X-Git-Url: https://main.carlh.net/gitweb/?p=dcpomatic.git;a=blobdiff_plain;f=doc%2Fmanual%2Fdcpomatic.xml;h=39bc0987c7bba9cb6142a888ae2057ef9ff55974;hp=29c69b44306b284a9da4c1e634de7f0bc8aab3a2;hb=684d10c4eee5462b3bcdddead74fdba26d40a123;hpb=300662c37a72f9e0bff67d515e33c21dbcf6efa1 diff --git a/doc/manual/dcpomatic.xml b/doc/manual/dcpomatic.xml index 29c69b443..39bc0987c 100644 --- a/doc/manual/dcpomatic.xml +++ b/doc/manual/dcpomatic.xml @@ -8,7 +8,7 @@ %extensions; ]> - + +
+Timing + + +The timing tab contains settings related to the timing of your +content, as shown in . + + +
+ Timing settings tab + + + + + +
+ + +Most of the timing tab's entries are time-codes. +These are expressed as four numbers, as shown in . + + +
+ Timecode + + + + + +
+ + +Position is the time at which this piece of +content should start within the DCP. In most cases, this will be +0:0:0:0 to make the content start at the beginning of the +DCP. + + + +Full length is the length of the piece of +content. This can only be set for still-image content: for video or +sound content, it is fixed by the nature of the content file. If +still-image content is being used you can set the length for which it +should be displayed using this control. + + + +Trim from start specifies the amount that should be trimmed from the start of the content. + + + +Trim from end specifies the amount that should be trimmed from the end of the content. + + + +Play length indicates how long this piece of +content will be once the trims have been applied. This will be equal +to the full length minus trim-from-start and minus trim-from-end. + + + +Video frame rate specifies the frame rate for still-image content. + + + +Each timecode control has a Set which you should +click when you have entered a new value for a timecode. The +Set button will make DCP-o-matic take account of +any changes to the corresponding timecode. + + +
+ +
+Video processing pipeline + + +This section gives a little more detail about how DCP-o-matic process +video as it takes it from a source and puts it into a DCP. + + + +Consider, as a somewhat over-the-top 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. Such an image is shown in . + + +
+ Example image to demonstrate video processing + + + + + +
+ + +DCP-o-matic runs through the following steps when preparing an image for a DCP: + + + +Crop +Scale +Place in container + + + +First, some amount of the image can be cropped. This is almost always +used to remove black borders (letterboxing and/or pillarboxing) around +images. + + + +In our example image, we would use 36 pixels of crop from the top and +bottom. This would give the new image shown in . + + +
+ Example image after cropping + + + + + +
+ + +The next step is to scale the image. Since this content should be +presented in a 2.39:1 aspect ratio, we would select +Scope from the Scale to +option in the Video tab. This option should +always be set to the aspect ratio at which the content should be +presented. DCP-o-matic will work out how big the image should be to +fit into the configured DCP's container; in the case of 2K, a 'scope +container should be 2048x858 pixels, and so DCP-o-matic scales to that +size. This gives us a new version of the image as shown in . + + +
+ Example image after cropping and scaling + + + + + +
+ + +The final step is to place the image into the DCP. In this case, +since we have a 2.39:1 image that should be presented as a 2.39:1 DCP, +we set the container in the +DCP tab to be 'scope. Since the content has been +scaled to 2.39:1, and the DCP is in 2.39:1, there is nothing +complicated to do here: DCP-o-matic can just place the image directly +into the DCP. + + +
@@ -863,19 +1064,19 @@ the main window, as shown in . The first thing here is the name. This is generally set to the title -of the film that is being encoded. If Use DCI +of the film that is being encoded. If Use ISDCF name is not ticked, the name that you specify will be used -as-is for the name of the DCP. If Use DCI name +as-is for the name of the DCP. If Use ISDCF name is ticked, the name that you enter will be used as part of a -DCI-compliant name. +ISDCF-compliant name. Underneath the name field is a preview of the name that the DCP will -get. To use a DCI-compliant name, tick the Use DCI -name check-box. The DCI name will be composed using details +get. To use a ISDCF-compliant name, tick the Use ISDCF +name check-box. 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 DCI name details dialogue box, which you can +can be specified in the ISDCF name details dialogue box, which you can open by clicking on the Details button. @@ -909,6 +1110,11 @@ content to fit the specified frame rate. Frame rates are discussed in more detail in . + +The Signed check-box sets whether or not the DCP +is signed. This is rarely important; if in doubt, tick it. + + The Encrypted check-box will set whether the DCP should be encrypted or not. If this is ticked, the DCP will require a @@ -946,7 +1152,7 @@ high enough resolution to be worth presenting in 4K. The JPEG2000 bandwidth; 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 (MBps). +between 50 and 250 megabits per second (Mbit/s). @@ -956,7 +1162,7 @@ more modern of the two). -Finally, the scaler is the method that will be used to scale up +Finally, the Scaler is the method that will be used to scale up your content to the required size for the DCP, if required. Bicubic is a fine choice in most situations. @@ -981,7 +1187,7 @@ 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 Mallory obtains a hard drive containing an encrypted DCP, there is no -way that he can play it. Only those cinemas who receive a key +way that he can play it. Only those cinemas who receive a correct key delivery message (KDM) can play the DCP. @@ -1073,7 +1279,7 @@ those cinemas that are allowed to play the DCP. The first part is simple: ticking the Encrypted box in the DCP tab of DCP-o-matic will encrypt the DCP using a random key that DCP-o-matic generates. The key will -be written to the film's metadata file, so that should be kept +be written to the film's metadata file, which should be kept secure. @@ -1163,7 +1369,7 @@ behaviour. This chapter explains those options. The preferences dialogue is opened by choosing Preferences... from the Edit -menu. The dialogue is split into four tabs. +menu. The dialogue is split into five tabs.
@@ -1205,8 +1411,21 @@ read about how to contribute a translation. When DCP-o-matic is encoding DCPs it can use multiple parallel threads to speed things up. Set this value to the number of threads -DCP-o-matic should use. This would typically be set to the number of -processors (or processor cores) in your machine. +DCP-o-matic should use. This should normally be the number of +processors (or processor cores) in your machine. DCP-o-matic will try +to set this up correctly when you run it for the first time. + + +
+ +
+KDM emails + + +DCP-o-matic can send KDMs (see ) to +cinemas (or anywhere else) via email. To make this work, enter a +suitable outgoing mail (SMTP) server and ‘from’ address +for these emails.
@@ -1222,30 +1441,36 @@ properties of new films that you create. -
-Encoding servers +
+Colour conversions -The encoding servers tab is shown in . +The colour conversions tab is shown in . -
- Encoding servers preferences +
+ Colour conversions preferences - +
-If you have spare machines sitting around on your network not doing -much, they can be pressed into service to speed up DCP encodes. This -is done by running a small server program on the machine, which will -encode video sent to it by the ‘master’ DCP-o-matic. This -option is described in more detail in . -Use these preferences to specify the encoding servers that should be -used. +As part of the encoding process, DCP-o-matic has to convert the colour +space of the source files that you use into XYZ, the colour space used +by the DCI standard. + + + +Colour conversion is discussed in more detail in a separate document +colour.pdf. + + + +These preferences control a list of presets which are suitable for +converting from common input colour spaces to XYZ.
@@ -1275,6 +1500,7 @@ into the DCP. The default values should cause no problems.
TMS +TMS preferences The TMS tab (shown in ) gives some @@ -1303,7 +1529,79 @@ credentials required to log into the TMS via SSH.
+
+KDM email + + +The KDM email is shown in . + + +
+ KDM email preferences + + + + + +
+ + +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. The +‘magic’ string $CPL_NAME will be replaced by +DCP's title. + + +
+ +
+Advanced +Advanced preferences + + +The advanced preferences are shown in . + + +
+ Advanced preferences + + + + + +
+ + +Maximum JPEG2000 bandwidth specifies the maximum +bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You +are advised to leave this at 250Mbit/s in normal use for maximum DCP +compatibility. + + + +Allow any DCP frame rate removes the limits on +the DCP video frame rates that DCP-o-matic will create. This may be +useful for experimentation. Again, you are strongly advised to leave +this unticked for normal use. + + + +The four checkboxes labelled Log control what +sort of messages DCP-o-matic writes to its log file when creating a +DCP. It is useful to leave General, +Warnings and Errors ticked +as this makes the log files useful for tracking down bugs. + + + +The Timing checkbox will enable extra log entries +to allow developers to investigate and optimize the speed of +DCP-o-matic. It will significantly increase the size of the log files +that are generated, so in normal use it is best to leave this +unticked. + +
@@ -1317,12 +1615,12 @@ however, always possible.
-DCP rate limitations +DCP frame rate limitations -There are some limitations to video and audio rates in DCPs. This is +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 rates. It is possible to create a DCP which one projector will +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. @@ -1378,7 +1676,7 @@ If DCP-o-matic did nothing else, the result of this would be that the audio would be running at the original speed with the video running slowly. Hence the audio would drift slowly out of sync. To avoid this, DCP-o-matic also resamples the audio such that the projector -will play it too fast by the same amount. Hence it will sound +will play it too slow by the same amount. Hence it will sound slightly different but will remain in sync with the video. @@ -1407,6 +1705,15 @@ content will give a summary of what DCP-o-matic is doing with that content. + +If you want to experiment with other non-standard frame rates, you can +do so by ticking the Allow any DCP frame rate in +the Advanced tab of the preferences dialogue (see the +). You are strongly advised to +use this only on your own equipment, and only for experimentation +purposes. + +
@@ -1421,7 +1728,12 @@ than one machine at the same time. An instance of DCP-o-matic can offload some of the time-consuming JPEG2000 encoding to any number of other machines on a network. To do this, one ‘master’ machine runs DCP-o-matic, and the ‘server’ machines run -a small program called ‘dcpomatic_server’. +a small program called dcpomatic_server. + + + +The master and server machines do not need to be the same type, so you +can mix Windows PCs, Macs and Linux machines as you wish.
@@ -1465,24 +1777,28 @@ tray; right-click it to open a menu from whence you can quit the server or open a window to show its status. +If you would rather not bother installing DCP-o-matic on your +server computers, the other option is to use the live-CD +image that you can download from the DCP-o-matic web site. + +Either burn the image to CD, or write it to a USB stick (using +something like unetbootin). Boot a +PC from the CD or USB stick and it becomes a DCP-o-matic server +without touching your standard operating system install. + +
Setting up DCP-o-matic -Once your servers are running, you need to tell your master -DCP-o-matic instance about them. Start DCP-o-matic and open the -Preferences dialog from the -Edit menu. At the bottom of this dialog is a -section where you can add, edit and remove encoding servers. For each -encoding server you need only specify its IP address and the number of -threads that it is running, so that DCP-o-matic knows how many -parallel encode jobs to send to the server. - - - -Once this is done, any encodes that you start will split the workload -up between the master machine and the servers. +DCP-o-matic periodically looks on the local network for servers. Any +that it finds are given work to do during encodes. Selecting +Encoding Servers from the +Tools menu brings up a window which shows that +servers that DCP-o-matic has found.
@@ -1500,12 +1816,6 @@ You will probably find that using a 1Gb/s or faster network will provide a significant speed-up compared to a 100Mb/s network. - -Making changes to the server configuration in the master DCP-o-matic -will have no effect while an encode is running; the changes will only -be noticed when a new encode is started. - -