X-Git-Url: https://git.carlh.net/gitweb/?a=blobdiff_plain;f=doc%2Fmanual%2Fdcpomatic.xml;h=a8065a75423387db639fb6c3653f2107d2b84a23;hb=5632b2a735322780111ecb8e6a87e6f547e896bd;hp=a346c69c74ee4c6e54d4bb35826030c669dd78fc;hpb=7f2e74604a51b984e4c8cbb5d5f4bb642677ec00;p=dcpomatic.git
diff --git a/doc/manual/dcpomatic.xml b/doc/manual/dcpomatic.xml
index a346c69c7..a8065a754 100644
--- a/doc/manual/dcpomatic.xml
+++ b/doc/manual/dcpomatic.xml
@@ -16,7 +16,7 @@
-->
-DCP-o-matic
+DCP-o-matic users' manualCarlHetherington
@@ -27,6 +27,7 @@
Hello, and welcome to DCP-o-matic!
+
What is DCP-o-matic?
@@ -38,23 +39,23 @@ and AVI, or still images. The resulting DCPs will play on modern digital
cinema projectors.
-
-You might find it useful to make DVDs easier to present, to encode
-independently-shot feature films, or to generate local advertising for
-your cinema.
-
-
+
+
Licence
-DCP-o-matic is licensed under the GNU GPL.
+DCP-o-matic is free and open-source and is licensed under the GNU
+GPL.
+
+
Acknowledgements
@@ -65,9 +66,13 @@ This manual uses icons from the Tango
+
+
Installation
+
+
Windows
@@ -89,12 +94,14 @@ version.
+
+
Mac OS X
DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
-higher. To install it, download the DMG from .dmg from http://dcpomatic.com/ and double
click to open it. Then drag the DCP-o-matic icon to your
Applications folder or wherever else you would
@@ -108,9 +115,9 @@ like to install it.
You can install DCP-o-matic on Ubuntu 12.04 (‘Precise
-Pangolin’), 12.10 (‘Quantal Quetzal’), 13.10 (‘Saucy
-Salamander’) or 14.04 (‘Trusty Tahr’) using .deb packages: download the
-appropriate package from .deb packages:
+download the appropriate package from http://dcpomatic.com/ and
double-click it. Ubuntu will install the necessary bits and pieces
and set DCP-o-matic up for you.
@@ -118,22 +125,28 @@ and set DCP-o-matic up for you.
+
+
Debian Linux
-Packages are available for Debian 7 (squeeze) from http://dcpomatic.com/.
+
+
Centos Linux
-Packages are available for Centos 6.5 from http://dcpomatic.com/.
+
+
Arch Linux
@@ -143,15 +156,17 @@ thanks to Stefan Karner.
+
+
Other Linux distributions
-Installation on non-Ubuntu Linux is currently a little involved, as
-there are no packages available (yet); you will have to compile it
-from source. If you are using a non-Ubuntu distribution, do let me
-know via the mailing
-list and I will see about building some packages.
+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.
@@ -166,7 +181,6 @@ The following dependencies are required:
libsshGTK (on Linux)wxWidgets
-libquickmaillibxml++xmlseccurl
@@ -195,7 +209,7 @@ With any luck, this will build and install DCP-o-matic on your system. To run i
-dcpomatic
+dcpomatic2
@@ -205,6 +219,8 @@ in a shell.
+
+
Creating a video DCP
@@ -237,11 +253,11 @@ shown in .
@@ -251,11 +267,11 @@ linkend="fig-video-new-film"/>.
@@ -270,6 +286,8 @@ will write its working files.
+
+
Adding content
@@ -283,21 +301,21 @@ select the content file to use, as shown in .
-
+
+
Creating a still-image DCP
@@ -397,12 +420,12 @@ As with video DCPs, the first step is to create a new
shown in .
-
- Dialogue box for creating a new film
+
+ Dialogue box for creating a new film
-
+
-
+
@@ -413,12 +436,12 @@ For our example, we will add a single image file, as shown in .
-
- Selecting a still content file
+
+ Selecting a still content file
-
+
-
+
@@ -426,16 +449,16 @@ 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 Length setting, as shown in Play length setting, as shown in .
-
+The timing tab
-
+
-
+
@@ -454,6 +477,8 @@ to encode a single frame which it can then repeat.
+
+
Content settings
@@ -475,7 +500,7 @@ content as you like, and they can be of the following types:
Movie — a file containing some video, probably some
-audio and possibly some subtitles; for example, a MOV, MP4 or VOB.
+audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
Sound — a file containing one or more channels of
@@ -489,13 +514,26 @@ example, a JPEG, PNG or TIFF file.
Moving image — a directory containing many still
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
+files.
+
+DCP — an existing DCP.
-To add one or more movie, sound or still-image files, select
+To add one or more movie, sound, still-image or subtitle files, select
Add file(s)... and choose them from the selector.
-To add a directory of images, choose Add
-directory... and do similar.
+
+
+
+To add a directory (folder) of images or a DCP, choose Add
+folder... and choose the directory from the selector. If
+you select a folder of images DCP-o-matic will open a small dialogue
+box where you can enter the frame rate that the image sequence should
+be run at.
@@ -504,6 +542,33 @@ clicking the Remove button.
+
+
+
+Adding existing DCPs
+
+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.
+
+
+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 Export DCP decryption certificate...
+from the Keys tab of the
+Preferences dialog (see ).
+
+
+
+
+
Content Properties
@@ -514,6 +579,13 @@ content list. The content property controls will then become active
for that piece of content.
+
+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 shift key
+held down. Note that not all settings can be changed in this way.
+
+
The content properties are split up into four sections:
Video, Audio,
@@ -524,6 +596,8 @@ in each section are described below.
+
+
Video
@@ -531,15 +605,17 @@ in each section are described below.
The Video tab controls properties of the image, as shown in .
-
+Video settings tab
-
+
-
+
+
+
Image type
@@ -552,12 +628,12 @@ left/right option tells DCP-o-matic to interpret the frame as a
left-right pair, as shown in .
-
+3D left/right image type
-
+
-
+
@@ -567,15 +643,27 @@ DCP-o-matic to see the frame as a top-bottom pair, as shown in .
-
+3D top/bottom image type
-
+
-
+
+
+Another option is 3D alternate 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 3D left only or 3D right
+only 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 3D
+left only and another as 3D right only
+and DCP-o-matic will pick up the appropriate frames from each.
+
+
@@ -592,12 +680,12 @@ setup area of the DCP-o-matic window; this opens the filters selector
as shown in .
-
- Filters selector
+
+ Filters selector
-
+
-
+
@@ -610,18 +698,94 @@ image is much smaller and of lower resolution than a projected image!
+
+
+
+Colour conversion
+
+
+The Colour conversion 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.
+
+
+
+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 .
+
+
+
+Suggested colour conversion settings
+
+
+
+
+
+sRGBStill images in RGB, e.g. photographs.
+
+
+Rec. 601Standard-definition content (fewer than about 1000 pixels across) including DVD rips.
+
+
+Rec. 709High-definition content including Blu-Ray rips.
+
+
+P3Content explicitly graded to P3.
+
+
+
+
+
+
+For other required colour conversions, and if you know what you are
+doing, you can choose Custom which will open the full
+colour conversion editing dialogue box:
+
+
+
+ Dialogue box for custom colour conversion
+
+
+
+
+
+
+
+
+Alternatively, choose None if your source files
+are already in the XYZ colour space and require no conversion.
+
+
+
+DCP-o-matic's colour conversion processes are discussed in much more
+detail in a separate document colour.pdf.
+
+
+
+
Other settings
-The ‘crop’ settings can be used to crop your content,
+The crop 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.
+
+The fade in and fade out
+settings can be used to apply linear fades into and out of a piece of
+content. Specify the time for each, clicking Set
+after making any changes.
+
+
The Scale to option governs the shape that
DCP-o-matic will scale the content's image into. Select the aspect
@@ -629,6 +793,8 @@ ratio that your content should be presented in.
+
+
Video description
@@ -636,22 +802,26 @@ ratio that your content should be presented in.
At the bottom of the video tab is a short description of what will
happen to your video with the current settings. In the example of
, DCP-o-matic is telling you that the
-video file is 1920x1080 pixels (which is a ratio of 1.78:1). Since
-the controls specify ‘Flat’ for the ratio, DCP-o-matic
-scales the content image to 1998x1080, which is the DCI flat
-resolution at 2K.
+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.
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.
-
+will happen to it when it is played at the DCP's frame rate. See
+ for details of DCP-o-matic's
+frame-rate conversion.
+
+
Audio
@@ -659,78 +829,60 @@ will happen to it when it is played at the DCP's frame rate.
The Audio tab controls properties of the image, as shown in .
-
+Audio settings tab
-
+
-
+
-
-Show audio
-
-The Show Audio 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
-
-
-
- Audio plot
-
-
-
-
-
-
-
-
-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.
-
-
-
-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.
-
+
+
+The audio map
-The channel check-boxes will show or hide the plot(s) for
-the corresponding channels in the DCP.
+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.
-The smoothing slider applies a variable degree of temporal smoothing
-to the plots, which can make them easier to read in some cases.
+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.
-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.
+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.
-
-
-
-The audio map
-
-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.
+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.
-Down the left-hand side of the map is the list of audio channels in
-the currently-selected piece of content. Along the top is each
-channel in the DCP. A checked box means that the corresponding
-content channel will be copied into the corresponding DCP channel.
+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
+Off (no mapping or negative infinity gain),
+Full (0dB gain), -6dB gain or
+Edit which allows you to set the required gain
+precisely.
@@ -740,38 +892,44 @@ Consider, for example, the case in .
Audio map example 1
-
+
-
+
Here, we have two channels in the source which are mapped to left and
-right, respectively, in the DCP. If we modify that as in
+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 Audio map example 2
-
+
-
+
-we now have the content's streams mapped to left and right and also
-mixed together and placed in the DCP's centre channel.
+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.
Audio map example 3
-
+
-
+
@@ -782,6 +940,8 @@ shows the mapping of a 5.1 source into a 5.1 DCP.
+
+
Other controls
@@ -801,12 +961,12 @@ button next to the audio gain entry, and the dialogue box in will open.
-
+Calculating audio gain
-
+
-
+
@@ -832,16 +992,11 @@ 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.
-
-The Audio Stream option allows you to select the
-audio stream to use, if the content contains more than one. There
-might be different soundtrack languages, for example.
-
-
+
Subtitles
@@ -850,36 +1005,294 @@ The subtitles tab contains settings related to subtitles in your
content, as shown in .
-
+Subtitle settings tab
-
+
-
+
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). Note that
-DVD and Blu-Ray subtitles are stored as bitmaps, so it is not possible
-(automatically) to use non-burnt-in subtitles with these sources.
+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
+
+
+
+ Burnt-in subtitles
+
+
+
+
+
+
+
+
+ Separate subtitles
+
+
+
+
+
+
+
+
+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.
+
+
+
+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 With Subtitles check-box to enable
-subtitles. The offset control moves the
-subtitles up and down the image, and the scale
-control changes their size.
+subtitles.
+
+
+
+The X Offset and Y Offset
+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%.
+
+
+
+The X Scale and Y Scale
+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.
-All being well, future versions of DCP-o-matic will include the option to
-use text subtitles (as is the norm with most professionally-mastered
-DCPs).
+The Stream control changes the subtitle stream
+that is used when the content has more than one.
-
+
+
+
+Timing
+
+
+The timing tab contains settings related to the timing of your
+content, as shown in .
+
+
+
+ Timing settings tab
+
+
+
+
+
+
+
+
+Most of the timing tab's entries are time-codes.
+These are expressed as four numbers, as shown in .
+
+
+
+ Timecode
+
+
+
+
+
+
+
+
+Position is the time at which this piece of
+content should start within the DCP. In most cases, this will be
+0:0:0:0 to make the content start at the beginning of the
+DCP.
+
+
+
+Full length is the length of the piece of
+content. This can only be set for still-image content: for video or
+sound content, it is fixed by the nature of the content file. If
+still-image content is being used you can set the length for which it
+should be displayed using this control.
+
+
+
+Trim from start specifies the amount that should be trimmed from the start of the content.
+
+
+
+Trim from end specifies the amount that should be trimmed from the end of the content.
+
+
+
+Play length indicates how long this piece of
+content will be once the trims have been applied. This will be equal
+to the full length minus trim-from-start and minus trim-from-end.
+
+
+
+Video frame rate specifies the frame rate for
+still-image content. It can also be used to override the detected
+frame rate of other content if DCP-o-matic has got it wrong.
+
+
+
+Each timecode control has a Set which you should
+click when you have entered a new value for a timecode. The
+Set button will make DCP-o-matic take account of
+any changes to the corresponding timecode.
+
+
+
+
+
+
+
+Video processing pipeline
+
+
+This section gives a little more detail about how DCP-o-matic process
+video as it takes it from a source and puts it into a DCP.
+
+
+
+Consider, as a somewhat over-the-top example, that we have a 720 x 576
+image which is letterboxed with 36 black pixels each at the top and
+bottom, and the video content within the letterbox should be presented
+in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
+happen with a trailer). The source image is shown in .
+
+
+
+ Example image to demonstrate video processing
+
+
+
+
+
+
+
+
+DCP-o-matic runs through the following steps when preparing an image for a DCP:
+
+
+
+Crop
+Scale
+Place in container
+
+
+
+First, some amount of the image can be cropped. This is almost always
+used to remove black borders (letterboxing and/or pillarboxing) around
+images.
+
+
+
+In our example image, we would use 36 pixels of crop from the top and
+bottom. This would give the new image shown in .
+
+
+
+ Example image after cropping
+
+
+
+
+
+
+
+
+The next step is to scale the image. Since this content should be
+presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select
+Scope from the Scale to
+option in the Video tab and
+Flat from the Container
+option in the DCP tab.
+
+
+The Scale to option should always be set to
+the aspect ratio at which the content should be seen. The
+Container option should be set to the preset that
+you want to use on the projector. Of course, these two settings will
+often be the same.
+
+
+
+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.
+
+
+
+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 .
+
+
+
+ Example image after cropping and scaling
+
+
+
+
+
+
+
+
+The final step is to place the image into the DCP. In this case,
+since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
+we have set the container in the
+DCP 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 .
+
+
+
+ Example image in the DCP
+
+
+
+
+
+
+
+
@@ -892,36 +1305,78 @@ controls for these settings are in the DCP tab of
the main window, as shown in .
-
- KDM email preferences
+
+ KDM email preferences
-
+
-
+
This is a template for the email that is used to send KDMs out to
-cinemas. You can change it to say whatever you like. The
-‘magic’ string $CPL_NAME will be replaced by
-DCP's title.
+cinemas. You can change it to say whatever you like. A few
+‘magic’ strings will be replaced by information from the
+KDM that is being sent:
+
+
+
+‘Magic’ KDM strings
+
+
+
+$CPL_NAMEDCP title
+
+
+$CINEMA_NAMECinema name
+
+
+$SCREENSName of screen or screens that KDMs are being generated for
+
+
+$START_TIMEThe time from which the KDMs are valid
+
+
+$END_TIMEThe time until which the KDMs are valid
+
+
+
+
+
+
+The Reset to default text will replace the current KDM email with DCP-o-matic's default.
-
+
+
+
+Advanced
+Advanced preferences
+
+
+The advanced preferences are shown in .
+
+
+
+ Advanced preferences
+
+
+
+
+
+
+
+
+Maximum JPEG2000 bandwidth specifies the maximum
+bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
+are advised to leave this at 250Mbit/s in normal use for maximum DCP
+compatibility.
+
+
+
+Allow any DCP frame rate removes the limits on
+the DCP video frame rates that DCP-o-matic will create. This may be
+useful for experimentation. Again, you are strongly advised to leave
+this unticked for normal use.
+
+
+
+The four checkboxes labelled Log control what
+sort of messages DCP-o-matic writes to its log file when creating a
+DCP. It is useful to leave General,
+Warnings and Errors ticked
+as this makes the log files useful for tracking down bugs.
+
+
+
+The Timing checkbox will enable extra log entries
+to allow developers to investigate and optimize the speed of
+DCP-o-matic. It will significantly increase the size of the log files
+that are generated, so in normal use it is best to leave this
+unticked.
+
+
+
+
@@ -1399,29 +2108,35 @@ video frame and audio sampling rates as the DCP. This is not,
however, always possible.
+
+
-DCP rate limitations
+DCP frame rate limitations
-There are some limitations to video and audio rates in DCPs. This is
+There are some limitations to video and audio frame rates in DCPs. This is
complicated by the fact that not all projectors will play DCPs at the
-same rates. It is possible to create a DCP which one projector will
+same frame rates. It is possible to create a DCP which one projector will
play fine, but another (of a different type) will refuse to play, or
even refuse to ingest.
+
+
Guaranteed rates
The only rates that are (pretty much) guaranteed to work on all DCI
-projectors is 24 frames per second (fps) for video and 48kHz or 96kHz
+projectors are 24 frames per second (fps) for video and 48kHz or 96kHz
for audio. If you are sending your DCPs to unknown places it wise to
consider using these rates if at all possible.
+
+
Other often-supported rates
@@ -1430,6 +2145,8 @@ Many projectors now in the wild support additional video frame rates:
+
+
Adapting content to fit the DCP rate
@@ -1461,7 +2178,7 @@ If DCP-o-matic did nothing else, the result of this would be that the
audio would be running at the original speed with the video running
slowly. Hence the audio would drift slowly out of sync. To avoid
this, DCP-o-matic also resamples the audio such that the projector
-will play it too fast by the same amount. Hence it will sound
+will play it too slow by the same amount. Hence it will sound
slightly different but will remain in sync with the video.
@@ -1472,6 +2189,8 @@ For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
+
+
Setting up
@@ -1479,7 +2198,7 @@ For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
The Frame Rate control in the
DCP tab sets the video frame rate that the DCP
will use. Clicking Use best sets the rate to
-what DVD-o-matic thinks is the best for your content. With this
+what DCP-o-matic thinks is the best for your content. With this
button, DCP-o-matic assumes that the whole range of frame rates (24,
25, 30 and 48fps) are allowable.
@@ -1490,6 +2209,15 @@ content will give a summary of what DCP-o-matic is doing with that
content.
+
+If you want to experiment with other non-standard frame rates, you can
+do so by ticking the Allow any DCP frame rate in
+the Advanced tab of the preferences dialogue (see the
+). You are strongly advised to
+use this only on your own equipment, and only for experimentation
+purposes.
+
+
@@ -1512,6 +2240,8 @@ The master and server machines do not need to be the same type, so you
can mix Windows PCs, Macs and Linux machines as you wish.
+
+
Running the servers
@@ -1529,7 +2259,7 @@ To run the command line version, simply enter:
-dcpomatic_server_cli
+dcpomatic2_server_cli
@@ -1539,7 +2269,7 @@ by doing something like:
-dcpomatic_server_cli -t 4
+dcpomatic2_server_cli -t 4
@@ -1566,6 +2296,8 @@ without touching your standard operating system install.
+
+
Setting up DCP-o-matic
@@ -1578,6 +2310,8 @@ servers that DCP-o-matic has found.
+
+
Some notes about encode servers
@@ -1605,12 +2339,12 @@ linkend="fig-file-structure"/> shows the files that might be generated
after you have created a DCP for a film called ‘DCP Test’.
-
- Creating a new film
+
+ Creating a new film
-
+
-
+
@@ -1660,6 +2394,8 @@ to the cinema which is showing your DCP.
This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
+
+
Resuming encodes