+<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>Filtering</title>
+
+<para>
+The ‘filters’ settings allow you to apply various video
+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 in the
+setup area of the DCP-o-matic window; 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>
+
+<para>
+After changing the filters setup, you will need to regenerate the DCP
+to see the effect on the cinema screen. The preview in DCP-o-matic
+will update itself whenever filters are changed, though of course this
+image is much smaller and of lower resolution than a projected image!
+</para>
+</section>
+
+
+
+<!-- ============================================================== -->
+<section>
+<title>Colour conversion</title>
+
+<para>
+The <guilabel>Colour conversion</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>
+The easiest way to select the required conversion is to choose one of
+DCP-o-matic's presets. DCP-o-matic knows how to convert from four
+common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
+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="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
+</para>
+
+</section>
+
+<!-- ============================================================== -->
+<section>
+<title>Other settings</title>
+
+<para>
+The <guilabel>crop</guilabel> settings can be used to crop your content,
+which can be used to remove black borders from round the edges of DVD
+images, for example. The specified number of pixels will be trimmed
+from each edge, and the content image in the right of the window will
+be updated to show the effect of the crop.
+</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 to</guilabel> option governs the shape that
+DCP-o-matic will scale the content's image into. Select the aspect
+ratio that your content should be presented in.
+</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 1920x1080 pixels and it has square pixels (a pixel
+aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since
+the controls specify ‘16.9’ for the ratio, DCP-o-matic
+does not scale the image but pads it to the DCP's container ratio of
+1.85:1. For a 2K DCP this is 1998x1080 pixels.
+</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 image, 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 ‘audio
+map’. 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 they 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>
+The <guilabel>Refer to existing DCP</guilabel> checkbox isonly
+applicable if the selected content is an existing DCP. It allows you
+to get the audio content from the existing DCP by referencing it
+(rather than copying). See <xref linkend="sec-overlay"/>.
+</para>
+
+<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>
+‘Audio Gain’ is used to alter the volume of the
+soundtrack. The specified gain (in dB) will be applied to each sound
+channel of your content before it is written to the DCP.
+</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>
+Current versions of DCP-o-matic only know about the Dolby CP650 and
+CP750. If you use a different sound processor, and know the gain
+curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
+touch</ulink>.
+</para>
+
+<para>
+<guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
+between audio and video. A positive delay will move the audio later
+with respect to the video, and a negative delay will move it earlier.
+</para>
+
+</section>
+</section>
+
+
+<!-- ============================================================== -->
+<section>
+<title>Subtitles</title>
+
+<para>
+The subtitles tab contains settings related to subtitles in your
+content, as shown in <xref linkend="fig-subtitles-tab"/>.
+</para>
+
+<figure id="fig-subtitles-tab">
+ <title>Subtitle settings tab</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/subtitles-tab&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+DCP-o-matic can either:
+</para>
+
+<itemizedlist>
+ <listitem>Extract subtitles that are embedded in video files, or</listitem>
+ <listitem>Use subtitles from SubRip (<code>.srt</code>), SubStation
+ Alpha (<code>.ssa</code>) or DCP XML files. You may find the great
+ free program <ulink
+ url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
+ for creating such files.</listitem>
+</itemizedlist>
+
+<para>
+Embedded subtitles are usually represented using a set of bitmaps,
+especially on files that have come from DVD or BluRay. Such subtitles
+can (currently) only be ‘burnt’ into the DCP (that is,
+they are included in the image and not overlaid by the projector).
+</para>
+
+<para>
+With SubRip, SubStation Alpha or DCP subtitles you have the choice to
+either burn-in or include the subtitles as separate subtitle
+‘asset’ within your DCP (in which case the projector
+overlays them onto the image on playback). The difference between
+burn-in and overlay is illustrated by <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 Subtitles</guilabel> check-box to enable
+the subtitles in the selected content.
+</para>
+
+<para>
+Select the <guilabel>Burn subtitles into image</guilabel> check-box to
+burn these subtitles into the image; if this is not ticked the
+subtitles will be included separately in the DCP to be rendered by the
+projector. This check-box will always be ticked if you are using
+embedded ‘image’ subtitles.
+</para>
+
+<para>
+The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
+controls move the subtitles around within the image. The offsets are
+expressed as a percentage of the video frame size; 100% X offset is
+the entire width of the frame, and 100% Y offset is the entire height.
+Hence, to move the subtitles down by half the frame height you would
+use a Y offset of 50%.
+</para>
+
+<para>
+The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
+controls scale the subtitles. Scale values of 1 make the subtitles
+the same size (relative to the size of the image) as they are on the
+original. Values lower than 1 make them smaller, and values higher
+make them larger. You can stretch the subtitles in either direction
+by specifying different values for X and Y scale. Subtitles from DVD
+and Blu Ray sources are frequently larger (relative to the video
+frame) than those typically used for DCP, so it is often useful to
+scale such subtitles down using these controls.
+</para>
+
+<para>
+The <guilabel>Line spacing</guilabel> control adjusts the line spacing
+of the subtitles. This only works for non-embedded (text) subtitles.
+</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-embedded (text) subtitles 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.
+</para>
+
+</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>
+<guilabel>Video frame rate</guilabel> specifies the frame rate for
+still-image content. It can also be used to override the detected
+frame rate of other content if DCP-o-matic has got it wrong.
+</para>
+
+<para>
+Each timecode control has a <guilabel>Set</guilabel> which you should
+click when you have entered a new value for a timecode. The
+<guilabel>Set</guilabel> button will make DCP-o-matic take account of
+any changes to the corresponding timecode.
+</para>
+
+</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 somewhat over-the-top example, that we have a 720 x 576
+image which is letterboxed with 36 black pixels each at the top and
+bottom, and the video content within the letterbox should be presented
+in the DCP at ratio of 2.39:1 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 aspect ratio inside a 1.85:1 DCP we would select
+<guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
+option in the <guilabel>Video</guilabel> tab and
+<guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
+option in the <guilabel>DCP</guilabel> tab.
+</para>
+
+<para>The <guilabel>Scale to</guilabel> option should always be set to
+the aspect ratio at which the content should be seen. The
+<guilabel>Container</guilabel> option should be set to the preset that
+you want to use on the projector. Of course, these two settings will
+often be the same.
+</para>
+
+<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
+‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
+Scaling the source up whilst preserving its 1.85:1 aspect ratio will
+result in the image hitting the sides of the container first, at a
+size of 1998 x 836. This gives us a new version of the image as shown
+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>
+
+</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 name field is a preview of the name that the DCP will
+get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
+name</guilabel> check-box. The ISDCF name will be composed using details
+of your content's soundtrack, the current date and other things that
+can be specified in the ISDCF name details dialogue box, which you can
+open by clicking on the <guilabel>Details</guilabel> button.
+</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 standard naming
+scheme as it makes it easier to identify details of the content.
+</para>
+
+<para>
+The <guilabel>Content Type</guilabel> option can be
+‘feature’, ‘trailer’ 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>Signed</guilabel> check-box sets whether or not the DCP
+is signed. This is rarely important; if in doubt, tick it.
+</para>
+
+<para>
+The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
+should be encrypted or not. If this is ticked, the DCP will require a
+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> and <guilabel>Reel length</guilabel>
+controls specify how the DCP will be split up into
+‘reels’. See <xref linkend="sec-reels"/> below.
+</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>
+Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
+will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
+</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 ‘Flat’ for the DCP.
+</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>Use best</guilabel> button sets the DCP video frame rate
+to what DCP-o-matic thinks is the best given the content that you have
+added.
+</para>
+
+<para>
+The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
+is checked. A 3D DCP will then be created, and any 2D content will be
+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>Resolution</guilabel> tab allows you to choose the
+resolution for your DCP. Use 2K unless you have content that is of
+high enough resolution to be worth presenting in 4K.
+</para>
+
+<para>
+The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
+the 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>
+The <guilabel>Audio 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. Three processes are currently provided:
+</para>
+
+<itemizedlist>
+<listitem>Mid-side decode — this will take a L/R
+stereo input and extract the common part (corresponding to the
+‘Mid’ in a mid-side signal) into the DCP's centre channel.
+The remaining L/R parts will be kept in the L/R channels of the DCP.
+This may be useful to make near-field L/R mixes more compatible with
+cinema audio systems.</listitem>
+<listitem>Stereo to 5.1 up-mixer A — this will take a stereo input and up-mix it to ‘fake’ 5.1. The input L/R are treated as follows:
+<itemizedlist>
+<listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
+<listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
+<listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
+<listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
+<listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
+<listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
+</itemizedlist>
+<para>
+This upmixing algorithm is due to Gérald Maruccia.
+</para>
+</listitem>
+<listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
+<itemizedlist>
+ <listitem>DCP L is input L.</listitem>
+ <listitem>DCP R is input R.</listitem>
+ <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
+ <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
+ <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
+</itemizedlist>
+</listitem>
+</itemizedlist>
+
+<!-- ============================================================== -->
+<section xml:id="sec-reels">
+<title>Reels</title>
+
+<para>
+A ‘reel’ in a DCP is a subsection of the DCP, in the same
+way as a 35mm reel is a section of a film. A DCP can be split up into
+any number of reels and the joins (the equivalent to 35mm splices)
+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 on 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 have file size limits. 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 in the DCP.
+</listitem>
+</itemizedlist>
+
+<para>
+DCP-o-matic offers three options for setting up the reels in your DCP:
+single reel, split by video content or custom.
+</para>
+
+<para>
+<guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
+This is a perfectly good option if you have no particular reason to
+need reels.
+</para>
+
+<para>
+<guilabel>Split by video content</guilabel> puts each piece of source
+video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
+</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>
+Here we have three video files (<code>ident.mp4</code>,
+<code>feature.ts</code> and <code>cred.mov</code>). With
+<guilabel>split by video content</guilabel> DCP-o-matic makes a new
+reel to hold each video file.
+</para>
+
+<para>
+<guilabel>Custom</guilabel> splits reels by the size of the files that
+will make up their video content. With <guilabel>Custom</guilabel>
+you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
+</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>
+Obviously the audio plot is no substitute for listening in an
+auditorium, but it can be useful to get levels in the right rough area.
+</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>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>
+
+</chapter>
+
+
+
+<!-- ============================================================== -->
+<chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
+<title>Encryption</title>
+
+<para>
+It is not required that DCPs 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 ‘approved’ by the
+DCP's creators can read them. In particular, this means copies of the
+DCP can be distributed by insecure means: if an ne'er-do-well called
+Mallory obtains a hard drive containing an encrypted DCP, there is no
+way that he can play it. Only those cinemas who receive a correct key
+delivery message (KDM) can play the DCP.
+</para>
+
+
+<!-- ============================================================== -->
+<section>
+<title>How it works (in a nutshell)</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 troublemaker 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 a DCP encryption is to encode its data with some 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, she could just send him 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 ‘public’ 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 deep inside the bowels of
+the projector (inside an integrated circuit) where no-one can read it.
+They then make the public key available to anyone who is interested.
+</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, yielding the magic
+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
+‘locked’, or whatever the projector manufacturer's term
+is).
+</para>
+
+<para>
+The second part of distributions 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="40" 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.
+</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 and Dolby
+equipment. 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.
+</para>
+
+<para>
+Using the download system you will need to know the serial number of
+the media server in use in the screen. Most cinema projection or
+technical departments will know these serial numbers.
+</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>
+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><ContentAuthenticator></code> tag to the KDM which
+allows the exhibitor to check that the DCP and KDM have come from a
+bona-fide 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>
+</section>
+
+<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 users'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 3rd 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 ‘normal’
+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="35" 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>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 a few preferences which can be used to modify its
+behaviour. This chapter explains those options.
+</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 seven 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>
+<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. If your language is not on the last, head to <ulink
+url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
+read about how to contribute a translation.
+</para>
+</section>
+
+
+<!-- ============================================================== -->
+<section>
+<title>Threads</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>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.
+</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 and audio analysis will be
+faster.
+</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="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
+newer versions of DCP-o-matic then the one you are running. If so, a
+dialogue box will open with a link to download the new version.
+available
+</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 ‘released’. This is useful if you
+like to live on the bleeding edge!
+</para>
+</section>
+
+<!-- ============================================================== -->
+<section>
+<title>Issuer and creator</title>
+
+<para>
+With these controls you can set the issuer and creator strings that
+will be put into the DCPs which you create.
+</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>