X-Git-Url: https://git.carlh.net/gitweb/?a=blobdiff_plain;f=doc%2Fmanual%2Fdcpomatic.xml;h=5eac9a315b69600b8adecffe40659121941df55e;hb=c9a87535652defa2328b160a47741d9d2b14849b;hp=312e3324b0ca917b24d2bb73b2b72045dc8218d9;hpb=7fc0f6e56c25f01b3bc42f8b5f8d3cf5935bb875;p=dcpomatic.git
diff --git a/doc/manual/dcpomatic.xml b/doc/manual/dcpomatic.xml
index 312e3324b..5eac9a315 100644
--- a/doc/manual/dcpomatic.xml
+++ b/doc/manual/dcpomatic.xml
@@ -58,6 +58,20 @@ GPL.
This manual uses icons from the Tango Desktop Project, with thanks.
+
+
+
+
+This manual
+
+
+This manual presents bits of DCP-o-matic's user interface (such as menu items or buttons) like this.
+
+
+
+Notes of an advanced nature are presented like this. Ignore them unless you want to know the gory details.
+
+
@@ -87,6 +101,12 @@ many parallel encoding threads (more than 4) on the 32-bit
version.
+
+If you are still using Windows XP, download the specific XP version as
+it should be more stable on your machine than the ‘normal’
+Windows version.
+
+
@@ -98,11 +118,17 @@ version.
DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
higher. To install it, download the .dmg from http://dcpomatic.com/ and double
-click to open it. Then drag the DCP-o-matic icon to your
+click to open it. Then drag the DCP-o-matics icon to your
Applications folder or wherever else you would
like to install it.
+
+You do not have to install all the applications, but you must always
+install DCP-o-matic 2.app as the other applications
+depend on it.
+
+
@@ -119,8 +145,7 @@ like to install it.
Debian unstable (‘sid’)
Ubuntu 12.04 (‘Precise Pangolin’)
Ubuntu 14.04 (‘Trusty Tahr’)
- Ubuntu 15.04 (‘Vivid Vervet’)
- Ubuntu 15.10 (‘Wily Werewolf’)
+ Ubuntu 16.04 (‘Xenial Xerus’)
@@ -147,7 +172,7 @@ pieces and set DCP-o-matic up for you.
Centos Linux
- There are .rpm packages for Centos 6.5 and 7 on
+ There are .rpm packages for Centos 5, 6.5 and 7 on
http://dcpomatic.com/
@@ -171,10 +196,10 @@ thanks to Stefan Karner.
Installation on other Linux systems (for which no packages are
-available) is quite hard; you will have to compile it from source. If
-you are using distribution for which no packages are available, do let
-me know by email and I
-will look into providing packages on the website.
+available) is quite hard as it must be compiled from source. If you
+can't download packages for your distribution, do let me know by
+email and I will look
+into providing packages on the website.
@@ -233,10 +258,10 @@ in a shell.
-Creating a video DCP
+Creating a DCP from a video
-In this chapter we will see how to create a video DCP using
+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.
@@ -248,7 +273,7 @@ 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 Sintel from their
-website. Generally, of course, one would want to use the
+website. Generally one would want to use the
highest-resolution material available, but for this test we will use
the low-resolution version to save everyone's bandwidth bills.
@@ -404,8 +429,8 @@ linkend="ch-files"/> for details about the files that DCP-o-matic creates.
-Alternatively, if you have a projector or Theatre Management System
-(TMS) that is accessible via SCP across your network, you can upload
+Alternatively, if you have a projector or Theatre Management System
+(TMS) that is accessible via SCP or FTP across your network, you can upload
the content directly from DCP-o-matic. See the in .
@@ -416,7 +441,7 @@ linkend="sec-prefs-tms" endterm="sec-prefs-tms-short"/> in
-Creating a still-image DCP
+Creating a DCP from a still image
DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
@@ -425,7 +450,7 @@ how to do it.
-As with video DCPs, the first step is to create a new
+As with DCPs made from video files, the first step is to create a new
‘Film’; select New from the
File menu and the new film dialogue will open as
shown in .
@@ -457,10 +482,10 @@ linkend="fig-still-select-content-file"/>.
-As with video DCPs, most of the default settings will be fine for a
-simple test. The one thing that you might wish to change is the
-length of the still. Select the Timing tab and
-you will see a Play length setting, as shown in Timing tab and you will see a
+Play length setting, as shown in .
@@ -482,7 +507,7 @@ fourth frames. Enter the duration that you want and then click Set
Finally, as with video, you can choose Make DCP
from the Jobs menu to create your DCP. This will
-be much quicker than creating a video DCP, as DCP-o-matic only needs
+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.
@@ -495,7 +520,7 @@ to encode a single frame which it can then repeat.
Frequently DCP-o-matic is used to take content in formats such as MP4
-and convert it to JPEG2000 for a DCP. Alternatively, it can be used
+and convert it to JPEG2000 for a DCP. It can also be used
to take existing DCPs and modify them in various ways.
@@ -511,6 +536,19 @@ playback will be very slow as decoding of DCPs is almost as
computationally intensive as encoding them.
+
+If your DCP is a Version File (VF), in other words it refers to
+another DCP's assets, you should import it as follows:
+
+
+
+Use Add folder... to import the VF DCP.
+The VF DCP will be added to the content list and marked “NEEDS
+OV”.
+Right-click on the VF DCP in the content list and choose Add OV... from the menu.
+Choose the folder that contains the OV DCP. The VF will now be playable as normal.
+
+
@@ -570,8 +608,8 @@ JPEG2000 encoding is not necessary.
-DCP-o-matic can do this if you avoid changes to the following content
-settings:
+DCP-o-matic can do this if you avoid changes to
+the following content settings:
@@ -590,7 +628,7 @@ DCP-o-matic will decode and then re-encode the JPEG2000 data.
-
+
Making overlay files
@@ -634,6 +672,20 @@ To play back the subtitled DCP the projectionist ingests both the base
(OV) DCP and the overlay (VF) DCP, then plays the VF one.
+
+To make a DCP like this:
+
+
+
+Import your ‘Content DCP’ to a DCP-o-matic project.
+Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).
+Select the DCP in the content list
+Tick the Refer to existing DCP checkbox
+in the tabs for the parts of the DCP that you want to refer to in your
+new DCP. For example, to refer to the Content DCP's video and audio you would select the Video tab, click Refer to existing DCP then select the Audio tab and do the same.
+Do Make DCP as usual and your VF DCP will be created.
+
+
@@ -683,7 +735,7 @@ images which should be treated as the frames of a video.
Subtitle — a file containing subtitle which will be
superimposed on the image of the DCP. These can be
-.srt or .xml
+.srt, .ssa, .ass or .xml
files.
DCP — an existing DCP.
@@ -781,12 +833,25 @@ The Video tab controls properties of the image, as shown in
+
+
+Refer to existing DCP
+
+
+This option is only applicable if the selected content is an existing
+DCP. It allows you to get the video content from the existing DCP by
+referencing it (rather than copying). See .
+
+
+
+
Image type
-The first option on this tab is the ‘type’ of the video.
+The next option on this tab is the ‘type’ of the video.
This specifies how DCP-o-matic should interpret the video's image.
2D is the default; this just takes the video
image as a standard 2D frame. The 3D
@@ -1004,7 +1069,6 @@ The Audio tab controls properties of the image, as shown in
-
The audio map
@@ -1109,7 +1173,20 @@ shows the mapping of a 5.1 source into a 5.1 DCP.
-Other controls
+ Other controls
+
+
+The Refer to existing DCP 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 .
+
+
+
+Show graphs of audio levels will analyse the
+audio of the selected content and plot it on a graph. See for more details.
+
‘Audio Gain’ is used to alter the volume of the
@@ -1181,13 +1258,32 @@ content, as shown in .
-DCP-o-matic will extract subtitles from the content, if present, and
-they can be ‘burnt into’ the DCP (that is, they are
-included in the image and not overlaid by the projector) or included
-as a separate subtitle ‘asset’ within your DCP (in which
-case the projector overlays them onto the image on playback). The
-difference between these two arrangements is illustrated by and
+DCP-o-matic can either:
+
+
+
+ Extract subtitles that are embedded in video files, or
+ Use subtitles from SubRip (.srt), SubStation
+ Alpha (.ssa) or DCP XML files. You may find the great
+ free program Subtitle Edit useful
+ for creating such files.
+
+
+
+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).
+
+
+
+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
+and .
@@ -1217,25 +1313,17 @@ encoding need only be done once for the project rather than once for
every language.
-
-Note that subtitles come in two types: text and bitmap. Text
-subtitles are expressed as plain text and can be either burnt into the
-image or included as a separate subtitle asset within the DCP. Bitmap
-subtitles, on the other hand, are expressed as pre-rendered bitmaps.
-They cannot (yet) be added to the DCP as a separate asset and must be
-burnt into the image.
-
-
Select the Use Subtitles check-box to enable
-these subtitles.
+the subtitles in the selected content.
Select the Burn subtitles into image 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.
+projector. This check-box will always be ticked if you are using
+embedded ‘image’ subtitles.
@@ -1259,11 +1347,27 @@ frame) than those typically used for DCP, so it is often useful to
scale such subtitles down using these controls.
+
+The Line spacing control adjusts the line spacing
+of the subtitles. This only works for non-embedded (text) subtitles.
+
+
The Stream control changes the subtitle stream
that is used when the content has more than one.
+
+If you are using non-embedded (text) subtitles you can see the
+subtitle text and timings by clicking the View...
+button, or specify the fonts that should be used by clicking Fonts....
+
+
+
+With any subtitles you can click Appearance... to
+change how the subtitles look.
+
+
@@ -1316,11 +1420,17 @@ should be displayed using this control.
-Trim from start specifies the amount that should be trimmed from the start of the content.
+Trim from start 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 Trim up
+to current position.
-Trim from end specifies the amount that should be trimmed from the end of the content.
+Trim from end 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 Trim after to
+current position.
@@ -1541,12 +1651,23 @@ key for you. To specify your own key, click the
Edit.. button next to the key.
+
+The Reels and Reel length
+controls specify how the DCP will be split up into
+‘reels’. See below.
+
+
The Standard option specifies which of the two
DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
more modern of the two).
+
+Ticking the Upload DCP to TMS after it is made
+will ask DCP-o-matic to copy the finished DCP to your configured TMS (see ).
+
+
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.
@@ -1611,7 +1732,7 @@ unused channel will be filled with silence.
The Processor control allows you to select a
-process to apply to the audio before it goes into the DCP. Two processes are currently provided:
+process to apply to the audio before it goes into the DCP. Three processes are currently provided:
@@ -1646,7 +1767,85 @@ This upmixing algorithm is due to Gérald Maruccia.
-
+
+Reels
+
+
+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.
+
+
+
+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.
+
+
+
+There are, however, some possible advantages of splitting things up
+into reels:
+
+
+
+
+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.
+
+
+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.
+
+
+
+
+DCP-o-matic offers three options for setting up the reels in your DCP:
+single reel, split by video content or custom.
+
+
+
+Single reel, 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.
+
+
+
+Split by video content puts each piece of source
+video content in its own reel, as shown in .
+
+
+
+Making reels using split by video content
+
+
+
+
+Here we have three video files (ident.mp4,
+feature.ts and cred.mov). With
+split by video content DCP-o-matic makes a new
+reel to hold each video file.
+
+
+
+Custom splits reels by the size of the files that
+will make up their video content. With Custom
+you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
+
+
+
+
+
+
+
Show audio
@@ -1697,6 +1896,77 @@ auditorium, but it can be useful to get levels in the right rough area.
+
+
+
+Templates
+
+
+If you frequently make DCPs with similar settings you may find it
+useful to use templates.
+
+
+
+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:
+
+
+
+ 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.
+ Choose Save as template... from the File menu.
+ Enter a name for your template.
+
+
+
+Then in the future you can create a new film, tick the
+Template 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.
+
+
+
+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.
+
+
+
+The following settings from the DCP tab are saved
+in templates:
+
+
+
+ “Use ISDCF name” checkbox
+ Content type (FTR, TLR etc.)
+ Container
+ Resolution
+ JPEG200 bandwidth
+ Video frame rate
+ Signed and encrypted checkboxes
+ Audio channels
+ Standard (Interop / SMPTE)
+ Audio processor
+ Reel type and length
+ Upload after make DCP checkbox
+
+
+
+In addition to this, the settings (but not the filenames) of any
+content in the template are stored, as discussed above. The status of
+the Keep video and subtitles in sequence checkbox
+from the timeline is also preserved.
+
+
+
+
+
+
+
Encryption
@@ -1812,10 +2082,10 @@ those cinemas that are allowed to play the DCP.
The first part is simple: ticking the Encrypted
-box in the DCP tab of DCP-o-matic will encrypt
-the DCP using a random key that DCP-o-matic generates. The key will
-be written to the film's metadata file, which should be kept
-secure.
+box in the DCP 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.
@@ -1826,17 +2096,27 @@ is).
-The second part is to generate KDMs for the cinemas that you wish to
-allow to play your DCP. This is done using the Make
-KDMs option on the Jobs menu. This
-will open the KDM dialogue box, as shown in .
+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.
+
+
+
+Creating KDMs from a DCP-o-matic project
+
+
+You can create KDMs from inside a DCP-o-matic project using the
+Make KDMs option on the Jobs
+menu. This will open the KDM dialogue box, as shown in .
KDM dialog
-
+
@@ -1849,10 +2129,11 @@ available by the projector manufacturers as text files with a
-DCP-o-matic can store these certificates to make life easier. It
-stores details of cinemas and screens within those cinemas. Each
-screen has a certificate for its projector. DCP-o-matic can generate
-KDMs for any screens that it knows about.
+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.
@@ -1874,11 +2155,10 @@ 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 select Doremi or Dolby from the
-Server manufacturer selection and then click
-Download. In the next dialogue box, enter
-details of the screen and click Download and, all
-being well, the certificate will be fetched.
+these manufacturers you can click Download then
+enter the serial number of the server in the screen and click
+Download again and, all being well, the certificate
+will be fetched.
@@ -1907,17 +2187,119 @@ You must also select the type of KDM that you want to generate. If in
doubt, use Modified Transitional 1.
+
+The differences between the three KDM types are fairly subtle.
+DCI Specific and DCI Any add
+a <ContentAuthenticator> tag to the KDM which
+allows the exhibitor to check that the DCP and KDM have come from a
+bona-fide source. In addition, DCI Specific 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 DCI Specific and DCI
+Any features are supported (or even tolerated) by servers
+so you are advised to use Modified Transitional
+1.
+
+
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
Browse. Alternatively, if you choose
Send by email the KDMs will be zipped up and
-emailed to the appropriate cinema email addresses. Click OK to
-generate the KDMs.
+emailed to the appropriate cinema email addresses. Click
+Make KDMs to generate the KDMs.
+
+Creating KDMs using a DKDM
+
+
+
+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.
+
+
+
+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.
+
+
+
+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.
+
+
+
+To create a DKDM for DCP-o-matic, open your encrypted project and
+select Make DKDM for DCP-o-matic... from the
+Jobs menu. Select the CPL that you want to make
+the DKDM for and click OK. 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 .
+
+
+
+ The KDM creator
+
+
+
+
+
+
+
+
+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 Create
+KDMs.
+
+
+
+By default the DKDM list will list any DCPs for
+which you have clicked Make DKDM for
+DCP-o-maticin the main DCP-o-matic program. If you have
+other DKDMs you can add them by clicking Add... and
+specifying the file containing the DKDM.
+
+
+
+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 Preferences and clicking Export
+DCP decryption certificate... in the Keys
+tab.
+
+
+
+
+
+
+Encryption overview
+
+
+ Overview of encryption
+
+
+
+
+
+
+
+
@@ -1931,15 +2313,10 @@ DCP-o-matic provides a few preferences which can be used to modify its
behaviour. This chapter explains those options.
-
-
-
-The preferences dialogue
-
-The preferences dialogue is opened by choosing
+Preferences can be edited by choosing
Preferences... from the Edit
-menu. The dialogue is split into seven tabs.
+menu. This opens a dialogue which is split into seven tabs.
@@ -1993,6 +2370,30 @@ to set this up correctly when you run it for the first time.
+
+
+Cinema and screen database file
+
+
+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.
+
+
+
+
+
+Integrated loudness
+
+
+If Find integrated loudness, true peak and loudness range
+when analysing audio 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.
+
+
+
+
Updates
@@ -2137,13 +2538,19 @@ be used when targeting a KDM at DCP-o-matic.
If you want to import an encrypted DCP you will need to give the
decryption certificate to the distributor of the DCP so that they can
generate a DKDM for you. You can save this certificate to disk by
-clicking Export DCP decryption certificate. As
-with the signing chain, DCP-o-matic will create a certificate chain
+clicking Export DCP decryption certificate....
+As with the signing chain, DCP-o-matic will create a certificate chain
and private key for you. You can also choose to load your own
certificates and key or re-make the chain and key with new, random
values.
+
+Clicking Export DCP decryption chain... will
+export the whole certificate chain, rather than just the leaf
+certificate.
+
+
@@ -2286,6 +2693,14 @@ JPEG2000 data only on encoding servers and not on the host. We
suggest you leave this un-ticked unless you have a good reason to do otherwise.
+
+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 ‘magic’
+values that you can use in the format and an example of a filename
+that you might see with your current settings.
+
+
The four checkboxes labelled Log control what
sort of messages DCP-o-matic writes to its log file when creating a
@@ -2302,7 +2717,6 @@ that are generated, so in normal use it is best to leave this
unticked.
-
@@ -2430,6 +2844,7 @@ purposes.
+
Encoding servers
@@ -2587,13 +3002,132 @@ operation is interrupted and DCP-o-matic must resume it.
Following this is the DCP itself:
DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV. This
contains some small XML files, which describe the DCP, and two large
-MXF files, which contain the DCP's audio and video data. This folder
+MXF files, which contain the DCP's audio and video data. It may also
+contain subtitles in either XML or MXF format. This folder
(DCP-TEST_EN-XX_...) is what you should ingest, or pass
to the cinema which is showing your DCP.
+
+
+ Command-line tools
+
+
+ DCP-o-matic includes some tools which allow DCP creation from the
+ command line or from scripting languages. This chapter covers the
+ use of those tools.
+
+
+
+ There are two command-line tools in DCP-o-matic.
+ dcpomatic2_create creates film directories, with the
+ associated metadata, from a list of content files. Then
+ dcpomatic2_cli runs the transcode process on these
+ film directories.
+
+
+
+ Some applications will benefit from setting up the films using the
+ main DCP-o-matic GUI and then using dcpomatic2_cli 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.
+
+
+
+ <code>dcpomatic2_create</code>
+
+
+ The syntax for dcpomatic2_create is:
+
+
+
+ dcpomatic2_create [OPTION] [CONTENT] [<CONTENT> ...]
+
+
+
+ [CONTENT] are the files that you want to use in the
+ DCP (e.g. MP4 or MOV files).
+
+
+
+ The options are:
+
+
+
+ -v, --version — show DCP-o-matic version
+ -h, --help — show this help
+ -n, --name — <name> film name
+ -t, --template <name> — template name
+ -c, --dcp-content-type <type> — FTR, SHR, TLR, TST, XSN, RTG, TSR, POL, PSA or ADV
+ --container-ratio <ratio> — 119, 133, 137, 138, 166, 178, 185 or 239
+ --content-ratio <ratio> — 119, 133, 137, 138, 166, 178, 185 or 239
+ -s, --still-length <n> — number of seconds that still content should last
+ --standard <standard> — SMPTE or interop (default SMPTE)
+ --no-use-isdcf-name> — do not use an ISDCF name; use the specified name unmodified
+ --no-sign— do not sign the DCP
+ -o, --output <dir> — output directory
+
+
+
+ For example, to setup a film using a MP4 file you might do:
+
+
+
+ dcpomatic2_create -o my_film --container-ratio 185 --content-ratio 185 -c FTR -n "My Film" Stuff.mp4
+
+
+
+ This will create a folder called my_film which is ready for a DCP to be made by dcpomatic2_cli.
+
+
+
+ dcpomatic2_create will use any default settings that you have configured in the main DCP-o-matic preferences.
+
+
+
+
+ <code>dcpomatic2_cli</code>
+
+
+ The syntax for dcpomatic2_cli is:
+
+
+
+ dcpomatic2_cli [OPTION] [FILM]
+
+
+
+
+ -v, --version — show DCP-o-matic version
+ -h, --help — show this help
+ -f, --flags — show flags passed to C++ compiler on build
+ -n, --no-progress — do not print progress to stdout
+ -r, --no-remote — do not use any remote servers
+ -t, --threads — specify number of local encoding threads (overriding configuration)
+ -j, --json <port> — run a JSON server on the specified port
+ -k, --keep-going — keep running even when the job is complete
+ -s, --servers — just display a list of encoding servers that DCP-o-matic is configured to use; don't encode
+ -d, --dcp-path — echo DCP's path to stdout on successful completion (implies -n)
+ --dump — just dump a summary of the film's settings; don't encode
+
+
+
+
+ For example, to encode a film called my_film you might do:
+
+
+
+ dcpomatic2_cli my_film
+
+
+
+
+
+
+
Loose ends
@@ -2628,4 +3162,153 @@ hashes.
+
+
+Common tasks
+
+
+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.
+
+
+
+Adding subtitles to an existing DCP
+
+
+You have three options:
+
+
+
+Make a “Version File” (VF) DCP.
+Make a complete DCP with projector-added subtitles.
+Make a complete DCP with burnt-in subtitles.
+
+
+
+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.
+
+
+
+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% reliable.
+
+
+
+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.
+
+
+
+Making a VF DCP
+
+
+Start a new DCP-o-matic film.
+Click Add folder... and specify your existing DCP's folder.
+Go to the DCP tab and choose Split by video content for Reel type.
+Go to the Video and
+Audio tabs in turn and tick the Refer to existing DCP checkboxes.
+Add your subtitles to the film in whatever format you have.
+Check the subtitle appearance in the preview; it will be
+slow to respond as it is having to decompress images from the existing
+DCP.
+Choose Make DCP from the menu.
+
+
+
+
+
+Making a complete DCP with projector-added subtitles
+
+
+Start a new DCP-o-matic film.
+Click Add folder... and specify your existing DCP's folder.
+Add your subtitles to the film in whatever format you have.
+Check the subtitle appearance in the preview; it will be
+slow to respond as it is having to decompress images from the existing
+DCP. Adjust the appearance using controls in the
+Subtitle tab if required.
+Choose Make DCP from the menu.
+
+
+
+
+
+Making a complete DCP with burnt-in subtitles
+
+
+Start a new DCP-o-matic film.
+Click Add folder... and specify your existing DCP's folder.
+Add your subtitles to the film in whatever format you have.
+Go to the Subtitle tab and tick the Burn subtitles into image checkbox.
+Check the subtitle appearance in the preview; it will be
+slow to respond as it is having to decompress images from the existing
+DCP. Adjust the appearance using controls in the
+Subtitle tab if required.
+Choose Make DCP from the menu.
+
+
+
+
+
+
+Adding soundtracks or subtitles in different languages
+
+
+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:
+
+
+
+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).
+For each language, make a new Version File (VF) DCP which refers to the OV.
+
+
+
+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.
+
+
+
+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 high-speed download) and send
+the VF by email.
+
+
+
+The full details of OV and VF files are discussed in . The steps can be summarised as follows:
+
+
+
+Create a new DCP-o-matic project for the OV, as normal, adding video and perhaps sound. Make the DCP.
+Create a new DCP-o-matic project for the VF.
+Use Add folder... to add your OV DCP to the project.
+Select the video tab and tick Refer to existing DCP (you may need to select By video content for Reel type in the DCP tab).
+Do the same in the Audio tab if your OV has audio.
+Add your language-specific audio and/or subtitles and Make DCP.
+
+
+
+
+
+