From: Carl Hetherington Date: Tue, 26 Oct 2021 22:18:13 +0000 (+0200) Subject: Manual tweaks. X-Git-Tag: checked-for-v2.16.x~220 X-Git-Url: https://main.carlh.net/gitweb/?p=dcpomatic.git;a=commitdiff_plain;h=6be09bd518eb246adc84ebbed3c8c4c03f719735 Manual tweaks. --- diff --git a/doc/manual/Makefile b/doc/manual/Makefile index c29240d3d..b394d1977 100644 --- a/doc/manual/Makefile +++ b/doc/manual/Makefile @@ -18,7 +18,8 @@ SCREENSHOTS := file-new.pdf new-film.pdf video-select-content-file.pdf \ prefs-notifications.pdf timeline1.pdf timed-text-tab.pdf \ making-dcp.pdf filters.pdf video-tab.pdf audio-tab.pdf \ audio-plot.pdf audio-map-eg1.pdf audio-map-eg2.pdf audio-map-eg3.pdf kdm.pdf \ - kdm-creator.pdf export.pdf advanced-content.pdf disk-writer-notice.pdf disk-writer.pdf + kdm-creator.pdf export.pdf advanced-content.pdf disk-writer-notice.pdf disk-writer.pdf \ + markers.pdf XML := dcpomatic.xml diff --git a/doc/manual/dcpomatic.xml b/doc/manual/dcpomatic.xml index b46e43039..93639a7d4 100644 --- a/doc/manual/dcpomatic.xml +++ b/doc/manual/dcpomatic.xml @@ -162,7 +162,7 @@ thanks to Stefan Karner. 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 https://dcpomatic.com/ +There are instructions for how to do it on https://dcpomatic.com/building @@ -238,6 +238,11 @@ folder called ‘DCP Test’ inside my existing folder DCP will write its working files. + +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. + + @@ -470,10 +475,10 @@ form of a Key Delivery Message (KDM), to decrypt it. -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. @@ -482,13 +487,13 @@ To get DCP-o-matic's decryption certificate, open the Preferences dialogue (see ) and go to the Keys tab. Click the Export DCP decryption certificate... 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. -Once you have your KDM, right-click the DCP's name in DCP-o-matic and -choose Add KDM.... 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 Add KDM.... Select your KDM and the DCP will be decrypted and become available for preview. @@ -554,7 +559,7 @@ This can be inefficient in some cases. Consider, for example, a film 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. @@ -730,7 +735,7 @@ clicking the Remove button. 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 @@ -801,7 +806,7 @@ The Video tab controls properties of the image, as shown in Use this DCP's video as OV and make VF -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 . @@ -871,10 +876,16 @@ colour transforms and gamma correction DCP-o-matic will use when converting the selected content into the XYZ colourspace for the DCP. + +In particular, the setting you choose here should be the colour space that the content +has been created or graded for. DCP-o-matic will take care of converting your content's +colourspace into the correct one for the DCP. + + 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 . @@ -949,9 +960,9 @@ after making any changes. -The Scale to 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 Scale option governs the shape that +DCP-o-matic will scale the content's image into. In most cases to fit DCP will do the right thing; if not, choose custom +and you can specify exactly how the image should be scaled. @@ -964,11 +975,10 @@ 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 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 to fit DCP 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. @@ -1022,7 +1032,7 @@ DCP channel. -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 @@ -1121,7 +1131,7 @@ linkend="sec-show-audio"/> for more details. -‘Audio Gain’ is used to alter the volume of the +Audio Gain 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. @@ -1154,13 +1164,6 @@ been done) and it should play back at the correct volume with 7 on your sound-rack fader. - -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, get in -touch. - - Audio Delay is used to adjust the synchronisation between audio and video. A positive delay will move the audio later @@ -1204,7 +1207,7 @@ DCP-o-matic can either: 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 + Alpha (.ssa or .ass) or DCP XML files. You may find the free program Subtitle Edit useful for creating such files. @@ -1215,7 +1218,7 @@ 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). +character codes rather than as an image). In contrast, SubRip, SubStation Alpha or DCP text can be used as either a subtitle or a closed caption. @@ -1387,12 +1390,6 @@ 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. It can also be used to override the detected -frame rate of other content if DCP-o-matic has got it wrong. - - Each timecode control has a Set which you should click when you have entered a new value for a timecode. The @@ -1461,7 +1458,7 @@ 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 +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 @@ -1512,17 +1509,14 @@ linkend="fig-pipeline2"/>. 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 -Scope from the Scale to -option in the Video tab and -Flat from the Container -option in the DCP tab. +custom from the Scale +option in the Video tab, then choose a ratio (Set ratio and +fit to DCP container) of 2.39:1. -The Scale to option should always be set to -the aspect ratio at which the content should be seen. The -Container 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. +Next, we would choose +Flat from the Container +option in the DCP tab. @@ -1538,7 +1532,7 @@ that the DCP will play back correctly using the projector's ‘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 . @@ -1723,12 +1717,11 @@ ISDCF-compliant name. -Underneath the name field is a preview of the name that the DCP will -get. To use a ISDCF-compliant name, tick the Use ISDCF -name check-box. The ISDCF name will be composed using details +Underneath the Use ISDCF name 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 Details button. +can be specified in the Metadata dialogue box, which you can +open by clicking on the Metadata button. @@ -1749,11 +1742,6 @@ this will affect where your content appears in the projector's server user interface, so take care to select an appropriate type. - -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 @@ -1780,8 +1768,30 @@ more modern of the two). -Ticking the Upload DCP to TMS after it is made -will ask DCP-o-matic to copy the finished DCP to your configured TMS (see ). +The Markers button opens the Markers dialogue, +as shown in . + + +
+ Markers dialogue + + + + + +
+ + +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. + + + +The Metadata 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). @@ -1799,6 +1809,12 @@ format into a Flat container: in this case, select the small format for the content's ratio and ‘Flat’ for the DCP. + +The Resolution 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. + + The Frame Rate control sets the frame rate of your DCP. This can be a little tricky to get right. Ideally, you @@ -1808,12 +1824,6 @@ content to fit the specified frame rate. Frame rates are discussed in more detail in . - -The Use best button sets the DCP video frame rate -to what DCP-o-matic thinks is the best given the content that you have -added. - - The 3D 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 @@ -1823,13 +1833,7 @@ Real-D etc.) but not on a 2D system. -The Resolution 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. - - - -The JPEG2000 bandwidth; setting changes how big +The JPEG2000 bandwidth for newly-encoded data; 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). @@ -1848,7 +1852,7 @@ this option switched off. -The Audio Channels control sets the number of +The Channels 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 @@ -1863,7 +1867,7 @@ process to apply to the audio before it goes into the DCP. One process is curre -Mid-side decode — this will take a L/R +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. @@ -1993,8 +1997,8 @@ to the plots, which can make them easier to read in some cases. -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. @@ -2052,16 +2056,15 @@ in templates: Resolution JPEG200 bandwidth Video frame rate - Signed and encrypted checkboxes + Encrypted checkbox Audio channels Standard (Interop / SMPTE) Audio processor Reel type and length - Upload after make DCP checkbox -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 Keep video and subtitles in sequence checkbox from the timeline is also preserved. @@ -2108,7 +2111,7 @@ from the timeline is also preserved. - The time needed to export, and the resulting size, depend partly on the DCP resolution set in the project. To change that, see chapter . + The time needed to export, and the resulting size, depend partly on the DCP resolution set in the project. To change that, see . @@ -2166,7 +2169,7 @@ know the key. -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. @@ -2177,7 +2180,7 @@ Alice, however, needs to know the key so she can play the DCP in her 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. @@ -2253,7 +2256,7 @@ is). -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. @@ -2328,6 +2331,7 @@ destination cinema will in advance of show time to identify any problems. + 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 @@ -2390,7 +2394,7 @@ make KDMs for the DKDM's film for any cinema. -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. @@ -2445,7 +2449,7 @@ tab. Encryption keys - You must be careful when using encryption not to lose important keys. + You should be careful when using encryption not to lose important keys. @@ -2533,7 +2537,7 @@ 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 eleven tabs. +menu. This opens a dialogue which is split into tabs. @@ -2573,18 +2577,6 @@ 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 @@ -2690,18 +2682,6 @@ like to live on the bleeding edge!
- -
-Issuer and creator - - -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). - -
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