path: root/doc/manual/dcpomatic.xml

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<bookinfo>
<title>DCP-o-matic users' manual</title>
<author><firstname>Carl</firstname><surname>Hetherington</surname></author>
<edition>For version 2.18.x</edition>
</bookinfo>

<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Introduction</title>

<para>
Hello, and welcome to DCP-o-matic!
</para>

<!-- ============================================================== -->
<section>
<title>What is DCP-o-matic?</title>

<para>DCP-o-matic is a set of tools to allow you to:</para>

<itemizedlist>
  <listitem>Create <ulink
  url="https://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
  Cinema Packages</ulink> (DCPs) from video, audio, subtitle and closed-caption files.</listitem>
  <listitem>Play and verify DCPs (see <xref linkend="ch-player"/> and <xref linkend="ch-verifier"/>).</listitem>
  <listitem>Create KDMs for DCPs (see <xref linkend="ch-encryption"/>).</listitem>
  <listitem>Write cinema-format drives containing DCPs (see <xref linkend="ch-writer"/>).</listitem>
  <listitem>Manipulate existing DCPs in various ways (see <xref linkend="ch-combining"/> and <xref linkend="ch-metadata"/>).</listitem>
</itemizedlist>

</section>

<section>
<title>Available tools</title>

<para>The full set of DCP-o-matic tools is as follows:</para>

<segmentedlist>
<?dbhtml list-presentation="list"?>
<segtitle>DCP-o-matic</segtitle>
<segtitle>Player</segtitle>
<segtitle>Verifier</segtitle>
<segtitle>Batch Converter</segtitle>
<segtitle>Combiner</segtitle>
<segtitle>Disk Writer</segtitle>
<segtitle>KDM Creator</segtitle>
<segtitle>Encode Server</segtitle>
<segtitle>Editor</segtitle>
<segtitle>Playlist Editor</segtitle>
<seglistitem>
<seg>make DCPs from video, audio and text files (including VFs) and make KDMs.</seg>
<seg>play back DCPs and check them for errors.</seg>
<seg>check one or more DCPs for errors.</seg>
<seg>create DCPs from one or more projects previously created by the main DCP-o-matic tool.</seg>
<seg>take several DCPs and combine them into a single DCP folder.</seg>
<seg>format external hard drives to EXT2 format and copy DCPs onto them.</seg>
<seg>create KDMs from DKDMs that were previously made in the main DCP-o-matic tool, or that were sent by other people.</seg>
<seg>allow faster encoding of DCPs by connecting computers together over a network.</seg>
<seg>edit the metadata of existing DCPs without changing the video, audio or text assets.</seg>
<seg>create playlists to allow the player to be used for simple cinema-style playback.</seg>
</seglistitem>
</segmentedlist>

</section>


<!-- ============================================================== -->
<section>
<title>Licence</title>

<para>
DCP-o-matic is free and open-source and is licensed under the <ulink
url="https://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
GPL</ulink>.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Acknowledgements</title>

<para>
This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>This manual</title>

<para>
This manual presents bits of DCP-o-matic's user interface (such as menu items or buttons) <guilabel>like this</guilabel>.
</para>

<note>
Notes of an advanced nature are presented like this.  Ignore them unless you want to know the details.
</note>

</section>
</chapter>


<!-- ============================================================== -->
<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Installation</title>


<!-- ============================================================== -->
<section>
<title>Windows</title>

<para>
To install DCP-o-matic on Windows, download the installer from
<ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
and double-click it.  Click through the installer wizard, and
DCP-o-matic will be installed onto your machine.
</para>

<para>
Use the 64-bit installer unless you are using a 32-bit version of Windows.
You may find that DCP-o-matic crashes if run the 32-bit version on a CPU with more than 4 cores.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>macOS</title>

<para>
DCP-o-matic versions 2.16.0 and higher will run on macOS version 10.8 (Mountain Lion) and
higher.  DCP-o-matic is split into ten separate applications, each of
which can be installed by downloading the <code>.dmg</code>,
double-clicking to open and then dragging the icon to your
<guilabel>Applications</guilabel> folder.
</para>

<para>
If you don't know which parts of DCP-o-matic to install, start
with the first (main) part.
</para>

<para>
If you are using macOS 10.7 (Lion) or older you will need to install the latest 2.14.x version of DCP-o-matic.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Debian, Ubuntu and Mint Linux</title>

<para>There are <code>.deb</code> packages for Debian, Ubuntu and Mint on 
  <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
</para>

<para>For Debian there are both x86 and ARM packages, so choose the correct one
for the CPU type you are using (most people will need x86).</para>

</section>
<!-- ============================================================== -->


<!-- ============================================================== -->
<section>
  <title>Fedora, Centos and Mageia Linux</title>

  <para>There are <code>.rpm</code> packages for Fedora, Centos and Mageia on
  <ulink url="https://dcpomatic.com/">https://dcpomatic.com/</ulink>
  </para>

<para>For Fedora there are both x86 and ARM packages, so choose the correct one
for the CPU type you are using (most people will need x86).  You can install the
ARM packages on Asahi Linux on mac.</para>

</section>
<!-- ============================================================== -->

<!-- ============================================================== -->
<section>
<title>Arch Linux</title>
<para>
Packages for Arch Linux are available from <ulink
url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
thanks to Benjamin Radel and Markus Kalb.
</para>
</section>

<section>
<title>Building from source</title>
<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/building</ulink>
</para>
</section>
</chapter>




<!-- ============================================================== -->
<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Creating a DCP from a video</title>

<para>
In this chapter we will see how to create a DCP from a video file using
DCP-o-matic.  We will gloss over the details and look at the basics.
</para>

<section>
<title>Creating a new film</title>

<para>
Let's make a very simple DCP to see how DCP-o-matic works.  First, we
need some content.  Download the low-resolution trailer for the open
movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
url="https://download.blender.org/durian/trailer/Sintel_Trailer.480p.DivX_Plus_HD.mkv">their
website</ulink>.  Generally one would want to use the
highest-resolution material available, but for this test we will use
the low-resolution version to save on download time.
</para>

<para>
Now, start DCP-o-matic and its window will open.  First, we will
create a new &lsquo;film&rsquo;.  A &lsquo;film&rsquo; is how DCP-o-matic refers to
some pieces of content, along with some settings, which we will make into
a DCP.  DCP-o-matic stores its &lsquo;film&rsquo; data in a folder on your disk while it
creates the DCP.
</para>

<para>
You can create a new film by selecting
<guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
shown in <xref linkend="fig-file-new"/>.
</para>

<figure id="fig-file-new">
  <title>Creating a new film</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/file-new&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
This will open a dialogue box for the new film, as shown in <xref
linkend="fig-video-new-film"/>.
</para>

<figure id="fig-video-new-film">
  <title>Dialogue box for creating a new film</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/new-film&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
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 where you want to create
the film.  In the example from the figure, DCP-o-matic will create a
folder called &lsquo;DCP Test&rsquo;, inside my existing folder <code>DCP</code>, into which it
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>


<!-- ============================================================== -->
<section>
<title>Adding content</title>

<para>
The next step is to add the content.  DCP-o-matic
can make DCPs from multiple pieces of content, but in this example we
will use a single piece.  Click the <guilabel>Add
file(s)...</guilabel> button, as shown in <xref
linkend="fig-add-file"/>, and a file chooser will open for you to
select the content file to use, as shown in <xref
linkend="fig-video-select-content-file"/>.
</para>

<figure id="fig-add-file">
  <title>Adding content files</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/add-file&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<figure id="fig-video-select-content-file">
  <title>Selecting a video content file</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/video-select-content-file&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
Select your content file and click <guilabel>Open</guilabel>.  In this
case we are using the Sintel trailer that we downloaded earlier.
</para>

<para>
When you do this, DCP-o-matic will take a look at your file.  After a
short while (when the progress bar at the bottom right of the window
has finished), you can look through your content using the slider
underneath the black preview area, as shown in <xref linkend="fig-examine-content"/>.
</para>

<figure id="fig-examine-content">
  <title>Examining the content</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/examine-content&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
Dragging the slider will move through your video.  You can also click
the <guilabel>Play</guilabel> button to play the content back.
</para>

</section>




<!-- ============================================================== -->
<section>
<title>Making the DCP</title>

<para>In most cases, some adjustments would be made to DCP-o-matic's
settings once the content has been added.  For our simple test,
however, the default values are fine, so we can go straight onto
making the DCP.</para>

<para>
Choose <guilabel>Make DCP</guilabel> from the
<guilabel>Jobs</guilabel> menu.  Before encoding your DCP, DCP-o-matic
will run a series of checks on your film to look for things
that might cause problems when playing back the DCP.  If any potential
problems are found, DCP-o-matic will show you a list of hints.
Each hint describes what was found and gives
advice on how to resolve it.  If hints are found and reported, you can
either <guilabel>Make DCP</guilabel> anyway (without adjusting any
settings), or <guilabel>Go back</guilabel> in order to make
adjustments before encoding the DCP.
</para>

<para>
If no hints were found (or you pressed <guilabel>Make DCP</guilabel>
after hints were displayed), DCP-o-matic will encode your DCP.
This may take some time (many hours in some cases).  While the job is
in progress, DCP-o-matic will update you with
the progress bar in the bottom of the window, as shown in <xref
linkend="fig-making-dcp"/>.
</para>

<figure id="fig-making-dcp">
  <title>Making the DCP</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/making-dcp&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
When it has finished, the DCP will be written into its own folder inside the film's folder.
You can copy this to a projector via a USB stick, hard-drive or network connection.  See <xref
linkend="ch-files"/> for details about the files that DCP-o-matic creates, and <xref linkend="ch-writer"/>
for details of a DCP-o-matic tool which can write the DCP to an external hard-drive.
</para>

<para>
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 <xref linkend="sec-prefs-tms"/>.
</para>

</section>
</chapter>


<!-- ============================================================== -->
<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Creating a DCP from a still image</title>

<para>
DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
for an advertisement or an on-screen announcement.  This chapter shows you
how to do it.
</para>

<para>
As with DCPs made from video files, the first step is to create a new
&lsquo;Film&rsquo;; select <guilabel>New</guilabel> from the
<guilabel>File</guilabel> menu and the new film dialogue will open as
shown in <xref linkend="fig-still-new-film"/>.
</para>

<figure id="fig-still-new-film">
  <title>Dialogue box for creating a new film</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/new-film&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
Enter a name and click <guilabel>OK</guilabel>.  Now we need to add
the content.  As before, click <guilabel>Add file(s)...</guilabel>.
For our example, we will add a single image file, as shown in <xref
linkend="fig-still-select-content-file"/>.
</para>

<figure id="fig-still-select-content-file">
  <title>Selecting a still content file</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/still-select-content-file&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
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 <guilabel>Timing</guilabel> tab and you will see a
<guilabel>Full length</guilabel> setting, as shown in <xref
linkend="fig-timing-tab"/>.
</para>

<figure id="fig-timing-tab">
  <title>The timing tab</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/timing-tab&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
This length is a &lsquo;timecode&rsquo;: it consists of four numbers.
The first is hours, the second minutes, the third seconds, and the
fourth frames.  Enter the duration that you want and then click <guilabel>Set</guilabel>.
</para>

<para>
Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
from the <guilabel>Jobs</guilabel> menu to create your DCP.  This will
be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
to encode a single frame which it can then repeat.
</para>

</chapter>


<!-- ============================================================== -->
<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" id="ch-manipulating-existing-dcps">
<title>Manipulating existing DCPs</title>

<para>
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.
</para>

<section>
<title>Importing a DCP into DCP-o-matic</title>

<para>
The first step in manipulating an existing DCP is to import it.  Click
<guilabel>Add DCP...</guilabel> 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 may be slow as
decoding of DCPs is almost as computationally intensive as encoding
them.
</para>

<para>
If your DCP is a Version File (VF) (i.e. it refers to
another DCP's assets) you should import it as follows:
</para>

<itemizedlist>
<listitem>Use <guilabel>Add DCP...</guilabel> to import the VF DCP.
The VF DCP will be added to the content list and marked &ldquo;NEEDS
OV&rdquo;.</listitem>
<listitem>Right-click on the VF DCP in the content list and choose <guilabel>Add OV...</guilabel> from the menu.</listitem>
<listitem>Choose the folder that contains the OV DCP.  The VF will now be playable as normal.</listitem>
</itemizedlist>

</section>


<section xml:id="sec-decrypting">
<title>Decrypting encrypted DCPs</title>

<para>
DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
details).  If you import an encrypted DCP you will need a key, in the
form of a Key Delivery Message (KDM), to decrypt it.
</para>

<para>
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
KDM creator with a certificate which identifies your copy of
DCP-o-matic and allows them to create a KDM for you.
</para>

<para>
To get DCP-o-matic's decryption certificate, open the Preferences
dialogue (see <xref linkend="ch-preferences"/>) and go to the
<guilabel>Keys</guilabel> tab.  Click the <guilabel>Export KDM
decryption leaf certificate...</guilabel> button at the top of this tab
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 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>

</section>


<section>
<title>Making a DCP from a DCP</title>

<para>
In many ways, using DCPs as <emphasis>content</emphasis> in
DCP-o-matic is the same as using any other content.  There are a few
things to note, though.
</para>


<section>
<title>Re-use of existing data</title>

<para>
Where possible DCP-o-matic will re-use existing JPEG2000-compressed
data from DCP content without modification.  This has the advantage
that creation of the new DCP will be quick, as the time-consuming
JPEG2000 encoding is not necessary.
</para>

<para>
DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
the following content settings:
</para>

<itemizedlist>
<listitem>Crop</listitem>
<listitem>Scaling</listitem>
<listitem>Subtitle burn-in</listitem>
<listitem>Fades</listitem>
<listitem>Colour conversion</listitem>
</itemizedlist>

<para>
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.
</para>

</section>


<section xml:id="sec-overlay">
<title>Making overlay files</title>

<para>
With its default settings, DCP-o-matic will take any data from DCP
content and copy it into the DCP that it creates.  See <xref linkend="fig-dcp-copy"/>.
</para>

<figure id="fig-dcp-copy">
<title>Creating a new DCP by copying an existing one</title>
<mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
</figure>

<para>
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.
</para>

<para>
The DCP format has a solution to this problem.  One DCP can refer to
the &lsquo;assets&rsquo; (picture, sound or subtitle) of another DCP.
For our translation example this means that we could have a
&lsquo;base&rsquo; DCP (often called the OV or Original Version)
containing video, audio and one set of subtitles and then any number
of overlay DCPs (often called VF or Version Files) which refer to the
base version and replace the original subtitles with their own.  <xref
linkend="fig-dcp-refer"/> shows this principle for one of our
translations.  The DCP that we make refers to the original content
DCP's video and audio rather than containing a copy.
</para>

<figure id="fig-dcp-refer">
<title>Creating a new DCP by referring to an existing one</title>
<mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
</figure>

<para>
To play back the subtitled DCP the projectionist ingests both the base
(OV) DCP and the overlay (VF) DCP, then plays the VF one.
</para>

<para>
To make a DCP like this:
</para>

<itemizedlist>
<listitem>Import your &lsquo;Content DCP&rsquo; to a DCP-o-matic project.</listitem>
<listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
<listitem>Open the <guilabel>Version File Setup</guilabel> dialogue box using the <guilabel>Version File (VF)...</guilabel> option in the <guilabel>Tools</guilabel> menu.</listitem>

<listitem>Tick the relevant checkboxes for the parts of your existing DCP that you want to re-use (e.g. to refer to, or re-use, the video from the existing DCP, tick
the <guilabel>Video</guilabel> checkbox).</listitem>
<listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
</itemizedlist>

<para>The VF setup dialog is shown below, set up to refer to both picture and sound from an existing DCP:</para>

<figure id="fig-vf-setup">
  <title>Setup for making a Version File (VF)</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/vf-setup&scs;"/>
    </imageobject>
  </mediaobject>
</figure>


</section>

</section>



</chapter>
<!-- ============================================================== -->


<!-- ============================================================== -->
<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Content settings</title>

<para>
The previous chapters showed DCP generation using the default
settings.  DCP-o-matic offers a range of features to adjust the
content that goes into your DCP, and this chapter describes those
features in detail.
</para>

<section>
<title>Adding and removing content</title>

<para>
At the top of the <guilabel>Content</guilabel> tab is a list of the
content that will go into our DCP.  There can be as many pieces of
content as you like, and they can be of the following types:
</para>

<itemizedlist>
<listitem>Movie &mdash; a file containing some video, probably some
audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
</listitem>

<listitem>Sound &mdash; a file containing one or more channels of
audio; for example, a WAV or AIFF file.
</listitem>

<listitem>Still image &mdash; a file containing a single still image; for
example, a JPEG, PNG or TIFF file.
</listitem>

<listitem>Moving image &mdash; a directory containing many still
images which should be treated as the frames of a video.
</listitem>

<listitem>Subtitle &mdash; a file containing subtitles which will be
superimposed on the image of the DCP.  These can be
<guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel>, <guilabel>.ass</guilabel> or <guilabel>.xml</guilabel>
files.  Subtitle files can also be used to make closed captions.</listitem> 

<listitem>DCP &mdash; an existing DCP.</listitem>

<listitem>ATMOS MXFs &mdash; if you have Dolby ATMOS content in MXF format (created using Dolby's tools) you can add it to a DCP just like any other content.</listitem>
</itemizedlist>

<para>
To add one or more movie, sound, still-image or subtitle files, select
<guilabel>Add file(s)...</guilabel> and choose them from the selector.
</para>

<para>
DCP-o-matic will automatically map a set of audio files to the correct channels if you include appropriate &lsquo;tags&rsquo; in your filenames, as shown in <xref linkend="tab-audio-file-naming"/>.
</para>

<table id="tab-audio-file-naming">
  <title>Audio file naming</title>
  <tgroup cols='3' align='left' colsep='1' rowsep='1'>
    <thead>
      <row>
	<entry>Tag</entry>
	<entry>Examples</entry>
	<entry>Channel</entry>
      </row>
    </thead>
    <tbody>
      <row>
	<entry><code>L</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
	<entry><code>film-L.wav</code> <code>my_movie_L_final.wav</code></entry>
	<entry>Left</entry>
      </row>
      <row>
	<entry><code>R</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
	<entry><code>film-R.wav</code> <code>my_movie_R_final.wav</code></entry>
	<entry>Right</entry>
      </row>
      <row>
	<entry><code>C</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
	<entry><code>film-C.wav</code> <code>my_movie_C_final.wav</code></entry>
	<entry>Centre</entry>
      </row>
      <row>
	<entry><code>Lfe</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
	<entry><code>film-Lfe.wav</code> <code>my_movie_Lfe_final.wav</code></entry>
	<entry>LFE (sub)</entry>
      </row>
      <row>
	<entry><code>Ls</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
	<entry><code>film-Ls.wav</code> <code>my_movie_Ls_final.wav</code></entry>
	<entry>Left surround</entry>
      </row>
      <row>
	<entry><code>Rs</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
	<entry><code>film-Rs.wav</code> <code>my_movie_Rs_final.wav</code></entry>
	<entry>Right surround</entry>
      </row>
    </tbody>
  </tgroup>
</table>

<para>
To add a directory (folder) of images, choose <guilabel>Add
folder...</guilabel> and choose the directory from the selector.
DCP-o-matic will open a small dialogue box where you can enter the
frame rate that the image sequence should be run at.
</para>

<para>
To add a DCP, choose <guilabel>Add DCP...</guilabel> and choose the
DCP's directory from the selector.
</para>

<para>
You can remove a piece of content by clicking on its name and then
clicking the <guilabel>Remove</guilabel> button.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Adding existing DCPs</title>

<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
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
be passed from existing to new DCP unaltered.
</para>

<para>Encrypted DCPs that are added as content will require a KDM
targeted at DCP-o-matic so that DCP-o-matic can decrypt them.  You
should ask the creator of the imported DCP to provide a KDM for
DCP-o-matic's decryption certificate, which can be obtained by
clicking <guilabel>Export DCP decryption certificate...</guilabel>
from the <guilabel>Keys</guilabel> tab of the
<guilabel>Preferences</guilabel> dialog (see <xref
linkend="sec-prefs-keys"/>).
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Content properties</title>

<para>
Below the content list are the controls to set content properties.  To
adjust the properties for a piece of content, click its name in the
content list.  The content property controls will then become active
for that piece of content.
</para>

<para>
If you want to change the properties for multiple pieces of content at
the same time, select the content in the list by clicking the first
piece then clicking the other pieces with <keycap>shift</keycap> key
held down.  Note that not all settings can be changed in this way.
</para>

<para>
The content properties are split up into four sections:
<guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
<guilabel>Timed text</guilabel> and <guilabel>Timing</guilabel>.  Not
all of these sections will be active for all content types.  The controls
in each section are described below.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Video</title>

<para>
The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
</para>

<figure id="fig-video-tab">
  <title>Video settings tab</title>
  <mediaobject>
    <imageobject>
       <imagedata fileref="screenshots/video-tab&scs;"/>
    </imageobject>
  </mediaobject>
</figure>


<!-- ============================================================== -->
<section>
<title>Image type</title>

<para>
The next option on this tab is the &lsquo;type&rsquo; of the video.
This specifies how DCP-o-matic should interpret the video's image.
<guilabel>2D</guilabel> is the default; this just takes the video
image as a standard 2D frame.  The <guilabel>3D
left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
</para>

<figure id="fig-3d-left-right">
  <title>3D left/right image type</title>
  <mediaobject>
    <imageobject>
       <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
Alternatively the <guilabel>3D top/bottom</guilabel> option tells
DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
linkend="fig-3d-top-bottom"/>.
</para>

<figure id="fig-3d-top-bottom">
  <title>3D top/bottom image type</title>
  <mediaobject>
    <imageobject>
       <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
Another option is <guilabel>3D alternate</guilabel> which takes the
first frame of the content as for the left eye, the second for the
right eye, the third for the left, and so on.  Finally, you can
specify <guilabel>3D left only</guilabel> or <guilabel>3D right
only</guilabel> if this content contains only the the left or right
eye images.  This is useful when you have the left and right eye image
sets in different files; you can specify one content as <guilabel>3D
left only</guilabel> and another as <guilabel>3D right only</guilabel>
and DCP-o-matic will pick up the appropriate frames from each.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Colour conversion</title>

<para>
The <guilabel>Colour</guilabel> setting specifies what
colour transforms and gamma correction DCP-o-matic will use when
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 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>

<table id="tab-colour-conversion">
<title>Suggested colour conversion settings</title>
<tgroup cols='2' align='left' colsep='1' rowsep='1'>
<colspec colwidth='1*'/>
<colspec colwidth='5*'/>
<tbody>
<row>
<entry>sRGB</entry><entry>Still images in RGB, e.g. photographs.</entry>
</row>
<row>
<entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
</row>
<row>
<entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
</row>
<row>
<entry>P3</entry><entry>Content explicitly graded to P3.</entry>
</row>
</tbody>
</tgroup>
</table>

<para>
For other required colour conversions, and if you know what you are
doing, you can choose <guilabel>Custom</guilabel> which will open the full
colour conversion editing dialogue box:
</para>

<figure id="fig-colour-conversion">
  <title>Dialogue box for custom colour conversion</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/colour-conversion&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
Alternatively, choose <guilabel>None</guilabel> if your source files
are already in the XYZ colour space and require no conversion.
</para>

<para>
DCP-o-matic's colour conversion processes are discussed in much more
detail in a separate document <ulink
url="https://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
</para>

<para>
The <guilabel>Range</guilabel> should be set to the range of values
used by your content.  If your content specifies its colours using the full
range of possible values (for example, for 8-bit RGB if black is at 0 and
white is at 255) specify <guilabel>Full (JPEG, 0-255)</guilabel>.  If your
content uses the limited range (for example, 16 for Y as black and 235 for
Y as white) you should specify <guilabel>Video (MPEG, 16-235)</guilabel>.
</para>

<para>
In most cases DCP-o-matic will guess the correct <guilabel>Range</guilabel>
setting from your content, so you should not usually need to adjust it.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Other settings</title>

<para>
The <guilabel>Crop</guilabel> 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.
</para>

<para>
The <guilabel>Fade in</guilabel> and <guilabel>Fade out</guilabel>
settings can be used to apply linear fades into and out of a piece of
content.  Specify the time for each, clicking <guilabel>Set</guilabel>
after making any changes.
</para>

<para>
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>

<!-- ============================================================== -->
<section>
<title>Video description</title>

<para>
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 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 &lsquo;DCI Flat&rsquo;).  For a 2K DCP this is 1998x1080 pixels.
</para>

<para>
This description also gives the frame rate of the content and what
will happen to it when it is played at the DCP's frame rate.  See
<xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
frame-rate conversion.
</para>

</section>

</section>


<!-- ============================================================== -->
<section>
<title>Audio</title>

<para>
The <guilabel>Audio</guilabel> tab controls properties of the sound, as shown in <xref linkend="fig-audio-tab"/>.
</para>

<figure id="fig-audio-tab">
  <title>Audio settings tab</title>
  <mediaobject>
    <imageobject>
       <imagedata fileref="screenshots/audio-tab&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<!-- ============================================================== -->
<section>
<title>The audio map</title>

<para>
The section at the bottom of the audio tab is the &lsquo;audio
map&rsquo;.  This governs how sound from the content will be arranged
in the DCP.
</para>

<para>
Down the left-hand side of the map is the list of audio channels in
the currently-selected piece of content.  These are labelled with two
numbers; the first is the stream index within the content and the
second is the channel number within that stream.  Some content will
have different streams for different languages or audio mixes.  Along
the top is each channel in the DCP.  A green box means that the
corresponding content channel will be copied into the corresponding
DCP channel.
</para>

<para>
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
to prevent clipping when the two channels are added.
</para>

<para>
The green boxes of the audio mapping view tell you (very roughly) how
much gain is applied to each channel.  A full-height box means 0dB
(i.e. unity) gain.  Any less height indicates lower gain.
</para>

<para>
To map one channel to another with 0dB gain, click in the empty box
and it will turn green to reflect the mapping.  A second click will
turn the mapping back off.  To set some other gain, right-click on the
box to open the gain menu.  This allows you to set
<guilabel>Off</guilabel> (no mapping or negative infinity gain),
<guilabel>Full</guilabel> (0dB gain), -6dB gain or
<guilabel>Edit</guilabel> which allows you to set the required gain
precisely.
</para>

<para>
Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
</para>

<figure id="fig-audio-map-eg1">
  <title>Audio map example 1</title>
  <mediaobject>
    <imageobject>
       <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
Here, we have two channels in the source which are mapped to left and
right, respectively, in the DCP.  The full green boxes show that the
mapping is at unity gain (0dB) in each case.  Imagine that we modify
the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
</para>

<figure id="fig-audio-map-eg2">
  <title>Audio map example 2</title>
  <mediaobject>
    <imageobject>
       <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
We now have the content's streams mapped to left and right and also
mixed together and placed in the DCP's centre channel.  The smaller
green boxes on the centre mappings show that those channels are added
with some non-unity gain; you can see by hovering the mouse pointer
over those boxes that the gain for content channels 1 and 2 is -6dB
when being sent to the centre channel and 0dB when being sent to left
and right.
</para>

<figure id="fig-audio-map-eg3">
  <title>Audio map example 3</title>
  <mediaobject>
    <imageobject>
       <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
shows the mapping of a 5.1 source into a 5.1 DCP.
</para>

</section>


<!-- ============================================================== -->
<section>
  <title>Other controls</title>

<para>
<guilabel>Show graphs of audio levels</guilabel> will analyse the
audio of the selected content and plot it on a graph.  See <xref
linkend="sec-show-audio"/> for more details.
</para>

<para>
<guilabel>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>

<para>
If you use a sound processor that DCP-o-matic knows about, it can help
you calculate changes in gain that you should apply.  Say, for
example, that you make a test DCP and find that you have to run it at
volume 5 instead of volume 7 to get a good sound level in the screen.
If this is the case, click the <guilabel>Calculate...</guilabel>
button next to the audio gain entry, and the dialogue box in <xref
linkend="fig-calculate-audio-gain"/> will open.
</para>

<figure id="fig-calculate-audio-gain">
  <title>Calculating audio gain</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
For our example, put 5 in the first box and 7 in the second and click
<guilabel>OK</guilabel>.  DCP-o-matic will calculate the audio gain
that it should apply to make this happen.  Then you can re-make the
DCP (this will be reasonably fast, as the video data will already have
been done) and it should play back at the correct volume with 7 on
your sound-rack fader.
</para>

<para>
<guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
between audio and video.  A positive delay will move the audio later
with respect to the video, and a negative delay will move it earlier.
</para>

<para>
<guilabel>Fade in</guilabel> and <guilabel>Fade out</guilabel> can be
used to set fades for the audio.  If your selected content also contains
video you can tick <guilabel>Use same fades as video</guilabel> if you
want the audio to fade in/out with the picture.  When <guilabel>Use same fades...</guilabel>
is ticked the fades used will be the ones set in the <guilabel>Video</guilabel> tab.
</para>

</section>
</section>


<!-- ============================================================== -->
<section>
<title>Timed text (subtitles and closed captions)</title>

<para>
The timed text tab contains settings related to subtitles and closed captions in your
content, as shown in <xref linkend="fig-timed-text-tab"/>.
</para>

<figure id="fig-timed-text-tab">
  <title>Timed text settings tab</title>
  <mediaobject>
    <imageobject>
       <imagedata fileref="screenshots/timed-text-tab&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
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&trade;)
</para>

<para>
DCP-o-matic can either:
</para>

<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
  free program <ulink
  url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
  for creating such files.</listitem>
</itemizedlist>

<para>
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 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>

<para>
With subtitles you have the further choice of whether to burn the
subtitles into the image or include them as a separate subtitle
&lsquo;asset&rsquo; 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 <xref linkend="fig-burn-in"/>
and <xref linkend="fig-discrete"/>.
</para>

<figure id="fig-burn-in">
  <title>Burnt-in subtitles</title>
  <mediaobject>
    <imageobject>
       <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
    </imageobject>
  </mediaobject>
</figure>

<figure id="fig-discrete">
  <title>Separate subtitles</title>
  <mediaobject>
    <imageobject>
       <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
The advantage of separate subtitles is that the same video content can
be used for DCPs in many different languages.  This means that only a
small text file needs to be changed for each target language, rather
than a large video file.  It also means that the time-consuming video
encoding need only be done once for the project rather than once for
every language.
</para>

<para>
Select the <guilabel>Use as</guilabel> 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.
</para>

<para>
Select the <guilabel>Burn subtitles into image</guilabel> check-box to
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.
</para>

<para>
The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
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%.
</para>

<para>
The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
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.
</para>

<para>
The <guilabel>Line spacing</guilabel> control adjusts the line spacing
of the subtitles.  This only works for subtitles that did not come from bitmaps.
</para>

<para>
The <guilabel>Stream</guilabel> control changes the subtitle stream
that is used when the content has more than one.
</para>

<para>
If you are using non-image (text) subtitles or closed captions you can see the
subtitle text and timings by clicking the <guilabel>View...</guilabel>
button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
</para>

<para>
With any subtitles you can click <guilabel>Appearance...</guilabel> to
change how the subtitles look.  Some of the controls in the
<guilabel>Appearance</guilabel> only apply to burnt-in subtitles, as
only limited control is available for subtitles rendered by the
projection system.
</para>

<section>
<title>Closed captions</title>

<para>If you choose <guilabel>closed captions</guilabel> or <guilabel>closed subtitles</guilabel>
the timed text options will change a little, because then your captions or subtitles will be
displayed on a dedicated display device, rather than on screen.</para>

<para>Firstly, with closed captions you can no longer burn into the image, nor adjust font or
appearance.  Closed caption displays usually do not allow different fonts or letter appearance.
The position, scale and line spacing options are also disabled, for the same reason.</para>

<para>Secondly, there is a new <guilabel>Track</guilabel> control.  This is because with some
closed caption devices the viewer can choose one of several tracks to look at (perhaps in the
language of their choice).  For each piece of closed caption content you will need to choose
a track, creating a new one (by clicking on the drop-down and choosing <guilabel>Add new...</guilabel>)
if required.  Adding a new track will prompt you for a name (which can be anything) and the
language that the track is in.</para>

</section>

</section>


<!-- ============================================================== -->
<section>
<title>Timing</title>

<para>
The timing tab contains settings related to the timing of your
content, as shown in <xref linkend="fig-timing-tab-detail"/>.
</para>

<figure id="fig-timing-tab-detail">
  <title>Timing settings tab</title>
  <mediaobject>
    <imageobject>
       <imagedata fileref="screenshots/timing-tab&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
These are expressed as four numbers, as shown in <xref
linkend="fig-timecode"/>.
</para>

<figure id="fig-timecode">
  <title>Timecode</title>
  <mediaobject>
    <imageobject>
       <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
<guilabel>Position</guilabel> is the time at which this piece of
content should start within the DCP.  In most cases, this will be
<code>0:0:0:0</code> to make the content start at the beginning of the
DCP.
</para>

<para>
<guilabel>Full length</guilabel> 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.
</para>

<para>
<guilabel>Trim from start</guilabel> specifies the amount that should
be trimmed from the start of the content.  You can set this amount to
trim up to the current preview position by clicking <guilabel>Trim up
to current position</guilabel>.
</para>

<para>
<guilabel>Trim from end</guilabel> specifies the amount that should be
trimmed from the end of the content.  You can set this amount to trim
after the current preview position by clicking <guilabel>Trim after to
current position</guilabel>.
</para>

<para>
<guilabel>Play length</guilabel> indicates how long this piece of
content will be once the trims have been applied.  This will be equal
to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
</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
<guilabel>Set</guilabel> button will make DCP-o-matic take account of
any changes to the corresponding timecode.
</para>

</section>


<!-- ============================================================== -->
<section>
  <title>Timeline</title>

  <para>
    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 <guilabel>Timeline...</guilabel> button
    next to the content list.  This will open a window like the one in <xref linkend="fig-timeline1"/>.
  </para>

  <figure id="fig-timeline1">
    <title>Timeline</title>
    <mediaobject>
      <imageobject>
	<imagedata fileref="screenshots/timeline1&scs;"/>
      </imageobject>
    </mediaobject>
  </figure>

  <para>
    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.
  </para>

  <para>
    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.
  </para>

  <para>
    The toolbar at the top of the window offers the following tools:
  </para>

  <itemizedlist>
    <listitem>Select &mdash; to select and move content.</listitem>
    <listitem>Zoom in &mdash; to drag out an area that you want to see more closely.</listitem>
    <listitem>Zoom out &mdash; to zoom out so that the window shows the whole film.</listitem>
    <listitem>Snap &mdash; when enabled, content will snap to other content when you drag it close.</listitem>
    <listitem>Sequence &mdash; when enabled, content will be kept in sequence, without gaps, even if some content is removed.</listitem>
  </itemizedlist>
</section>

<!-- ============================================================== -->
<section>
<title>Video processing pipeline</title>

<para>
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.
</para>

<para>
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
happen with a trailer).  The source image is shown in <xref
linkend="fig-pipeline1"/>.
</para>

<figure id="fig-pipeline1">
  <title>Example image to demonstrate video processing</title>
  <mediaobject>
    <imageobject>
       <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
DCP-o-matic runs through the following steps when preparing an image for a DCP:
</para>

<itemizedlist>
<listitem>Crop</listitem>
<listitem>Scale</listitem>
<listitem>Place in container</listitem>
</itemizedlist>

<para>
First, some amount of the image can be cropped.  This is almost always
used to remove black borders (letterboxing and/or pillarboxing) around
images.
</para>

<para>
In our example image, we would use 36 pixels of crop from the top and
bottom.  This would give the new image shown in <xref
linkend="fig-pipeline2"/>.
</para>

<figure id="fig-pipeline2">
  <title>Example image after cropping</title>
  <mediaobject>
    <imageobject>
       <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
    </imageobject>
  </mediaobject>
</figure>

<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>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>Next, we would choose
<guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
option in the <guilabel>DCP</guilabel> tab.
</para>

<para>
Given the scaling and container information, DCP-o-matic will look at
the DCP's container size, and then scale the source image up until one
or both of its dimensions (width, height or both) fits the size of the
container, all the while preserving the desired aspect ratio.
</para>

<para>
In our example here, the DCP's container is specified as 1.85:1 (so
that the DCP will play back correctly using the projector's
&lsquo;Flat&rsquo; 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 1998x836.  This gives us a new version of the image as shown
in <xref linkend="fig-pipeline3"/>.
</para>

<figure id="fig-pipeline3">
  <title>Example image after cropping and scaling</title>
  <mediaobject>
    <imageobject>
       <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
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 1.85:1 DCP,
we have set the <guilabel>container</guilabel> in the
<guilabel>DCP</guilabel> tab to be Scope.  Since the content has been
scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
be some black bars at the top and bottom of the image.  DCP-o-matic
shares out this black equally, as shown in <xref
linkend="fig-pipeline3"/>.
</para>

<figure id="fig-pipeline4">
  <title>Example image in the DCP</title>
  <mediaobject>
    <imageobject>
       <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
    </imageobject>
  </mediaobject>
</figure>

</section>


<section>
  <title>Copy and paste settings</title>

<para>
Once you have set up a piece of content it is possible to copy the
settings you have applied to another piece of content.  To do this,
select the content to copy from and choose <guilabel>Copy</guilabel>
from the <guilabel>Edit</guilabel> menu.  Then select the content to
copy to and choose <guilabel>Paste</guilabel>.  A dialogue box will
open to allow you to choose which settings you want to copy.  Clicking
<guilabel>OK</guilabel> will apply the copied settings.
</para>

</section>


<section>
<title>Advanced content settings</title>

<para>
There are a few more content settings that you can change by right-clicking a piece of content in the list and choosing <guilabel>Advanced settings...</guilabel>
This opens the dialogue box shown in <xref linkend="fig-advanced-content"/>.
</para>

<figure id="fig-advanced-content">
  <title>Advanced content dialogue</title>
  <mediaobject>
    <imageobject>
       <imagedata fileref="screenshots/advanced-content&scs;"/>
    </imageobject>
  </mediaobject>
</figure>


<!-- ============================================================== -->
<section>
<title>Video filters</title>

<para>
The <guilabel>Video filters</guilabel> setting allows you to apply various
filters to the image.  These may be useful to try to improve
poor-quality sources like DVDs.  You can set up the filters by clicking the
<guilabel>Edit</guilabel> button next to the filters entry; this opens the filters selector
as shown in <xref linkend="fig-filters"/>.
</para>

<figure id="fig-filters">
  <title>Filters selector</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/filters&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

</section>


<section>
<title>Override frame rate</title>

<para>
The <guilabel>Override detected video frame rate</guilabel> setting has some different effects depending on the type of content
you use it on.
</para>

<para>
For video content, it sets the frame rate that DCP-o-matic will run the video at.  This is useful if DCP-o-matic has mis-detected
the video frame rate.  For example, if DCP-o-matic says your content is 24fps when you know for a fact it's 25fps, you can set the
override value to 25 to force DCP-o-matic to do the right thing.
</para>

<para>
On audio, subtitle and caption content this setting behaves slightly differently.  It sets the video frame rate that the content
in question was intended to work with.  As an example, consider a project with a 23.976fps video source and some separate audio files.
Perhaps those audio files have been mastered alongside a 24fps version of your video.  By default, DCP-o-matic will see the 23.976fps
video file and decide to run it slightly fast at 24fps to fit the DCP standard.  It will then also run the audio slightly fast so that
it stays in sync with the video.
</para>

<para>
In this case, though, that is not what you want, since the audio is already &lsquo;fixed&rsquo; to work alongside 24fps video.  If you
override the video frame rate of the <emphasis>audio</emphasis> content to 24fps this will stop DCP-o-matic altering it.
</para>

<para>
A similar situation can occur if you have video at one rate and a subtitle file that was prepared with its timing at a different rate.
In that case, you should override the video frame rate of the <emphasis>subtitle</emphasis> content to the one that it was prepared for.
This will mean that DCP-o-matic can get the relative timing right.
</para>

<para>
Do <emphasis>not</emphasis> use this setting to change the DCP frame rate.  Doing so will result in strange effects and sync problems.
</para>
</section>


<section>
<title>Video has burnt-in subtitles</title>
<para>
Details about subtitle language are stored in various places within the DCP metadata.  If a piece of video content already has subtitles
burnt into the image you can tell DCP-o-matic the language that they are in by clicking the <guilabel>Edit...</guilabel> button.
</para>
</section>


<section>
<title>Ignore this content's video</title>
<para>
Tick this if you have some content which includes video along with other things (such as audio or subtitles) and you do
<emphasis>not</emphasis> want the video to appear in the DCP.
</para>
</section>


</section>

</chapter>


<!-- ============================================================== -->
<chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>DCP settings</title>

<para>
This chapter describes the settings that apply to the whole DCP.  The
controls for these settings are in the <guilabel>DCP</guilabel> tab of
the main window, as shown in <xref linkend="fig-dcp-tab"/>.
</para>

<figure id="fig-dcp-tab">
  <title>DCP settings tab</title>
  <mediaobject>
    <imageobject>
       <imagedata fileref="screenshots/dcp-tab&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
The first thing here is the name.  This is generally set to the title
of the film that is being encoded.  If <guilabel>Use ISDCF
name</guilabel> is not ticked, the name that you specify will be used
as-is for the name of the DCP.  If <guilabel>Use ISDCF name</guilabel>
is ticked, the name that you enter will be used as part of a
ISDCF-compliant name.
</para>

<para>
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 <guilabel>Metadata</guilabel> dialogue box, which you can
open by clicking on the <guilabel>Metadata</guilabel> button.
</para>

<para>
If you want to take the ISDCF-compliant name that DCP-o-matic
generates and modify it, click <guilabel>Copy as name</guilabel> and
the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
You can then edit it as you wish.  The DCP name should not matter (in
that it should not affect how the DCP ingests or plays) but
projectionists will appreciate it if you use the
<ulink url="https://registry-page.isdcf.com/illustratedguide/">standard naming scheme</ulink>
as it makes it easier to identify details of the content.
</para>

<para>
The <guilabel>Content Type</guilabel> option can be
&lsquo;feature&rsquo;, &lsquo;trailer&rsquo; or whatever; select the
required type from the drop-down list.  On some projection systems
this will affect where your content appears in the projector's server
user interface, so take care to select an appropriate type.
</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
KDM to play back.  Encryption is discussed in <xref
linkend="ch-encryption"/>.
</para>

<para>
If you use encryption DCP-o-matic will generate a random encryption
key for you.  To specify your own key, click the
<guilabel>Edit..</guilabel> button next to the key.
</para>

<para>
The <guilabel>Reels...</guilabel> button opens a dialogue box which
can be used to specify how the DCP will be split up into 
&lsquo;reels&rsquo;.  See <xref linkend="sec-reels"/>.
</para>

<para>
The <guilabel>Standard</guilabel> option specifies which of the two
DCP standards DCP-o-matic should use.  If in doubt, use SMPTE (the
more modern of the two).
</para>

<para>
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>
At the bottom of the DCP tab are a further two tabs, one each to
contain the settings for the DCP's video and audio parts.
</para>

<para>
The <guilabel>Container</guilabel> option sets the ratio of the image
in the DCP.  If this ratio is different to the ratio used for any
content, DCP-o-matic will pad the content with black.  In simple cases
this should be set to the same ratio as that for the the primary piece
of video content.  Alternatively, you might want to pillarbox a small
format into a Flat container: in this case, select the small format
for the content's ratio and &lsquo;Flat&rsquo; 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
want it to be the same as the video content that you are using.  If it
is not the same, DCP-o-matic must resort to some tricks to alter your
content to fit the specified frame rate.  Frame rates are discussed in
more detail in <xref linkend="ch-frame-rates"/>.
</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
made 3D compatible by repeating the same frame for both left and right
eyes.  A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
Real-D etc.) but not on a 2D system.
</para>

<para>
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).
Most commercial DCPs use bit rates between 75 and 125 Mbit/s.
</para>

<para>
<guilabel>Re-encode JPEG2000 data from input</guilabel> 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.
</para>

<para>
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
required by the DCI standard.  If you want an odd number of channels,
set the DCP channel count to one greater than you need and the
unused channel will be filled with silence.
</para>

<para>
The <guilabel>Processor</guilabel> control allows you to select a
process to apply to the audio before it goes into the DCP.  One process is currently provided:
</para>

<itemizedlist>
<listitem>Mid-side decoder &mdash; this will take a L/R
stereo input and extract the common part (corresponding to the
&lsquo;Mid&rsquo; 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.
This may be useful to make near-field L/R mixes more compatible with
cinema audio systems.</listitem>
</itemizedlist>

<para>
If there is spoken language in your project's audio you can tick the
<guilabel>Language</guilabel> checkbox and then specify the language
of that audio.  This information will be used for the ISDCF name, written into
the DCP cover sheet, and added as metadata to the audio MXF files in the DCP.
</para>


<!-- ============================================================== -->
<section xml:id="sec-reels">
<title>Reels</title>

<para>
A &lsquo;reel&rsquo; 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 or changeovers)
between the reels are seamless.
</para>

<para>
There is no reason why you can't just use a single reel for the whole
of your DCP, as there is no limit to their length.  Many people choose
to do this.
</para>

<para>
There are, however, some possible advantages of splitting things up
into reels:
</para>

<itemizedlist>
<listitem>
The picture, sound and subtitle data of the DCP will be
split up into more smaller files on disk, rather than fewer larger
files.  This can be useful if the DCP is to be transferred on storage
that has a file size limit.  The FAT32 filesystem, for example, can
only hold files smaller than 4Gb.  A 6Gb DCP with a single reel could
not be transferred using a FAT32-formatted disk.  If that DCP were
split up into two 3Gb reels it could be transferred.
</listitem>
<listitem>
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 to the feature's existing data.
</listitem>
</itemizedlist>

<para>
To change how your DCP will be split up into reels, click the <guilabel>Reels...</guilabel>
button in the <guilabel>DCP</guilabel> tab to open the reels dialogue:
</para>

<figure id="fig-reels">
  <title>Editing reels</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/reels&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
The <guilabel>Reel mode</guilabel> control lets you choose different ways that the reel breaks
are decided.  As you change the mode, the timeline below is updated to reflect the new setting.
</para>

<para>
<guilabel>Single reel</guilabel> simply uses one reel for the entire DCP.  This is fine in most cases:
select it if you are unsure.
</para>

<para>
<guilabel>Split by video content</guilabel> puts a reel break at the start and end of each piece of video
content.  This is useful if you want to make it easier, for example, to make VF which swaps out some credits
or an introduction ident.  If you have a project like the one below, for example:
</para>

<figure id="fig-reels-by-video">
<title>Making reels using split by video content</title>
<mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
</figure>

<para>
you can more easily make a VF with a different ident if the ident is in its own reel.
</para>

<para>
<guilabel>Split by maximum reel size</guilabel> is useful if you want to limit how large the video file for
each reel is.  With this option selected you can alter <guilabel>Maximum reel size</guilabel> as required.
The video files for the reels in the DCP are not guaranteed to be exactly your requested size, but they
should be close.
</para>

<para>
<guilabel>Custom</guilabel> allows you to put your reel breaks wherever you like.  In this mode you can right-click
on the timeline and choose <guilabel>Add reel boundary</guilabel> from the menu.  Once you have reel boundaries you
can drag them around, or set their timecodes precisely with the controls under the timeline.  You can also remove
a reel boundary by right-clicking it and choosing <guilabel>Remove reel boundary</guilabel>.  Ticking <guilabel>Snap when dragging</guilabel>
means that the reel markers will snap to the reel markers of existing DCPs in your project, or the start position
of any other content.
</para>

</section>


<!-- ============================================================== -->
<section xml:id="sec-show-audio">
<title>Show audio</title>

<para>
The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
to examine the audio in your content and plot a graph of its level
over time.  This can be useful for getting a rough idea of how loud
the sound will be in the cinema auditorium.  A typical plot is shown
in <xref linkend="fig-audio-plot"/>
</para>

<figure id="fig-audio-plot">
  <title>Audio plot</title>
  <mediaobject>
    <imageobject>
       <imagedata fileref="screenshots/audio-plot&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
The plot gives the audio level (vertical axis, in dB) with time
(horizontal axis).  0dB represents full scale, so if there is anything
near this you are in danger of clipping the projector's audio outputs.
</para>

<para>
There are two plot types: the peak level and the RMS, which can be
shown or hidden using the check-boxes on the right hand side of the
window.
</para>

<para>
The channel check-boxes will show or hide the plot(s) for
the corresponding channels in the DCP.
</para>

<para>
The smoothing slider applies a variable degree of temporal smoothing
to the plots, which can make them easier to read in some cases.
</para>

<para>Underneath the plot are shown some precise numbers for peaks and other measurements.  A peak value displayed in red means that it is greater than -3dB.</para>

<para>
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>

</chapter>


<!-- ============================================================== -->
<chapter xml:id="ch-templates" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Templates</title>

<para>
If you frequently make DCPs with similar settings you may find it
useful to use templates.
</para>

<para>
Say, for example, you often make 4K feature DCPs from video files in
scope at 25fps.  You can speed up this process by following these steps:
</para>

<itemizedlist>
  <listitem>Create a film with any content and set it up how you like;
  in our example, set the content to scale to DCP, the DCP resolution
  to 4K, and so on.</listitem>
  <listitem>Choose <guilabel>Save as template...</guilabel> from the <guilabel>File</guilabel> menu.</listitem>
  <listitem>Click <guilabel>Save as new new with name</guilabel> to make a new template.</listitem>
  <listitem>Enter a name for your template.</listitem>
</itemizedlist>

<para>
Then in the future you can create a new film, tick the
<guilabel>Template</guilabel> box and choose your previously-saved
template.  The basic film's settings will come from your template, and
when you add some content it will take on the settings of the
first similarly-typed piece of content in your template.
</para>

<para>
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.
</para>

<para>
The following settings from the <guilabel>DCP</guilabel> tab are saved
in templates:
</para>

<itemizedlist>
  <listitem>&ldquo;Use ISDCF name&rdquo; checkbox</listitem>
  <listitem>Content type (FTR, TLR etc.)</listitem>
  <listitem>Container</listitem>
  <listitem>Resolution</listitem>
  <listitem>JPEG200 bandwidth</listitem>
  <listitem>Video frame rate</listitem>
  <listitem>Encrypted checkbox</listitem>
  <listitem>Audio channels</listitem>
  <listitem>Standard (Interop / SMPTE)</listitem>
  <listitem>Audio processor</listitem>
  <listitem>Reel type and length</listitem>
</itemizedlist>

<para>
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>
There are some other options when saving a template.  <guilabel>Save as default</guilabel>
saves the current project as the default template applied to all new films.  If there is some
setting you always use, you can add it to the default template to save time.
</para>

<para>
By choosing <guilabel>Save over existing template</guilabel> you can also update a template
you made previously.
</para>

</chapter>


<!-- ============================================================== -->
<chapter xml:id="ch-export" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
  <title>Export</title>

  <para>
    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.
  </para>

  <para>
    To convert a DCP to ProRes or MP4, the first step is start a new
    project and import the DCP (see <xref
    linkend="ch-manipulating-existing-dcps"/>).  Then, choose
    <guilabel>Export...</guilabel> from the <guilabel>Jobs</guilabel>
    menu to open the export dialogue, as shown in <xref linkend="fig-export"/>.
  </para>

  <figure id="fig-export">
    <title>Export dialogue</title>
    <mediaobject>
      <imageobject>
	<imagedata fileref="screenshots/export&scs;"/>
      </imageobject>
    </mediaobject>
  </figure>

  <para>
    From this dialogue you can select the required output format,
    output file and, in the case of MP4, the quality of the output
    file (by setting the <ulink url="https://trac.ffmpeg.org/wiki/Encode/H.264#crf">CRF value</ulink>).
  </para>

  <para>
    The useful range of CRF values is from 17 (high quality but large file size) to 28 (smaller file size and still reasonable quality).
  </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 <xref linkend="ch-dcp"/>.
  </para>

  <para>
    You can also choose whether to mix down multichannel sources to stereo and whether you want to write separate reels to separate files.
  </para>
</chapter>

<!-- ============================================================== -->
<chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Encryption</title>

<para>
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.
</para>


<!-- ============================================================== -->
<section>
<title>Basics</title>

<para>
DCPs can be encrypted.  This means that the picture and sound data are
encoded in such a way that only cinemas &lsquo;approved&rsquo; by the
DCP's creators can read them.  In particular, this means copies of the
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.
</para>


<!-- ============================================================== -->
<section>
<title>How it works</title>

<para>
This section attempts to summarise how DCP encryption works.  You can
skip it if you like.  You may need some knowledge of encryption
methods to understand it.
</para>

<para>
We suppose that we are trying to send a DCP to
Alice's cinema without a third party called Mallory being able to
watch it himself.
</para>

<para>
There are two main families of encryption techniques.  The first,
symmetric-key encryption, allows us to encode some data using some
numeric key.  After encoding, no-one can decode the data unless they
know the key.
</para>

<para>
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.
</para>

<para>
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, he could just send her a copy of the key.
</para>

<para>
The clever bit in the process requires the use of public-key
encryption.  With this technique we can encrypt a block of data using
some &lsquo;public&rsquo; key.  That data can then only be decrypted
using a corresponding private key which is
<emphasis>different</emphasis> to the public key.  The private and
public keys form a pair which are related mathematically, but it is
extremely hard (or rather, virtually impossible) to derive the private
key from the public key.
</para>

<para>
Public-key encryption allows us to distribute the DCP's key to Alice
securely.  The manufacturer of Alice's projector generates a public
and private key.  They hide the private key inside the projector where
no-one can read it.  They then make the public key available to anyone
who is interested.
</para>

<para>
DCP-o-matic has a similar arrangement except that it stores its
private keys in the user's configuration file. See <xref
linkend="sec-decrypting"/> for details of how to share DCP-o-matic's
certificate so that others can make encrypted DCPs for DCP-o-matic.
</para>

<para>
We take our DCP's symmetric key and encrypt it using the public key of
Alice's projector.  We send the result to Alice over email (using a
format called a Key Delivery Message, or KDM).  Her projector then
decrypts our message using its private key, giving the
symmetric key which can decrypt the DCP.
</para>

<para>
If is fine if Mallory intercepts our email to Alice, since the only
key which can decrypt the message is the private key buried inside
Alice's projector.  The projector manufacturer is very careful that
no-one ever finds out what this key is.  Our DCP is secure: only Alice
can play it back, since only her projector knows the key (even Alice
does not).
</para>

</section>
</section>


<!-- ============================================================== -->
<section>
<title>Encryption using DCP-o-matic</title>

<para>
There are two steps to distributing an encrypted DCP.  First, the
DCP's data must be encrypted, and secondly KDMs must be generated for
those cinemas that are allowed to play the DCP.
</para>

<para>
The first part is simple: ticking the <guilabel>Encrypted</guilabel>
box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
encrypt the DCP that it makes using a random key that DCP-o-matic
generates.  The key will be written to the film's metadata file, which
should be kept secure.
</para>

<para>
A DCP that is generated with the <guilabel>Encrypted</guilabel> box
ticked will not play on any projector as-is (it will be marked as
&lsquo;locked&rsquo;, or whatever the projector manufacturer's term
is).
</para>

<para>
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.
</para>

<section>
<title>Creating KDMs from a DCP-o-matic project</title>

<para>
You can create KDMs from inside a DCP-o-matic project using the
<guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
menu.  This will open the KDM dialogue box, as shown in <xref
linkend="fig-kdm"/>.
</para>

<figure id="fig-kdm">
  <title>KDM dialog</title>
  <mediaobject>
    <imageobject>
      <imagedata scale="35" fileref="screenshots/kdm&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
In order to generate KDMs for a particular projector, you need to know
its <emphasis>certificate</emphasis>.  These are usually made
available by the projector manufacturers as text files with a
<code>.pem</code> extension.
</para>

<para>
DCP-o-matic can store these certificates along with details of their
cinemas and screens within those cinemas.  Each screen has a
certificate for its projector (and optionally certificates for other
trusted devices, such as the sound processor).  DCP-o-matic can
generate KDMs for any screens that it knows about.
</para>

<para>
To add a cinema, click <guilabel>Add Cinema...</guilabel>.  This opens
a dialogue box into which you can enter the cinema's name, and
optionally an email address.  This email address can be used to
get DCP-o-matic to deliver KDMs via email.  You can also enter the time
zone of the cinema, which helps to create KDMs with the correct local
time windows.
</para>

<para>
Once you have added a cinema, select it by clicking on its name, then
click <guilabel>Add Screen...</guilabel>.  The resulting dialogue
allows you to enter a name for the screen and load in its certificate
from a file.  The certificate should be in SHA256 PEM format.
</para>

<para>
Alternatively, certificates for projection systems made by some
manufacturers can be downloaded from databases provided by the
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, and you need
to enter the user name and password into the appropriate tab in
<guilabel>Download certificate</guilabel>.  If you are targeting a screen with
equipment by one of these manufacturers you can click
<guilabel>Download</guilabel> then enter the serial number of the
server in the screen and click <guilabel>Download</guilabel> again
and, all being well, the certificate will be fetched.  Most cinema
projection or technical departments will know these serial numbers.
</para>

<para>
Note that the reliability of the manufacturers' certificate databases
cannot be guaranteed.  It is vital that KDMs are tested by the
destination cinema will in advance of show time to identify any
problems.
</para>

<para>
Each KDM is made for a single Composition Play List (CPL).  This is the
name for a file (part of every DCP) which lists the things that make
up a single &lsquo;composition&rsquo;.  A CPL might, for example, list
a video file, an audio file, and some subtitles, and give details of 
frames rate and other metadata.  A CPL is the thing you choose to 
play on a cinema projector, and is commonly a single film, a single
advert, or perhaps a trailer.
</para>

<para>
A CPL is often effectively the same as a DCP, though it is possible
for a single DCP (&lsquo;package&rsquo;) to contain multiple CPLs.
For example, a DCP might contain CPLs that each describe the same
feature film but with audio tracks in different languages.
</para>

<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
drop-down list to select the CPLs in the current film project, or load
a CPL from somewhere else.  Select the cinemas and/or screens that you
want KDMs for and fill in the start and end dates and times.
</para>

<para>
You must also select the type of KDM that you want to generate.  If in
doubt, use <guilabel>Modified Transitional 1</guilabel>.
</para>

<note>
The differences between the three KDM types are fairly subtle.
<guilabel>DCI Specific</guilabel> and <guilabel>DCI Any</guilabel> add
a <code>&lt;ContentAuthenticator&gt;</code> tag to the KDM which
allows the exhibitor to check that the DCP and KDM have come from a
trusted source.  In addition, <guilabel>DCI Specific</guilabel> adds
information on trusted devices to the KDM.  This allows the KDM
creator to specify devices (such as sound processors) that are allowed
to use keys delivered by the KDM.  At present it is not clear how
widely the <guilabel>DCI Specific</guilabel> and <guilabel>DCI
Any</guilabel> features are supported (or even tolerated) by servers
so you are advised to use <guilabel>Modified Transitional
1</guilabel>.
</note>

<para>
Finally, choose what you want to do with the KDMs.  They can be
written to disk, to a location that you can specify by clicking
<guilabel>Browse</guilabel>.  Alternatively, if you choose
<guilabel>Send by email</guilabel> the KDMs will be zipped up and
emailed to the appropriate cinema email addresses.  Click
<guilabel>Make KDMs</guilabel> to generate the KDMs.
</para>

</section>

<section>
<title>Creating KDMs using a DKDM</title>

<para>
It can be inconvenient to need a whole DCP-o-matic project just to
create KDMs for its film.  Perhaps you want to archive the project to
save space, or create KDMs on a different machine.  In such situations
it is easier to use a DKDM.  This is a normal KDM, but instead of
being targeted at a projection system (to allow it to decrypt the
content) it is targeted at a particular user's certificate.  This
means that the certificate owner can create new KDMs for other users.
The DKDM holds everything that is required to create further KDMs.
</para>

<para>
Sometimes it is useful to create DKDMs that can be used by
DCP-o-matic.  If you create such a DKDM you can keep it and then, at
any point in the future, use DCP-o-matic's standalone KDM creator to
make KDMs for the DKDM's film for any cinema.
</para>

<para>
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.
</para>

<para>
To create a DKDM for DCP-o-matic, open your encrypted project and
select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
<guilabel>Jobs</guilabel> menu.  Select the CPL that you want to make
the DKDM for and click <guilabel>OK</guilabel>.  This DKDM will then
be available in the KDM creator.  This is a separate program which you
can start from the same place that you start the &lsquo;normal&rsquo;
DCP-o-matic.  Its window is shown in <xref linkend="fig-kdm-creator"/>.
</para>

<figure id="fig-kdm-creator">
  <title>The KDM creator</title>
  <mediaobject>
    <imageobject>
      <imagedata scale="30" fileref="screenshots/kdm-creator&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
To create KDMs, select the cinema(s) and/or screens that you want KDMs
to be created for, the date range, the DCP that the KDMs are for and
the destination for the KDMs and click <guilabel>Create
KDMs</guilabel>.
</para>

<para>
By default the <guilabel>DKDM</guilabel> list will list any DCPs for
which you have clicked <guilabel>Make DKDM for
DCP-o-matic</guilabel> in the main DCP-o-matic program.  If you have
other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
specifying the file containing the DKDM.
</para>

<para>
If another organisation wants to send you a DKDM they will ask you for
a target certificate.  You can get DCP-o-matic's target certificate by
opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
tab.
</para>

</section>

<section>
<title>Creating KDMs for a distributor</title>

<para>
Sometimes you have an encrypted DCP and you want to allow somebody else
(for example, a distributor) to make KDMs for the DCP on your behalf.
</para>

<para>
The normal way to do this is to send the distributor a KDM which they
can use with their own KDM creation system.  Such a KDM is often called
a DKDM (the &lsquo;D&rsquo; stands for <emphasis>Distribution</emphasis>).
It is the same as a normal KDM except that it is made to work with another
computer, rather than with a projection system.
</para>

<para>
To make a DKDM for a distributor you will first need to ask them to send you
a decryption certificate.  This should be a small file, usually with the extension
<code>.pem</code>.
</para>

<para>
Once you have the certificate, you will need to add a &lsquo;fake&rsquo; cinema
and screen to the list in DCP-o-matic.  This is because making a KDM for another
computer uses the same process internally as making one for a projection system,
it's just that DCP-o-matic does not have a nice way to present that.
</para>

<para>
In either the KDM window in the main DCP-o-matic, or the KDM creator, first add
a new cinema by clicking <guilabel>Add Cinema...</guilabel>, giving it a name
(perhaps the name of the distributor).
</para>

<para>
Then select this new cinema and click <guilabel>Add Screen...</guilabel> to open
the screen dialogue box, as shown in <xref linkend="fig-add-screen"/>.
</para>

<figure id="fig-add-screen">
  <title>Adding a screen</title>
  <mediaobject>
    <imageobject>
      <imagedata scale="30" fileref="screenshots/add-screen&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
Here you can give any name (perhaps just &lsquo;DKDM&rsquo;).  Then click <guilabel>Get from file...</guilabel>
and choose the certificate file that the distributor gave you.  Finally, click <guilabel>OK</guilabel>.
</para>

<para>
Now you can create a KDM for this screen, and send it to the distributor.  Using that KDM the distributor
can then make KDMs for your DCP for anybody (and also, of course, decrypt the DCP if they wanted to).
</para>

</section>

</section>

<section>
<title>Encryption keys</title>

<para>
  You should be careful when using encryption not to lose important keys.
</para>

<para>
If you are making KDMs from a DCP-o-matic film you
<emphasis>must</emphasis> ensure that you have a backup of the
<code>metadata.xml</code> file from the project, as well as the DCP
itself.
</para>

<para>
If you are using a DKDM you <emphasis>must</emphasis> ensure that you
have a backup of DCP-o-matic's <code>config.xml</code> file, since it
contains the only key which can decrypt the DKDM.  The
<code>config.xml</code> file location depends on your operating
system; possible locations are listed in <xref linkend="ch-config"/>.
</para>

</section>

<section>
  <title>Should I encrypt?</title>

  <para>
    The question of whether encryption is appropriate for a given
    project is a tricky one.
  </para>

  <para>
    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.
  </para>

  <para>
    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.
  </para>

  <para>
    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.
  </para>

</section>


<section>
<title>Encryption overview</title>

<figure id="fig-encryption-overview">
  <title>Overview of encryption</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="diagrams/crypt&dia;"/>
    </imageobject>
  </mediaobject>
</figure>

</section>
</chapter>



<!-- ============================================================== -->
<chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Preferences</title>

<para>
DCP-o-matic provides preferences which can be used to modify its
behaviour.  They are described in this chapter.
</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 tabs.
</para>

<!-- ============================================================== -->
<section>
<title>General</title>

<para>
The general tab is shown in <xref linkend="fig-prefs-general"/>.
</para>

<figure id="fig-prefs-general">
  <title>General preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/prefs-general&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

</section>


<!-- ============================================================== -->
<section>
<title>Language</title>

<para>
If you tick the <guilabel>Set Language</guilabel> checkbox and choose
a language from the list, that language will be used for DCP-o-matic.
You will need to restart DCP-o-matic to see the new language.
</para>

<para>
The translations for DCP-o-matic have been contributed by helpful
users, and some are incomplete.  If your language is not on the last,
or there are missing or incorrect translations, visit <ulink
url="https://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
find out how to contribute a translation.
</para>
</section>


<!-- ============================================================== -->
<section>
<title>Number of threads DCP-o-matic should use</title>

<para>
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 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.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Number of threads DCP-o-matic encode server should use</title>

<para>
This is the number of threads that the encode server should use when
it is running and helping another copy of DCP-o-matic to speed up its
encode.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Configuration file</title>

<para>
This is the location of DCP-o-matic's configuration file on disk.  You
can use this to share configuration between several copies of
DCP-o-matic: across a network share, for instance.
</para>
</section>

<!-- ============================================================== -->
<section>
<title>Cinema and screen database file</title>

<para>
This option allows you to change the file that DCP-o-matic uses to
store details of the cinemas and screens used to make KDMs.  Since
DCP-o-matic 2.18.0 this is an <code>sqlite3</code> file rather than
<code>XML</code>
</para>
</section>

<!-- ============================================================== -->
<section>
<title>Default &ldquo;add file&rdquo; location</title>

<para>
This option sets the &lsquo;starting point&rsquo; for the file picker
when adding content to a project.  It can either be wherever you last
looked for content, or always in the same place as the DCP-o-matic
project folder.
</para>


<!-- ============================================================== -->
<section>
<title>Write relative content paths</title>

<para>
If this checkbox is unticked, the full filenames of content files will
be stored in the DCP-o-matic project.  This means that if you move your
project around, the content files will still be found.  This is useful
if your content files are stored in their own place, unrelated to where
you make your DCP-o-matic projects.
</para>

<para>
Ticking this box means that content filenames will be written relative
to the DCP-o-matic project.  This means that you can move your project
and content files to a different place and your content will still be
found.  This is useful if you keep DCP-o-matic projects alongside the
content they use.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Integrated loudness</title>

<para>
If <guilabel>Find integrated loudness, true peak and loudness range
when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
work when analysing audio.  Leave this ticked if the extra parameters
are useful to you.  If not, untick it to make audio analysis faster.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Automatically analyse content audio</title>

<para>
If this checkbox is ticked an audio analysis will be run whenever content is added that contains sound.
</para>
</section>

<!-- ============================================================== -->
<section>
<title>Updates</title>

<para>
The <guilabel>Check for updates on startup</guilabel> option, if
enabled, will tell DCP-o-matic to check on <ulink
url="https://dcpomatic.com/">dcpomatic.com</ulink> to see if there are 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.
</para>

<para>
The <guilabel>Check for testing updates as well as stable
ones</guilabel> option will also check for test updates as well as
those that are formally &lsquo;released&rsquo;. 
</para>
</section>

</section>

<!-- ============================================================== -->
<section>
<title>Sound</title>

<para>
The sound tab is shown in <xref linkend="fig-prefs-sound"/>.
</para>

<figure id="fig-prefs-sound">
  <title>Sound preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/prefs-sound&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<!-- ============================================================== -->
<section>
<title>Play sound via</title>

<para>
The checkbox to the left of <guilabel>Play sound</guilabel> enables or
disables DCP-o-matic's use of sound.  On some machines there will be
multiple options in the drop-down menu to decide how the sound should
be played.
</para>

<para>
The mapping matrix below specifies how audio from DCP channels will be
routed to your sound hardware.  By default, DCP-o-matic will mix 5.1
audio down to stereo if your chosen output device only has 2 channels.
</para>
</section>

</section>

<!-- ============================================================== -->
<section>
<title>Defaults</title>

<para>
The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
</para>

<figure id="fig-prefs-defaults">
  <title>Defaults preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/prefs-defaults&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
The options in this tab simply allow you to set up default values for
various things in DCP-o-matic.
</para>

<para>
Another way to set up defaults, especially for project settings, is
to use a default template (see <xref linkend="ch-templates"/>).
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Servers</title>

<para>
The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
</para>

<figure id="fig-prefs-servers">
  <title>Servers preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/prefs-servers&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
locate encoding servers automatically (see <xref
linkend="ch-servers"/>).
</para>

<para>
Instead of this (or in addition) servers can be specified explicitly.
To add a server, click <guilabel>Add...</guilabel> and enter the host
name or IP address of the server to use.
</para>

</section>


<!-- ============================================================== -->
<section xml:id="sec-prefs-keys">
<title>Keys</title>

<para>
The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) has controls
related to the keys and certificates used in some parts of DCP
creation.
</para>

<figure id="fig-prefs-keys">
  <title>Keys preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/prefs-keys&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
<guilabel>Export KDM decryption certificate...</guilabel> allows you
to save the certificate that DCP-o-matic uses when decrypting KDMs
that you give it.  Use this option if somebody wants to make a KDM for
you and asks for your certificate.
</para>

<para>
<guilabel>Export all KDM decryption settings...</guilabel> exports a
file which contains all the DCP-o-matic settings related to the use of
KDMs supplied by other people.  Use this button and <guilabel>Import
all KDM decryption settings...</guilabel> to transfer settings between
different copies of DCP-o-matic so that they can both use the same
KDMs.
</para>

<para>
The <guilabel>Re-make certificates and key...</guilabel> button under
<guilabel>Signing DCPs and KDMs</guilabel> can be clicked to recreate
the signing keys used by DCP-o-matic.
</para>

<para>
The two <guilabel>Advanced...</guilabel> buttons open advanced
dialogue boxes for detailed manipulation of DCP-o-matic's certificate
chains.
</para>

</section>

<section>
<title>Advanced keys settings</title>

<para>
At the top of the <guilabel>Advanced</guilabel> dialogue for signing
DCPs and KDMs is the chain of certificates that will be used to sign
DCPs and KDMs.  DCP-o-matic creates a random chain when you first run
it and if you are happy to use this chain you can ignore the
preferences.  Otherwise, you can add or remove certificates from the
chain using the <guilabel>Add...</guilabel> and
<guilabel>Remove</guilabel> buttons.
</para>

<para>
If you want DCP-o-matic to re-create the certificate chain (using new,
random certificates) click <guilabel>Re-make
certificates and key...</guilabel> and specify your organisation and common
names in the dialogue box that opens.
</para>

<para>
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 <guilabel>Import...</guilabel>.  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.
</para>

<para>
At the top of the <guilabel>Advanced</guilabel> dialogue for decrypting DCPs is the chain and key which is used by
DCP-o-matic when you import an encrypted DCP as a piece of content.
The leaf certificate of this chain contains the public key that should
be used when targeting a KDM at DCP-o-matic.
</para>

<para>
Clicking <guilabel>Export chain...</guilabel> will
export the whole certificate chain.
</para>

</section>

<!-- ============================================================== -->
<section xml:id="sec-prefs-tms">
<title>TMS</title>
<titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>

<para>
The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
options for specifying details about your theatre management system
(TMS).  If you do this, and your TMS accepts SSH or FTP connections,
you can upload DCPs directly from DCP-o-matic to the TMS using the
<guilabel>Send DCP to TMS</guilabel> option in the
<guilabel>Jobs</guilabel> menu.
</para>

<figure id="fig-prefs-tms">
  <title>TMS preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/prefs-tms&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
<guilabel>Protocol</guilabel> should be set to SCP or FTP as
appropriate for your TMS.  We know that the Arts Alliance Media (AAM)
and the Doremi ranges uses SCP connections, and that Dolby's TMS uses
FTP.  Do let us know if you use any other type of TMS with the
<guilabel>Send DCP to TMS</guilabel> feature.
</para>

<para>
<guilabel>Passive mode</guilabel> can be ticked to enable the FTP
<code>PASV</code> mode, if you are using FTP.
</para>

<para>
<guilabel>TMS IP address</guilabel> should be set to the IP address of
your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
should be uploaded to (which will be relative to the home directory of
the SSH or FTP user).  Finally, the user name and password are the
credentials required to log into the TMS via SSH or FTP.
</para>

<para>
Note that for this to work on Doremi servers you will need to set the
<code>PasswordAuthentication</code> option in your server's
<code>sshd_config</code> to <code>yes</code>.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Email</title>

<para>
The Email tab is shown in <xref linkend="fig-prefs-email"/>.
</para>

<figure id="fig-prefs-email">
  <title>Email preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/prefs-email&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
These settings are used when DCP-o-matic sends emails.
</para>

<para>
<guilabel>Outgoing mail server</guilabel> should be the host name of a mail (SMTP) server that DCP-o-matic can use.  You can also specify the port.  <guilabel>User name</guilabel> and <guilabel>Password</guilabel> are the credentials that are required to send email through the server you have specified.
</para>

<para>
Clicking <guilabel>Send test email... </guilabel> opens a dialogue box where you can send a test email (using the server you have configured) to make sure that the settings are correct.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>KDM email</title>

<para>
The KDM email tab is shown in <xref linkend="fig-prefs-kdm-email"/>.
</para>

<figure id="fig-prefs-kdm-email">
  <title>KDM email preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
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
&lsquo;magic&rsquo; strings will be replaced by information from the
KDM that is being sent; these strings are shown in <xref linkend="tab-kdm-magic"/>.
</para>

<table id="tab-kdm-magic">
<title>&lsquo;Magic&rsquo; KDM strings</title>
<tgroup cols='2' align='left' colsep='1' rowsep='1'>
<tbody>
<row>
<entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
</row>
<row>
<entry><code>$CPL_FILENAME</code></entry><entry>Filename of the CPL</entry>
</row>
<row>
<entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
</row>
<row>
<entry><code>$CINEMA_SHORT_NAME</code></entry><entry>First 14 characters of the cinema name</entry>
</row>
<row>
<entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
</row>
<row>
<entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
</row>
<row>
<entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
</row>
</tbody>
</tgroup>
</table>

<para>
The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Notifications</title>

<para>
The Notifications tab is shown in <xref linkend="fig-prefs-notifications"/>.
</para>

<figure id="fig-prefs-notifications">
  <title>Notifications preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/prefs-notifications&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
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
<guilabel>Message box</guilabel> is ticked) and email (if
<guilabel>Email</guilabel> is ticked).  If you enable email
notifications you can fill in the details of the emails you want to
send.
</para>

<para>
The bottom box in the tab is the content of the email that should
be sent.  DCP-o-matic will replace the &lsquo;magic&rsquo; strings
<code>$JOB_NAME</code> and <code>$JOB_STATUS</code> in the with the
details of the job that has completed.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Cover sheet</title>

<para>
The DCP cover sheet configuration is shown in <xref linkend="fig-prefs-cover-sheet"/>.
</para>

<figure id="fig-prefs-cover-sheet">
  <title>DCP cover sheet preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/prefs-cover-sheet&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
This is a template for the cover sheet that is written next to every DCP that DCP-o-matic creates.  You can change it to say whatever you like.  A few
&lsquo;magic&rsquo; strings will be replaced by information from the
DCP that has been made:
</para>

<table>
<tgroup cols='2' align='left' colsep='1' rowsep='1'>
<tbody>
<row>
<entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
</row>
<row>
<entry><code>$TYPE</code></entry><entry>DCP content type (e.g. feature, trailer...)</entry>
</row>
<row>
<entry><code>$CONTAINER</code></entry><entry>The container ratio (e.g. flat, scope...)</entry>
</row>
<row>
<entry><code>$AUDIO</code></entry><entry>Details of the audio channels</entry>
</row>
<row>
<entry><code>$AUDIO_LANGUAGE</code></entry><entry>Audio language</entry>
</row>
<row>
<entry><code>$SUBTITLE_LANGUAGE</code></entry><entry>Subtitle language</entry>
</row>
<row>
<entry><code>$LENGTH</code></entry><entry>DCP length in hours, minutes and seconds</entry>
</row>
<row>
<entry><code>$SIZE</code></entry><entry>DCP size in gigabytes</entry>
</row>
</tbody>
</tgroup>
</table>

<para>
You can also insert the timecode of any of the DCP's markers using <code>$</code> with the marker's name:
</para>

<table>
<tgroup cols='2' align='left' colsep='1' rowsep='1'>
<tbody>
<row>
<entry><code>$FFOC</code></entry><entry>First frame of content</entry>
</row>
<row>
<entry><code>$LFOC</code></entry><entry>Last frame of content</entry>
</row>
<row>
<entry><code>$FFTC</code></entry><entry>First frame of title credits</entry>
</row>
<row>
<entry><code>$LFTC</code></entry><entry>Last frame of title credits</entry>
</row>
<row>
<entry><code>$FFOI</code></entry><entry>First frame of intermission</entry>
</row>
<row>
<entry><code>$LFOI</code></entry><entry>Last frame of intermission</entry>
</row>
<row>
<entry><code>$FFEC</code></entry><entry>First frame of end credits</entry>
</row>
<row>
<entry><code>$LFEC</code></entry><entry>Last frame of end credits</entry>
</row>
<row>
<entry><code>$FFMC</code></entry><entry>First frame of moving credits</entry>
</row>
<row>
<entry><code>$LFMC</code></entry><entry>Last frame of moving credits</entry>
</row>
<row>
<entry><code>$FFOB</code></entry><entry>First frame of ratings band</entry>
</row>
<row>
<entry><code>$LFOB</code></entry><entry>Last frame of ratings band</entry>
</row>
</tbody>
</tgroup>
</table>

<para>
These magic strings will be replaced with &lsquo;Unknown&rsquo; if the marker is not defined.
Alternatively, adding <code>_LINE</code> to a marker magic string will make the
timecode appear if the marker is set, otherwise the whole line containing the magic string
will be removed.
</para>

<para>
For example, a cover sheet defined as
</para>

<para>
<programlisting>
Hello: $FFMC
Goodbye: $FFMC_LINE
</programlisting>
</para>

<para>
will be written as
</para>

<para>
<programlisting>
Hello: Unknown
</programlisting>
</para>

<para>
if the <code>FFMC</code> marker is undefined.
</para>

<para>
Clicking <guilabel>Reset to default text</guilabel> will replace the current cover sheet with DCP-o-matic's default.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Identifiers</title>

<para>
The <guilabel>Identifiers</guilabel> tab is shown in <xref linkend="fig-prefs-identifiers"/>.
</para>

<figure id="fig-prefs-identifiers">
  <title>Identifiers preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/prefs-identifiers&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
  These are a set of &lsquo;labels&rsquo; that are written to DCPs made by
  DCP-o-matic and which identify the creator and product used. If they are left
  blank, DCP-o-matic will use its own values which show that DCP-o-matic was
  used.  You can use these labels to &lsquo;brand&rsquo; DCPs with your own
  company details (though these label values are not usually very prominent on
  the user interfaces of projection systems).
</para>

</section>


<!-- ============================================================== -->
<section xml:id="sec-prefs-non-standard">
<title>Non-standard</title>

<para>
The non-standard preferences are shown in <xref linkend="fig-prefs-non-standard"/>.
</para>

<figure id="fig-prefs-non-standard">
  <title>Non-standard preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/prefs-non-standard&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
This tab contains preferences which enable DCP-o-matic to make DCPs with properties
that are non-standard or unusual.  Think carefully before changing these preferences,
as DCP-o-matic may then make DCPs which do not play correctly on some projection systems.
</para>

<para>
<guilabel>Maximum JPEG2000 bandwidth</guilabel> 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.
</para>

<para>
<guilabel>Maximum MPEG2 bit rate</guilabel> is the equivalent for MPEG2 DCPs; I am not aware
of a specified maximum for MPEG2 DCPs.
</para>

<para>
<guilabel>Allow any DCP frame rate</guilabel> 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.
</para>

<para>
Ticking <guilabel>Allow full-frame and non-standard container ratios</guilabel> allows
containers other than &lsquo;Flat&rsquo; (1.85:1) and &lsquo;Scope&rsquo; (2.39:1).
</para>

<para>
Ticking <guilabel>Allow creation of DCPs with 96kHz audio</guilabel> enables 96kHz
as an audio sampling rate option. This is theoretically supported by the DCP standards
but rarely used in practice.
</para>

<para>
<guilabel>Allow mapping to all audio channels</guilabel> will include in the audio
mappings some channels which are usually silent (8, 9 and 15).
</para>

<para>
<guilabel>Allow use of SMPTE Bv2.0</guilabel> adds an option to disable the use of
<code>MCASubDescriptor</code> tags for audio.
</para>

<para>
<guilabel>ISDCF name part length</guilabel> sets how long the film name can be in
the ISDCF name.  14 is the recommended maximum, but longer names should not (in theory)
case problems.
</para>

</section>

<!-- ============================================================== -->
<section xml:id="sec-prefs-advanced">
<title>Advanced</title>
<titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>

<para>
The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
</para>

<figure id="fig-prefs-advanced">
  <title>Advanced preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/prefs-advanced&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
<guilabel>Show experimental audio processors</guilabel> adds some extra
audio processors whose quality has not been fully checked.  If you try them
out it's advisable to listen to the results in a cinema or good 5.1
listening environment to check that they give you what you want.
</para>

<para>
<guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
JPEG2000 data only on encoding servers and not on the host.  We
suggest you leave this unticked unless you have a good reason to do otherwise.
</para>

<para>
<guilabel>Maximum number of frames to store per thread</guilabel> sets
how many frames will be queued up in memory when they cannot yet be written
to disk.  Changing this value will make DCP-o-matic use more memory, but
may make it more efficient when you have a lot of CPU cores or network
encoding servers.
</para>

<para>
With the filename format fields you can adjust the filenames that are
used for metadata (CPL and PKL files) and assets (MXF and subtitle
files).  Below each field there is a list of the &lsquo;magic&rsquo;
values that you can use in the format and an example of a filename
that you might see with your current settings.
</para>

<para>
The checkboxes labelled <guilabel>Log</guilabel> control what
sort of messages DCP-o-matic writes to its log file when creating a
DCP.  It is useful to leave <guilabel>General</guilabel>,
<guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
as this makes the log files useful for tracking down bugs.
</para>

<para>
The <guilabel>Timing</guilabel> checkbox will enable extra log entries
to allow developers to investigate and optimise 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.
</para>

</section>
</chapter>

<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
<title>Frame rates</title>

<para>
In an ideal world, a DCP would be created using content at the same
video frame and audio sampling rates as the DCP.  This is not,
however, always possible.
</para>


<!-- ============================================================== -->
<section>
<title>DCP frame rate limitations</title>

<para>
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, or even just with a different software version) will refuse to play.
</para>


<!-- ============================================================== -->
<section>
<title>Guaranteed rates</title>

<para>
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.
</para>

</section>


<!-- ============================================================== -->
<section>
<title>Other often-supported rates</title>
<para>
Many projectors now in the wild support additional video frame rates:
25, 30, 48, 50 and 60 fps.
</para>
</section>


<!-- ============================================================== -->
<section>
<title>Adapting content to fit the DCP rate</title>

<para>
DCP-o-matic has a few tricks to allow you to use content that is not
in one of the &lsquo;approved&rsquo; rates.
</para>

<para>
Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
with minimal loss in quality.
</para>

<para>
Video rate conversion is harder.  DCP-o-matic's strategy to deal
with a non-supported content rate is to run it at the wrong speed, and
to adjust the audio to keep it in sync.
</para>

<para>Let us consider the example of a 25fps source for which you want
to create a 24fps DCP.  DCP-o-matic will put the frames from the
source directly into the DCP without modification, but will tell the
projector to play them back at 24fps.  This means that the DCP's video
will run slightly slower than the original.
</para>

<para>
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 slow by the same amount.  Hence it will sound
slightly different but will remain in sync with the video.
</para>

<para>
For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
</para>

</section>
</section>


<!-- ============================================================== -->
<section>
<title>Setting up</title>

<para>
The <guilabel>Frame Rate</guilabel> control in the
<guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
will use.  Clicking <guilabel>Use best</guilabel> sets the rate to
what DCP-o-matic thinks is the best for your content.  With this
button, DCP-o-matic assumes that the most commonly-working frame rates (24,
25 and 30fps) are allowed.
</para>

<para>
After this, the <guilabel>Video</guilabel> tab for each piece of
content will give a summary of what DCP-o-matic is doing with that
content.
</para>

<para>
You can experiment with other non-standard frame rates
by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
<xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>).  You are strongly advised to
use this only on your own equipment, and only for experimentation
purposes.
</para>

</section>

</chapter>


<!-- ============================================================== -->
<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
<title>Encoding servers</title>

<para>
One way to increase the speed of DCP encoding is to use more
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 &lsquo;master&rsquo;
machine runs DCP-o-matic, and the &lsquo;server&rsquo; machines run
a small program called <code>dcpomatic_server</code>.
</para>

<para>
The master and server machines do not need to be running the same operating system, so you
can mix Windows PCs, Macs and Linux machines as you wish.
</para>


<!-- ============================================================== -->
<section>
<title>Running the servers</title>

<para>
There are two options for the encoding server:
<code>dcpomatic_server_cli</code>, which runs on the command line, and
<code>dcpomatic_server</code>, which has a simple GUI.  The command line
version is well-suited to headless servers, especially on Linux, and
the GUI version works best on Windows and macOS where it will put an icon in the
system tray.
</para>

<para>
To run the command line version, simply enter:
</para>

<programlisting>
dcpomatic2_server_cli
</programlisting>

<para>
at a command prompt.  If you are running the program on a machine with
a multi-core processor, you can run multiple parallel encoding threads
by doing something like:
</para>

<programlisting>
dcpomatic2_server_cli -t 4
</programlisting>

<para>
to run 4 threads in parallel.
</para>

<para>
To run the GUI version on windows, run the &lsquo;DCP-o-matic encode
server&rsquo; from the start menu.  An icon will appear in the system
tray; right-click it to open a menu from whence you can quit the
server or open a window to show its status.
</para>

<para>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 <ulink
url="https://dcpomatic.com/">DCP-o-matic web site.</ulink></para>

<para>Either burn the image to CD, or write it to a USB stick (using
something like <ulink
url="http://unetbootin.sourceforge.net/">unetbootin</ulink>).  Boot a
PC from the CD or USB stick and it becomes a DCP-o-matic server
without touching your standard operating system install.
</para>

<section>
<title>Ports</title>

<para>For encoding servers to work, some TCP/IP ports must be open.</para>

<para>Encoding servers require open ports:</para>

<itemizedlist>
<listitem><code>6192/tcp</code></listitem>
<listitem><code>6193/udp</code> to be discoverable on the network</listitem>
</itemizedlist>

<para>Master machines require open ports:</para>

<itemizedlist>
<listitem><code>6194/tcp</code> to discover servers</listitem>
<listitem><code>6195/tcp</code> to discover servers for batch conversion</listitem>
</itemizedlist>

</section>

</section>

<!-- ============================================================== -->
<section>
<title>Setting up DCP-o-matic</title>

<para>
DCP-o-matic periodically looks on the local network for servers.  Any
that it finds are given work to do during encodes.  Selecting
<guilabel>Encoding Servers</guilabel> from the
<guilabel>Tools</guilabel> menu brings up a window which shows that
servers that DCP-o-matic has found.
</para>

</section>

<!-- ============================================================== -->
<section>
<title>Some notes about encode servers</title>

<para>
DCP-o-matic does not mind if servers come and go; if a server
disappears, DCP-o-matic will stop sending work to it, and will check
it every minute or so in case it has come back online.
</para>

<para>
You will probably find that using a 1Gb/s or faster network will
provide a significant speed-up compared to a 100Mb/s network.
</para>

</section>

</chapter>

<chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Generated files</title>

<para>
DCP-o-matic generates a number of files as it makes a DCP.  <xref
linkend="fig-file-structure"/> shows the files that might be generated
after you have created a DCP for a film called &lsquo;DCP Test&rsquo;.
</para>

<figure id="fig-file-structure">
  <title>Creating a new film</title>
  <mediaobject>
    <imageobject>
      <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
The <code>DCP Test</code> folder is the one that you specify when you
select the <guilabel>New Film</guilabel> option from DCP-o-matic's
menu.  Everything is stored inside this folder.
</para>

<para>
DCP-o-matic generates some working files as it goes along.  These are as follows:
<itemizedlist>

<listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
along.  This can be useful for debugging purposes if something goes
wrong.</listitem>

<listitem><code>metadata</code> stores the settings that you have made
for this film: things like cropping, output format and so on.</listitem>

<listitem><code>video</code> is where DCP-o-matic writes the DCP's
video data as it encodes it.</listitem>

<listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>

<listitem><code>info</code> contains details of each video frame that
DCP-o-matic has written so far.  This is used when an encoding
operation is interrupted and DCP-o-matic must resume it.</listitem>
</itemizedlist>
</para>

<para>
Following this is the DCP itself:
<code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>.  This
contains some small XML files, which describe the DCP, and two large
MXF files, which contain the DCP's audio and video data.  It may also
contain subtitles or closed captions in either XML or MXF format.  This folder
(<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
to the cinema which is showing your DCP.
</para>

</chapter>


<chapter>
  <title>Command-line tools</title>

  <para>
    DCP-o-matic includes some tools which allow DCP creation and manipulation
    from the command line or from scripting languages. This chapter
    covers the use of those tools.
  </para>

  <para>
    There are four command-line tools in DCP-o-matic.
  </para>

  <itemizedlist>
    <listitem>
      <code>dcpomatic2_create</code> creates film directories, with the
      associated metadata, from a list of content files.
    </listitem>
    <listitem>
      <code>dcpomatic2_cli</code> runs the transcode process on film directories.
    </listitem>
    <listitem>
      <code>dcpomatic2_kdm_cli</code> can be used to create KDMs.
    </listitem>
    <listitem>
      <code>dcpomatic2_map</code> can collect CPLs and assets from existing DCPs
      and make a new DCP.
    </listitem>
  </itemizedlist>

  <para>
    Some applications will benefit from setting up the films using the
    main DCP-o-matic GUI and then using <code>dcpomatic2_cli</code> to
    do the encode.  This allows, for example, setup on a relatively
    low-powered machine before running the encode on a higher-powered
    headless server.
  </para>

  <section>
    <title><code>dcpomatic2_create</code></title>

    <para>
      The syntax for <code>dcpomatic2_create</code> is:
    </para>

    <para>
      <code>dcpomatic2_create [OPTION] &lt;CONTENT&gt; [[OPTION] &lt;CONTENT&gt; ...]</code>
    </para>

    <para>
      <code>[CONTENT]</code> are the files or folders that you want to use in the
      DCP. They can be:
      <itemizedlist>
	<listitem>&lsquo;Movie&rsquo; files in almost any common format (e.g. MP4, MOV, MKV, etc.)</listitem>
	<listitem>A folder containing and image sequence in almost any common format (e.g. TIFF, DPX etc.)</listitem>
	<listitem>Sound files (e.g. WAV, MP3, AIFF)</listitem>
	<listitem>Subtitles files (e.g. <code>.srt</code>, DCP XML, <code>.ssa</code> etc.)</listitem>
      </itemizedlist>
    </para>

    <para>
      The options are:
    </para>

    <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_create.xml"/>

    <para>
      For example, to setup a film using a MP4 file you might do:
    </para>

    <para>
      <code>dcpomatic2_create -o my_film --container-ratio 185 --content-ratio 185 -c FTR -n "My Film" Stuff.mp4</code>
    </para>

    <para>
      This will create a folder called <code>my_film</code> which is ready for a DCP to be made by <code>dcpomatic2_cli</code>.
    </para>

    <para>
      <code>dcpomatic2_create</code> will use any default settings that you have configured in the main DCP-o-matic preferences.
    </para>
  </section>

  <section>
    <title><code>dcpomatic2_cli</code></title>

    <para>
      The syntax for <code>dcpomatic2_cli</code> is:
    </para>

    <para>
      <code>dcpomatic2_cli [OPTION] [FILM]</code>
    </para>

    <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_cli.xml"/>

    <para>
      For example, to encode a film called <code>my_film</code> you might do:
    </para>

    <para>
      <code>dcpomatic2_cli my_film</code>
    </para>
  </section>

  <section>
    <title><code>dcpomatic2_kdm_cli</code></title>

    <para>
      The syntax for <code>dcpomatic2_kdm_cli</code> is:
    </para>

    <para>
      <code>dcpomatic2_kdm_cli [OPTION] &lt;FILM|CPL-ID&gt;</code>
    </para>

    <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_kdm_cli.xml"/>

  </section>

  <section>
    <title><code>dcpomatic2_map</code></title>

    <para>
      The syntax for <code>dcpomatic2_map</code> is:
    </para>

    <para>
      <code>dcpomatic2_map [OPTION] &lt;cpl-file|ID&gt; [&lt;cpl-file|ID&gt; ...]</code>
    </para>

    <para>
      Each <code>&lt;cpl-file|ID&gt;</code> is either a filename or a UUID of a CPL that you want to include
      in the output DCP.
    </para>
    
    <para>
      <code>dcpomatic2_map</code> will search for CPLs (when given by ID) and other required assets in
      directories that you specify with the <code>-d</code> or <code>--assets-dir</code> option.  
    </para>

    <para>
      A new DCP will be created in the directory specified by <code>-o</code> or <code>--output</code> which
      contains the CPLs you specify, along with the required assets and other ancillary files (<code>PKL</code>,
      <code>AssetMap</code> etc.)
    </para>

    <para>
      By default, all the required assets will be copied into the new DCP.  You can change this behaviour by passing
      <code>-l</code> or <code>--hard-link</code> to hard-link the assets (on filesystems and platforms that support
      this) or <code>-s</code> or <code>--soft-link</code> to soft-link the assets.
    </para>

    <para>
      Passing <code>-r</code> or <code>--rename</code> will rename asset files to match DCP-o-matic's configured
      naming scheme.
    </para>

    <para>
      <code>--config &lt;dir&gt;</code> can be used to specify a directory containing the DCP-o-matic configuration
      to use for the DCP naming scheme, creator/issuer metadata, signer chain and so on.
    </para>
  </section>

</chapter>



<!-- ============================================================== -->
<chapter>
<title>Loose ends</title>

<para>
This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
</para>


<!-- ============================================================== -->
<section>
<title>Resuming encodes</title>

<para>
If you cancel a DCP encoding run half-way through, or your computer
crashes... fear not.  DCP-o-matic takes care to ensure that, in most
cases, it can resume encoding from where it left off.  When you
re-start a DCP creation, using the same settings are a previous run,
DCP-o-matic will first check that the existing picture frames are
correct, and then resume from where it left off.  The checking of
existing frames does take some time, but it is much faster than
running a full re-encode.
</para>

<para>
This resumption is achieved by writing a digest (hash) to disk for
every image frame that is written.  On resumption, the existing MXF
file for image data is read and its contents checked against the
hashes.
</para>

</section>

</chapter>

<!-- ============================================================== -->
<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Common tasks</title>

<para>
This chapter describes how to carry out some commonly-required tasks
with DCP-o-matic.  The full details are elsewhere in the manual: here
we just discuss different approaches to these tasks and how to carry
them out.
</para>

<section>
<title>Adding subtitles to an existing DCP</title>

<para>
You have three options:
</para>

<itemizedlist>
<listitem>Make a &ldquo;Version File&rdquo; (VF) DCP.</listitem>
<listitem>Make a complete DCP with projector-added subtitles.</listitem>
<listitem>Make a complete DCP with burnt-in subtitles.</listitem>
</itemizedlist>

<para>
Making a VF DCP is usually the best option.  This will be a very small
DCP which contains only the subtitles: it refers to your existing DCP
for the picture and sound.  The projectionist will ingest both the
existing and VF DCPs and play back the VF.  The advantages of this
approach are that the VF is very quick to generate, and small in size,
making it easy to distribute.  This is especially useful if you have
to make VF DCPs in many different languages.
</para>

<para>
Making a complete DCP with projector-added subtitles gives you a new,
single DCP which the projectionist can ingest and play.  It will be
the same size as your existing DCP, and fairly quick to create.  This
approach relies on the projector (or server) to create the subtitles
and overlay them on the image, which mostly works well but is not
100&percnt; reliable.
</para>

<para>
Making a complete DCP with burnt-in subtitles gives you a new, single DCP
but with the subtitles rendered by DCP-o-matic and copied into your
image.  This is slower to create than a DCP with projector-added
subtitles as every video frame with a subtitle must be re-encoded.
The advantage of this approach is that it is less likely to go wrong,
especially if you are using unusual subtitle positioning or character
sets.
</para>

<section>
<title>Making a VF DCP</title>

<itemizedlist>
<listitem>Start a new DCP-o-matic film.</listitem>
<listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
<listitem>Go to the <guilabel>DCP</guilabel> tab and choose <guilabel>Split by video content</guilabel> for <guilabel>Reel type</guilabel>.</listitem>
<listitem>Open the <guilabel>Version File (VF) setup</guilabel> dialogue box using the <guilabel>Version File (VF)...</guilabel> option in the <guilabel>Tools</guilabel> menu.</listitem>
<listitem>Tick the <guilabel>Video</guilabel> and <guilabel>Audio</guilabel> checkboxes next to your existing DCP's name.</listitem>
<listitem>Add your subtitles to the film in whatever format you have.</listitem>
<listitem>Check the subtitle appearance in the preview; it will be
slow to respond as it is having to decompress images from the existing
DCP.</listitem>
<listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
</itemizedlist>

</section>

<section>
<title>Making a complete DCP with projector-added subtitles</title>

<itemizedlist>
<listitem>Start a new DCP-o-matic film.</listitem>
<listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
<listitem>Add your subtitles to the film in whatever format you have.</listitem>
<listitem>Check the subtitle appearance in the preview; it will be
slow to respond as it is having to decompress images from the existing
DCP.  Adjust the appearance using controls in the
<guilabel>Timed Text</guilabel> or <guilabel>Closed Captions</guilabel> tabs if required.</listitem>
<listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
</itemizedlist>

</section>

<section>
<title>Making a complete DCP with burnt-in subtitles</title>

<itemizedlist>
<listitem>Start a new DCP-o-matic film.</listitem>
<listitem>Click <guilabel>Add DCP...</guilabel> and specify your existing DCP's folder.</listitem>
<listitem>Add your subtitles to the film in whatever format you have.</listitem>
<listitem>Go to the <guilabel>Subtitle</guilabel> tab and tick the <guilabel>Burn subtitles into image</guilabel> checkbox.</listitem>
<listitem>Check the subtitle appearance in the preview; it will be
slow to respond as it is having to decompress images from the existing
DCP.  Adjust the appearance using controls in the
<guilabel>Timed Text</guilabel> or <guilabel>Closed Captions</guilabel> tabs if required.</listitem>
<listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
</itemizedlist>

</section>
</section>

<section>
<title>Adding soundtracks or subtitles in different languages</title>

<para>
If you have a film that is to be dubbed or subtitled in several
languages, the best approach with DCP-o-matic is as follows:
</para>

<itemizedlist>
<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>
<listitem>For each language, make a new Version File (VF) DCP which refers to the OV.</listitem>
</itemizedlist>

<para>
Once you have done this, you send the OV DCP to every cinema and then
the appropriate VF to each cinema depending on what language they want
to play the film in.  The projectionist ingests both DCPs and then plays the VF.
</para>

<para>
The advantage of this approach is that the VF DCPs are much smaller
than the OV since they only have the language-specific parts.  If you
are just changing the subtitles you can often ship the OV by normal
transport means (e.g. a hard drive or download) and send
the VF by email.
</para>

<para>
The full details of OV and VF files are discussed in <xref linkend="sec-overlay"/>.  The steps can be summarised as follows:
</para>

<itemizedlist>
<listitem>Create a new DCP-o-matic project for the OV, as normal, adding video and perhaps sound.  Make the DCP.</listitem>
<listitem>Create a new DCP-o-matic project for the VF.</listitem>
<listitem>Use <guilabel>Add folder...</guilabel> to add your OV DCP to the project.</listitem>
<listitem>Open the <guilabel>Version File (VF) setup</guilabel> dialogue box using the <guilabel>Version File (VF)...</guilabel> option in the <guilabel>Tools</guilabel> menu.</listitem>
<listitem>Tick the <guilabel>Video</guilabel> checkbox next to your existing DCP's name (you may need to select <guilabel>By video content</guilabel> for <guilabel>Reel type</guilabel> in the <guilabel>DCP</guilabel> tab).</listitem>
<listitem>Check also the <guilabel>Audio</guilabel> checkbox if your OV has audio.</listitem>
<listitem>Add your language-specific audio and/or subtitles and Make DCP.</listitem>
</itemizedlist>

</section>

</chapter>

<chapter xml:id="ch-player" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
  <title>Playing DCPs</title>

  <para>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
  play DCPs at reduced resolutions with slower CPUs.</para>

  <para>To use the player, start <guilabel>DCP-o-matic
  Player</guilabel>, and load a DCP using the
  <guilabel>Open</guilabel> option on the <guilabel>File</guilabel>
  menu.</para>

  <para>If you load a VF and/or encrypted DCP you can add your OV
  and/or KDM using the appropriate options on the
  <guilabel>File</guilabel> menu.</para>

  <para>To play an encrypted DCP, the creator of the DCP will need to send you a KDM.  For
  that, they will need a certificate which identifies your copy of DCP-o-matic.
  You can export the certificate by following the instructions given in
  <link xref="sec-decrypting"/>.</para>

  <para>During playback the <guilabel>Performance</guilabel> area at
  the bottom right of the window will give details of how many frames
  are being dropped; these are frames that were not decoded from the
  DCP quickly enough.  If this number is high you can increase
  performance at the cost of rendering quality by choosing an option
  from the <guilabel>View</guilabel> menu.  If you set the player to
  decode at less than full resolution the DCP's data will be decoded
  at this lower resolution, which is quicker than decoding at full
  resolution.
  </para>

  <para>Another way to improve performance is to set the <guilabel>Video display mode</guilabel>
  in <guilabel>Preferences</guilabel> to <guilabel>OpenGL (faster)</guilabel>.  This should provide
  a significant speed-up on most systems, although this mode has not been so widely tested so may
  have problems.
  </para>


<section>
<title>Advanced playback mode</title>

<para>
By default, the DCP-o-matic player is set up to load and play back single DCPs, mostly for checking purposes.
There is also a second, more experimental mode, which is more suited to using DCP-o-matic for &lsquo;presentation&rsquo;
applications, such as playing back DCPs via a projector.  In this mode you can set up basic playlists, in a similar
way to how most commercial playback servers work.
</para>

<para>
<emphasis>Using DCP-o-matic for theatrical exhibition is not widely tested, and I would not advise depending
on it without plenty of testing in your particular environment.</emphasis>
</para>

<para>
The &lsquo;advanced&rsquo; playback mode uses two windows (instead of the usual one):
<itemizedlist>
  <listitem>Full-screen playback window.</listitem>
  <listitem>Control window.</listitem>
</itemizedlist>
The idea is that these windows are spread over two monitors (or one monitor and one projector).
</para>

<para>
To enable &lsquo;advanced&rsquo; mode, load the player and go to the preferences and open the <guilabel>General</guilabel>
tab of preferences, then choose <guilabel>full screen with separate advanced controls</guilabel> from the
<guilabel>Start player as</guilabel> drop-down list.  Then close and re-start the player.
</para>
</section>

<para>
On loading the player in &lsquo;advanced&rsquo; mode you will see a control window like the one in <xref linkend="fig-advanced-player"/>.
</para>

<figure id="fig-advanced-player">
  <title>Player in advanced mode</title>
  <mediaobject>
    <imageobject>
      <imagedata scale="30" fileref="screenshots/advanced-player&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
The important parts are the list of playlists, in the top left, and the current playlist, on the right.  Double-click a playlist to load it,
and then press the <guilabel>Play</guilabel> button to start playback.
</para>

<para>
Creating playlists must be done using the separate DCP-o-matic Playlist Editor.  As with the other tools, this is included
with the normal installer on Windows and most Linux distributions, but must be downloaded separately on macOS or if you are using AppImage.
</para>

<para>
The first important step after loading the playlist editor for the first time is to set the location of your playlists, the content (i.e. DCPs)
that they will use, and a folder containing any KDMs that the content needs.  This can be done in the Playlist Editor preferences window,
as shown in <xref linkend="fig-playlist-editor-prefs"/>.
</para>

<figure id="fig-playlist-editor-prefs">
  <title>Playlist editor preferences</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/playlist-editor-prefs&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
Once you have done this you can start creating playlists in the main editor window.  Each playlist you create will be shown in the player and
so be available for playback.  The playlist editor is shown in <xref linkend="fig-playlist-editor"/>.
</para>

<figure id="fig-playlist-editor">
  <title>Playlist editor</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/playlist-editor&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
The top half of the window shows the current list of playlists.  Create a new one by clicking the <guilabel>New</guilabel> button.  You can
then edit its name and add remove, or reorder content in the bottom half of the window.  Playlists are saved automatically each time they
are changed.
</para>

</chapter>


<chapter xml:id="ch-verifier" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
  <title>Verifying DCPs</title>

  <para>
    The DCP-o-matic Player (see <xref linkend="ch-player"/>) also offers a DCP verifier.  To check a DCP,
    open it and then select <guilabel>Verify DCP</guilabel> from the
    <guilabel>Tools</guilabel> menu.
  </para>

  <para>
    The verifier will report three kinds of problems:
  </para>

  <itemizedlist>
  <listitem><emphasis>Errors</emphasis> &mdash; serious problems with the DCP that are likely to cause problems on playback.</listitem>
  <listitem><emphasis>Bv2.1 errors</emphasis> &mdash; errors described by the <ulink url="https://ieeexplore.ieee.org/stamp/stamp.jsp?arnumber=9161348">SMPTE Bv2.1 standard</ulink>.</listitem>
  <listitem><emphasis>Warnings</emphasis> &mdash; small problems that may not matter.</listitem>
  </itemizedlist>

  <para>
    It will also report some &lsquo;good&rsquo; things, which have been checked and found to be in order.
  </para>

  <para>
    The following sections list what the verifier checks for in each category.
  </para>

  <section>
  <title>Errors</title>
  <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="verify_errors.xml"/>
  </section>

  <section>
  <title>Bv2.1 errors</title>
  <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="verify_bv21_errors.xml"/>
  </section>

  <section>
  <title>Warnings</title>
  <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="verify_warnings.xml"/>
  </section>

  <section>
  <title>Notes which indicate that something is correct</title>
  <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="verify_ok.xml"/>
  </section>

</chapter>


<!-- ============================================================== -->
<chapter xml:id="ch-writer">
<title>Writing DCPs to disks</title>

<para>
Once you have your DCP, you need to get it to the cinema or theatre who
will play it. Sometimes this is possible via the internet, using a
service such as Filemail. If that's an option: go for it! Network
transfers avoid a lot of the difficulties that other methods have.
</para>

<para>
However, your DCP may be too large to make that practical. In that case,
the usual approach is to copy the DCP onto a USB hard drive or stick and
physically take it or send it to the cinema.
</para>

<section>
<title>Hard drive formatting</title>

<para>
In theory, this should be as simple as dragging and dropping the DCP's
files onto a USB-connected drive. Sadly, though, things are not always
that simple. This is because not all hard drives are formatted in the
same way. The most common formats for hard drives are:
</para>

<itemizedlist>
<listitem>APFS &mdash; used by macOS 10.13 and later for solid state drives (SSDs).</listitem>
<listitem>HFS+ (Mac OS Extended) &mdash; used by macOS on 10.12 and earlier, and on all macOS systems for spinning disks.</listitem>
<listitem>NTFS &mdash; modern format used by Windows.</listitem>
<listitem>ExFAT &mdash; another modern, but less common (and buggier) format used by Windows.</listitem>
<listitem>FAT32 &mdash; old format used by Windows.</listitem>
<listitem>ext2, ext3, ext4 &mdash; often used by Linux.</listitem>
</itemizedlist>

<para>
You can format a drive however you want, but a drive set up on macOS will usually use APFS, just as one set up on Windows will probably use NTFS or ExFAT.
</para>

<para>
The problem you have as a DCP maker is: the only format that is
guaranteed to work in all cinemas is ext2. This format is not easy to
use directly from Windows or macOS: both operating systems need extra
software to write ext2 drives.
</para>

<para>
The &ldquo;DCP-o-matic Disk Writer&rdquo; provides a possible
solution to this problem.  It allows you to format and copy DCPs onto ext2-formatted disks from Windows, macOS or Linux.
</para>

</section>


<section>
<title>Caution</title>

<para>
DCP-o-matic is made by one developer in his spare time. As a project,
we do not have any quality assurance department, testing team or
anything like that. Though we try our best to ensure quality using
automated testing, and by the great efforts of our users to find and report problems,
bugs do get into the code and things do go wrong.
</para>

<para>
Though very undesirable, bugs in most parts of DCP-o-matic are usually
not disastrous; they most often result in an error message, or some
problem with a DCP. The Disk Writer tool, however, is a bit different.  It obtains
permission from your operating system to write directly to disks connected to the
computer.  Though we have done as much as we can to prevent problems, there is a chance
that a bug in the Disk Writer could cause irretrievable data loss (for example, if
the writer wrote to the wrong drive by mistake).
</para>

<para>
No such problems have been reported, nor found by us during testing, but I would
like to warn you that they are possible.  As always, make sure that you have backups
(somewhere that is not directly connected to your computer) of anything that you do not want
to lose.
</para>

</section>


<section>
<title>Writing a DCP to a disk</title>

<para>
Starting up the Disk Writer will open its main window:
</para>

<figure id="fig-disk-writer">
  <title>The Disk Writer</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/disk-writer&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>Next, click <guilabel>Add...</guilabel> and choose the DCP that you want to write.  You can
write several DCPs to the same drive by clicking <guilabel>Add..</guilabel> again.</para>

<para>
Now we need to choose the drive that the DCPs will be written to from the drop-down menu.
<emphasis>Whichever drive you choose will be irretrievably wiped!</emphasis>
If the drive you want is not listed, click <guilabel>Refresh</guilabel> to search the system for drives.
</para>

<para>
Finally, click <guilabel>Copy DCPs</guilabel>.  After a confirmation window, the drive will be formatted,
and the DCPs copied and then read back to check that they were written correctly.
</para>

</section>

</chapter>


<!-- ============================================================== -->
<chapter xml:id="ch-combining">
<title>Combining DCPs</title>

  <para>
    The main &lsquo;DCP-o-matic&rsquo; tool is designed to create a single DCP
    containing a single Composition Play List (CPL): in other words, a
    single folder containing one film, trailer or advert that can be played.
  </para>

  <para>
    However, it is also possible to have a single DCP folder containing multiple
    CPLs. A projectionist can then ingest (copy) a single thing onto their
    playback server but have the choice of several different things to play.
    This is often useful to package up different versions of a film (perhaps
    with different subtitles or audio tracks) into a single folder.
  </para>

  <para>
    The difference between a single folder multiple CPLs, or multiple folders
    each containing a single CPL, is not great, but sometimes a single folder is
    more convenient.
  </para>

  <para>
    In an ideal world, perhaps it would be possible to create multi-CPL DCPs
    from the main &lsquo;DCP-o-matic&rsquo; tool.  This is not yet possible
    (mostly because I find it hard to imagine a user interface that allows it
    without complicating the more common &lsquo;single CPL&rsquo; case).
    Instead, there is a separate tool, the &lsquo;DCP-o-matic Combiner&rsquo;
    that allows multiple DCPs to be combined into a single one.
  </para>

  <para>
    Loading the DCP-o-matic Combiner shows a small window:
  </para>

<figure id="fig-combiner">
  <title>The Combiner</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/combiner&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

  <para>
    First, click <guilabel>Add...</guilabel> to add the DCPs that you want to join.
    Fill in an annotation text (a title) for the combined DCP.  Finally, choose an
    output folder, click <guilabel>Combine</guilabel> and your combined DCP will be
    prepared.
  </para>

</chapter>



<!-- ============================================================== -->
<chapter xml:id="ch-metadata">
<title>Editing DCP metadata</title>

<para>
  The main &lsquo;DCP-o-matic&rsquo; tool is designed to ease creation of new DCPs
  from existing content.  Though it re-uses data where appropriate, it will almost
  always create new assets (the large files containing picture, sound or subtitles).
</para>

<para>
  Sometimes it is necessary to make small edits to existing DCPs (especially to
  the metadata) or to fix DCPs that have errors.  DCP-o-matic has a tool for that:
  the &lsquo;DCP-o-matic Editor&rsquo;.  Though it is currently quite limited in
  what it can do, you may still find it useful.
</para>

<para>
 Opening the &lsquo;DCP-o-matic Editor&rsquo; shows its window:
</para>

<figure id="fig-editor">
  <title>The Editor</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/editor&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
 Load a DCP by using the <guilabel>Open...</guilabel> option from the <guilabel>File</guilabel>
 menu.  This will display some details about the DCP:
</para>

<figure id="fig-editor-cpl">
  <title>The Editor with a DCP loaded</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/editor-cpl&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

<para>
You can make any changes you wish to the text fields, then re-create the DCP's XML files
by choosing <guilabel>Save</guilabel> from the <guilabel>File</guilabel> menu.
The DCP-o-matic Editor will fix the various checksums, as required, and re-sign the files
using its own certificate.
</para>

<para>
You can also make changes to the metadata of the individual reels by choosing a reel in the
list and clicking <guilabel>Edit...</guilabel>.  Reels are shown in a window like this:
</para>

<figure id="fig-editor-reel">
  <title>The Editor editing a reel</title>
  <mediaobject>
    <imageobject>
      <imagedata fileref="screenshots/editor-reel&scs;"/>
    </imageobject>
  </mediaobject>
</figure>

</chapter>



<!-- ============================================================== -->
<chapter>
<title>Keyboard shortcuts</title>
<xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="shortcuts.xml"/>
</chapter>


<!-- ============================================================== -->
<chapter xml:id="ch-config" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
<title>Configuration files</title>

<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>

<itemizedlist>
  <listitem>Windows: <code>c:\Users\your_user_name\AppData\Local\dcpomatic</code></listitem>
  <listitem>OS X: <code>/Users/your_user_Name/Library/Preferences/com.dcpomatic/2</code></listitem>
  <listitem>Linux: <code>~/.config/dcpomatic2</code></listitem>
</itemizedlist>

<para>Possible XML tags are as follows:</para>

<xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="config.xml"/>

</chapter>

</book>

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