCP, as there is no limit to their length. Many people choose to do this. @@ -1816,13 +1963,13 @@ It is easier to re-use DCP components if they are in reels. Consider, for example, a film company who wants to put a 5 second ident onto the beginning of DCPs that they distribute. If they receive a feature film DCP they can modify it to add their ident as a separate reel. -This is easier than attaching the picture data in the DCP. +This is easier than attaching the picture data to the feature's existing data. DCP-o-matic offers three options for setting up the reels in your DCP: -single reel, split by video content or custom. +single reel, split by video content or custom. @@ -1942,7 +2089,7 @@ first similarly-typed piece of content in your template. -For example if the template has a piece of video content and some +For example, if the template has a piece of video content and some subtitles, any video that you add to the new film will take on the settings of the video in the template. Similarly, any subtitles that you add will take on the settings of the subtitles from the template. @@ -1978,13 +2125,50 @@ from the timeline is also preserved. + + + Export + + + As well as creating DCPs from the content you specify, DCP-o-matic + can also export projects to ProRes and MP4 files. This is most + often useful to convert DCPs to a file that is smaller and easier to play back. + + + + To convert a DCP to ProRes or MP4, the first step is start a new + project and import the DCP (see ). Then, choose + Export... from the Jobs + menu to open the export dialogue, as shown in . + + +
+ Export dialogue + + + + + +
+ + + From this dialogue you can select the required output format, + output file and, in the case of MP4, the quality of the output + file. Higher quality files will, of course, be larger. + + + + You can also choose whether to mix down multichannel sources to stereo and whether you want to write separate reels to separate files. + + Encryption -It is not required that DCPs be encrypted, but they can be. This +DCP's do not have to be encrypted, but they can be. This chapter discusses the basic principles of DCP encryption, and how DCP-o-matic can create encrypted DCPs and KDMs for them. @@ -1998,7 +2182,7 @@ DCP-o-matic can create encrypted DCPs and KDMs for them. DCPs can be encrypted. This means that the picture and sound data are encoded in such a way that only cinemas ‘approved’ by the DCP's creators can read them. In particular, this means copies of the -DCP can be distributed by insecure means: if an ne'er-do-well called +DCP can be distributed by insecure means: if a bad person called Mallory obtains a hard drive containing an encrypted DCP, there is no way that he can play it. Only those cinemas who receive a correct key delivery message (KDM) can play the DCP. @@ -2029,7 +2213,7 @@ know the key. -The first step in a DCP encryption is to encode its data with some key +The first step in a DCP encryption 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. @@ -2136,7 +2320,7 @@ linkend="fig-kdm"/>. KDM dialog - +
@@ -2173,18 +2357,15 @@ from a file. The certificate should be in SHA256 PEM format. Alternatively, certificates for projection systems made by some manufacturers can be downloaded from databases provided by the -manufacturer. Currently this is supported for Doremi and Dolby -equipment. If you are targeting a screen with equipment by one of -these manufacturers you can click Download then -enter the serial number of the server in the screen and click -Download again and, all being well, the certificate -will be fetched. - - - -Using the download system you will need to know the serial number of -the media server in use in the screen. Most cinema projection or -technical departments will know these serial numbers. +manufacturer. Currently this is supported for Doremi, Dolby, Barco, +Christie and GDC equipment (through downloading Barco, Christie or GDC +certificates requires you to have an appropriate account set up in +DCP-o-matic's preferences). If you are targeting a screen with +equipment by one of these manufacturers you can click +Download then enter the serial number of the +server in the screen and click Download again +and, all being well, the certificate will be fetched. Most cinema +projection or technical departments will know these serial numbers. @@ -2276,7 +2457,7 @@ DCP-o-matic. Its window is shown in . The KDM creator - + @@ -2326,11 +2507,50 @@ If you are using a DKDM you must ensure that you have a backup of DCP-o-matic's config.xml file, since it contains the only key which can decrypt the DKDM. The config.xml file location depends on your operating -system; possible locations are listed in +system; possible locations are listed in . +
+ Should I encrypt? + + + The question of whether encryption is appropriate for a given + project is a tricky one. + + + + On the one hand, if you distribute an unencrypted DCP it is easy for + anybody to take it and do whatever they want with its contents. + They could use DCP-o-matic to convert it to a MP4, show it in + their cinema, or even edit and redistribute it in ways that you + do not like. + + + + Encryption prevents this, but brings its own problems. It will be + impossible for a cinema to screen your DCP unless they have the + correct KDM. This is easy enough if things work as they should, + but problems can occur. For example, cinemas may substitute + broken playout servers with new ones without telling you: then the + KDM that you sent them will be invalid, and a new one required. + If the cinema can't get in touch with you, or somebody else who + can create a new KDM, they can't screen your DCP. Often these + problems are only discovered very close to showtime, with little + time for fixes. + + + + If you are distributing encrypted DCPs widely it is worth thinking + about who will make the KDMs, and who will provide quick-response + technical support. It may be a good idea to engage a company who can + provide such services. + + +
+ +
Encryption overview @@ -2353,14 +2573,14 @@ system; possible locations are listed in Preferences -DCP-o-matic provides a few preferences which can be used to modify its -behaviour. This chapter explains those options. +DCP-o-matic provides preferences which can be used to modify its +behaviour. They are described in this chapter. Preferences can be edited by choosing Preferences... from the Edit -menu. This opens a dialogue which is split into seven tabs. +menu. This opens a dialogue which is split into eleven tabs. @@ -2395,11 +2615,23 @@ You will need to restart DCP-o-matic to see the new language. The translations for DCP-o-matic have been contributed by helpful users. If your language is not on the last, head to the DCP-o-matic website to -read about how to contribute a translation. +find out how to contribute a translation.
+ +
+ Interface complexity + + + Choose Simple to see a cut-down, simplified + interface or Full to see DCP-o-matic's full + interface. + +
+ +
Number of threads DCP-o-matic should use @@ -2495,7 +2727,6 @@ enabled, will tell DCP-o-matic to check on dcpomatic.com to see if there any newer versions of DCP-o-matic then the one you are running. If so, a dialogue box will open with a link to download the new version. -available @@ -2600,12 +2831,6 @@ that you give it. Use this option if somebody wants to make a KDM for you and asks for your certificate. - -Export KDM decryption chain... exports the whole -KDM decryption chain rather than just its certificate. This may also -be requested by KDM creators. - - Export all KDM decryption settings... exports a file which contains all the DCP-o-matic settings related to the use of @@ -2639,14 +2864,14 @@ chain using the Add... and If you want DCP-o-matic to re-create the certificate chain (using new, random certificates) click Re-make -certificates... and specify your organisation and common +certificates and key... and specify your organisation and common names in the dialogue box that opens. Underneath the certificate chain is the private key that corresponds to the leaf certificate in the chain. You can specify your own -private key by clicking Load.... You must do +private key by clicking Import.... You must do this if you change the leaf certificate, so that the leaf private key corresponds to the public key held in the leaf certificate. @@ -2658,22 +2883,9 @@ The leaf certificate of this chain contains the public key that should be used when targeting a KDM at DCP-o-matic. - -If you want to import an encrypted DCP you will need to give the -decryption certificate to the distributor of the DCP so that they can -generate a DKDM for you. You can save this certificate to disk by -clicking Export DCP decryption certificate.... -As with the signing chain, DCP-o-matic will create a certificate chain -and private key for you. You can also choose to load your own -certificates and key or re-make the chain and key with new, random -values. - - - -Clicking Export DCP decryption chain... will -export the whole certificate chain, rather than just the leaf -certificate. +Clicking Export chain... will +export the whole certificate chain.
@@ -2726,12 +2938,39 @@ Note that for this to work on Doremi servers you will need to set the + +
+Email + + +The Email tab is shown in . + + +
+ Email preferences + + + + + +
+ + +These settings are used when DCP-o-matic sends emails. + + + + Outgoing mail server should be the host name of a mail (SMTP) server that DCP-o-matic can use. You can also specify the port that DCP-o-matic should use. User name and Password are the credentials that are required to send email through the server you have specified. + + +
+
KDM email -The KDM email is shown in . +The KDM email tab is shown in .
@@ -2747,10 +2986,10 @@ The KDM email is shown in . This is a template for the email that is used to send KDMs out to cinemas. You can change it to say whatever you like. A few ‘magic’ strings will be replaced by information from the -KDM that is being sent: +KDM that is being sent; these strings are shown in . - +
‘Magic’ KDM strings @@ -2780,6 +3019,68 @@ The Reset to default text will replace the current KDM emai + +
+Accounts + + +The Accounts tab is shown in . + + +
+ Accounts preferences + + + + + +
+ + +DCP-o-matic can download projector certificates from the Barco, +Christie and GDC websites if you have the appropriate credentials. +Enter your usernames and passwords. + + +
+ + + +
+Notifications + + +The Notifications tab is shown in . + + +
+ Notifications preferences + + + + + +
+ + +DCP-o-matic can notify the user when jobs have completed. These +notifications can be either or both of a message box on-screen (if +Message box is ticked) and email (if +Email is ticked). If you enable email +notifications you can fill in the details of the emails you want to +send. + + + +The bottom box in the tab is the contents of the email that should +be sent. DCP-o-matic will replace the ‘magic’ strings +$JOB_NAME and $JOB_STATUS in the with the +details of the job that has completed. + + +
+ +
Cover sheet @@ -2804,7 +3105,7 @@ DCP that has been made:
-‘Magic’ Cover sheet strings +‘Magic’ cover sheet strings @@ -2925,8 +3226,7 @@ however, always possible. There are some limitations to video and audio frame rates in DCPs. This is complicated by the fact that not all projectors will play DCPs at the same frame rates. It is possible to create a DCP which one projector will -play fine, but another (of a different type) will refuse to play, or -even refuse to ingest. +play fine, but another (of a different type) will refuse to play. @@ -2935,10 +3235,10 @@ even refuse to ingest. Guaranteed rates -The only rates that are (pretty much) guaranteed to work on all DCI -projectors are 24 frames per second (fps) for video and 48kHz or 96kHz -for audio. If you are sending your DCPs to unknown places it wise to -consider using these rates if at all possible. +The only rates that are guaranteed to work on all DCI projectors are +24 frames per second (fps) for video and 48kHz for audio. If you are +sending DCPs to unknown places it is wise to consider using these +rates if at all possible. @@ -2949,7 +3249,7 @@ consider using these rates if at all possible. Other often-supported rates Many projectors now in the wild support additional video frame rates: -25, 30 and 48 fps. +25, 30, 48, 50 and 60 fps. @@ -3007,8 +3307,8 @@ The Frame Rate control in the DCP tab sets the video frame rate that the DCP will use. Clicking Use best sets the rate to what DCP-o-matic thinks is the best for your content. With this -button, DCP-o-matic assumes that the whole range of frame rates (24, -25, 30 and 48fps) are allowable. +button, DCP-o-matic assumes that the most commonly-working frame rates (24, +25 and 30fps) are allowed. @@ -3232,7 +3532,7 @@ to the cinema which is showing your DCP. - dcpomatic2_create [OPTION] [CONTENT] [<CONTENT> ...] + dcpomatic2_create [OPTION] <CONTENT> [[OPTION] <CONTENT> ...] @@ -3250,20 +3550,7 @@ to the cinema which is showing your DCP. The options are: - - -v, --version — show DCP-o-matic version - -h, --help — show this help - -n, --name — <name> film name - -t, --template <name> — template name - -c, --dcp-content-type <type> — FTR, SHR, TLR, TST, XSN, RTG, TSR, POL, PSA or ADV - --container-ratio <ratio> — 119, 133, 137, 138, 166, 178, 185 or 239 - --content-ratio <ratio> — 119, 133, 137, 138, 166, 178, 185 or 239 - -s, --still-length <n> — number of seconds that still content should last - --standard <standard> — SMPTE or interop (default SMPTE) - --no-use-isdcf-name> — do not use an ISDCF name; use the specified name unmodified - --no-sign— do not sign the DCP - -o, --output <dir> — output directory - + For example, to setup a film using a MP4 file you might do: @@ -3293,21 +3580,7 @@ to the cinema which is showing your DCP. dcpomatic2_cli [OPTION] [FILM] - - - -v, --version — show DCP-o-matic version - -h, --help — show this help - -f, --flags — show flags passed to C++ compiler on build - -n, --no-progress — do not print progress to stdout - -r, --no-remote — do not use any remote servers - -t, --threads — specify number of local encoding threads (overriding configuration) - -j, --json <port> — run a JSON server on the specified port - -k, --keep-going — keep running even when the job is complete - -s, --servers — just display a list of encoding servers that DCP-o-matic is configured to use; don't encode - -d, --dcp-path — echo DCP's path to stdout on successful completion (implies -n) - --dump — just dump a summary of the film's settings; don't encode - - + For example, to encode a film called my_film you might do: @@ -3329,21 +3602,7 @@ to the cinema which is showing your DCP. dcpomatic2_kdm_cli [OPTION] <FILM|CPL-ID> - - - -o, --output — output file or directory - -f, --valid-from — valid from time (in local time zone of the cinema) (e.g. "2013-09-28 01:41:51") or "now" - -t, --valid-to — valid to time (in local time zone of the cinema) (e.g. "2014-09-28 01:41:51") - -d, --valid-duration — valid duration (e.g. "1 day", "4 hours", "2 weeks") - --formulation — modified-transitional-1, dci-any or dci-specific [default modified-transitional-1] - -z, --zip — ZIP each cinema's KDMs into its own file - -v, --verbose — be verbose - -c, --cinema — specify a cinema, either by name or email address - --certificate — file containing projector certificate - --cinemas — list known cinemas from the DCP-o-matic settings - --dkdm-cpls — list CPLs for which DCP-o-matic has DKDMs - - + @@ -3443,7 +3702,7 @@ sets. Start a new DCP-o-matic film. -Click Add folder... and specify your existing DCP's folder. +Click Add DCP... and specify your existing DCP's folder. Go to the DCP tab and choose Split by video content for Reel type. Go to the Video and Audio tabs in turn and tick the Use this DCP's audio as OV and make VF checkboxes. @@ -3461,7 +3720,7 @@ DCP. Start a new DCP-o-matic film. -Click Add folder... and specify your existing DCP's folder. +Click Add DCP... and specify your existing DCP's folder. Add your subtitles to the film in whatever format you have. Check the subtitle appearance in the preview; it will be slow to respond as it is having to decompress images from the existing @@ -3477,7 +3736,7 @@ DCP. Adjust the appearance using controls in the Start a new DCP-o-matic film. -Click Add folder... and specify your existing DCP's folder. +Click Add DCP... and specify your existing DCP's folder. Add your subtitles to the film in whatever format you have. Go to the Subtitle tab and tick the Burn subtitles into image checkbox. Check the subtitle appearance in the preview; it will be @@ -3535,7 +3794,7 @@ The full details of OV and VF files are discussed in - Playing DCPs + Playing and verifying DCPs DCP-o-matic includes a DCP player, and although it requires a very high-speed CPU to play DCPs in full resolution, it can also @@ -3561,6 +3820,12 @@ The full details of OV and VF files are discussed in + + The player also offers a simple DCP validator. To check a DCP, + open it and then select Verify DCP from the + Tools menu. This will run some basic checks to see if the DCP meets the required standards. + + @@ -3582,3 +3847,24 @@ The full details of OV and VF files are discussed in + + + + + + + + + + +