X-Git-Url: https://git.carlh.net/gitweb/?a=blobdiff_plain;f=doc%2Fmanual%2Fdcpomatic.xml;h=a8065a75423387db639fb6c3653f2107d2b84a23;hb=5632b2a735322780111ecb8e6a87e6f547e896bd;hp=dff11d4a635e614dcf1f1379e6b45af261ea210c;hpb=0b9475092cfe8a5d61f72755d15022ace2e10a01;p=dcpomatic.git diff --git a/doc/manual/dcpomatic.xml b/doc/manual/dcpomatic.xml index dff11d4a6..a8065a754 100644 --- a/doc/manual/dcpomatic.xml +++ b/doc/manual/dcpomatic.xml @@ -8,10 +8,15 @@ %extensions; ]> - + + + -DCP-o-matic +DCP-o-matic users' manual CarlHetherington @@ -22,6 +27,7 @@ Hello, and welcome to DCP-o-matic! +
What is DCP-o-matic? @@ -33,23 +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 @@ -60,14 +66,18 @@ This manual uses icons from the Tango
+ + Installation + +
Windows -To install DCP-o-matic on Windows, simply download the installer from +To install DCP-o-matic on Windows, download the installer from http://dcpomatic.com/ and double-click it. Click through the installer wizard, and DCP-o-matic will be installed onto your machine. @@ -84,12 +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 @@ -103,8 +115,8 @@ like to install it. You can install DCP-o-matic on Ubuntu 12.04 (‘Precise -Pangolin’), 12.10 (‘Quantal Quetzal’) or 13.04 -(‘Raring Ringtail’) using .deb packages: +Pangolin’), 14.04 (‘Trusty Tahr’) or 15.04 +(‘Vivid Vervet’) using .deb packages: download the appropriate package from http://dcpomatic.com/ and double-click it. Ubuntu will install the necessary bits and pieces @@ -113,15 +125,48 @@ and set DCP-o-matic up for you.
+ + +
+Debian Linux + +Packages are available for Debian 7 (squeeze), 8 (jessie) and unstable (sid) from http://dcpomatic.com/. + +
+ + + +
+Centos Linux + +Packages are available for Centos 6.5 and 7 from http://dcpomatic.com/. + +
+ + + +
+Arch Linux + +Packages for Arch Linux are available from https://aur.archlinux.org/packages/dcpomatic/, +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. @@ -134,9 +179,14 @@ The following dependencies are required: ImageMagick Boost libssh -GTK +GTK (on Linux) wxWidgets +libxml++ +xmlsec +curl +libzip libdcp +libcxml @@ -159,7 +209,7 @@ With any luck, this will build and install DCP-o-matic on your system. To run i -dcpomatic +dcpomatic2 @@ -169,6 +219,8 @@ in a shell.
+ + Creating a video DCP @@ -201,11 +253,11 @@ shown in .
- Creating a new film + Creating a new film - + - +
@@ -215,11 +267,11 @@ linkend="fig-video-new-film"/>.
- Dialogue box for creating a new film + Dialogue box for creating a new film - + - +
@@ -234,6 +286,8 @@ will write its working files. + +
Adding content @@ -247,21 +301,21 @@ select the content file to use, as shown in . -
- Adding content +
+ Adding content files - - - + + +
-
- Selecting a video content file +
+ Selecting a video content file - + - +
@@ -277,19 +331,19 @@ has finished), you can look through your content using the slider to the right of the window, as shown in . -
+
Examining the content - + - +
Dragging the slider will move through your video. You can also click -the Play button to play the content back. Note -that there will be no sound, and playback might not be entirely +the Play button to play the content back. Note +that there will be no sound, and playback might not be entirely accurate (it may be slightly slower or faster than it should be, for example). This player is really only intended for brief inspection of content; if you need to check it more thoroughly, use another player @@ -303,6 +357,8 @@ url="http://www.mplayerhq.hu/design7/news.html">mplayer or + +
Making the DCP @@ -323,9 +379,9 @@ linkend="fig-making-dcp"/>.
Making the DCP - - - + + +
@@ -333,18 +389,21 @@ linkend="fig-making-dcp"/>. When it has finished, the DCP will end up on your disk inside the film's folder. You can then copy this to a projector via a USB stick, hard-drive or network connection. See for details about the files that DVD-o-matic creates. +linkend="ch-files"/> for details about the files that DCP-o-matic creates. -Alternatively, if you have a projector or TMS that is accessible via -SCP across your network, you can upload the content directly from -DCP-o-matic. See . +Alternatively, if you have a projector or Theatre Management System +(TMS) that is accessible via SCP across your network, you can upload +the content directly from DCP-o-matic. See the in .
+ + Creating a still-image DCP @@ -361,12 +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 - + - +
@@ -377,12 +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 - + - +
@@ -390,16 +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 - + - +
@@ -418,13 +477,15 @@ to encode a single frame which it can then repeat. + + -Handling content +Content settings The previous chapters showed DCP generation using the default settings. DCP-o-matic offers a range of features to adjust the -content that goes into your DCP, and this describes those features in +content that goes into your DCP, and this chapter describes those features in detail. @@ -439,7 +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 @@ -453,13 +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. @@ -469,128 +543,149 @@ clicking the Remove button.
- - - -Preferences + +
+Adding existing DCPs - -DCP-o-matic provides a few preferences which can be used to modify its -behaviour. This chapter explains those options. +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. -
-The preferences dialogue - - -The preferences dialogue is opened by choosing -Preferences... from the Edit -menu. The dialogue is shown in . +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 ). -
- Preferences - - - - - -
+
+
-TMS setup +Content Properties -The first part of the dialogue gives some options for specifying -details about your TMS. If you do this, and your TMS accepts SSH -connections, you can upload DCPs directly from DCP-o-matic to the TMS. -This is discussed in . +Below the content list are the controls to set content properties. To +adjust the properties for a piece of content, click its name in the +content list. The content property controls will then become active +for that piece of content. -TMS IP address should be set to the IP address of -your TMS, TMS target path to the place that DCPs -should be uploaded to (which will be relative to the home directory of -the SSH user). Finally, the user name and password are the -credentials required to log into the TMS via SSH. +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. -
- -
-Threads -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 would typically be set to the number of -processors (or processor cores) in your machine. +The content properties are split up into four sections: +Video, Audio, +Subtitles and Timing. Not +all of these sections will be active for all content types. The controls +in each section are described below.
+ +
-Default directory for new films +Video -This is the directory (folder) which DCP-o-matic will suggest initially as a place to put new films. +The Video tab controls properties of the image, as shown in . -
+
+ Video settings tab + + + + + +
+ +
-A/B options +Image type -These options are for DCP-o-matic's special mode of making A/B -comparison DCPs for checking the performance of video filters. Their -use is described in . +The first 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 +left/right option tells DCP-o-matic to interpret the frame as a +left-right pair, as shown in . -
- -
-Encoding servers +
+ 3D left/right image type + + + + + +
-If you have spare machines sitting around on your network not doing -much, they can be pressed into service to speed up DCP encodes. This -is done by running a small server program on the machine, which will -encode video sent to it by the ‘master’ DCP-o-matic. This -option is described in more detail in . -Use these preferences to specify the encoding servers that should be -used. +Alternatively the 3D top/bottom option tells +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. + - -Advanced topics + -This chapter describes some parts of DCP-o-matic that are -probably not essential, but which you might find useful in some -circumstances. - +
Filtering -DCP-o-matic offers a variety of filters that can be applied to your -video content. You can set up the filters by clicking the +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 Edit button next to the filters entry in the setup area of the DCP-o-matic window; this opens the filters selector as shown in . -
- Filters selector +
+ Filters selector - + - +
@@ -600,326 +695,260 @@ 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! - -
- -
-Scaling - - -If your source material is not of the DCI-specified size, or if it -uses non-square pixels, DCP-o-matic will need to scale it. The -algorithm used to scale is set up by the Scaler -entry in the film setup area. We think ‘Bicubic’ is the -best all-round option, but tests are ongoing. - -
-
-TMS upload - - -If you have configured details of a TMS in the preferences dialogue -() you can upload a completed DCP -straight to your TMS buy choosing Send DCP to TMS -from the Jobs menu. - - -
-
-A/B comparison + +
+Colour conversion -When evaluating the effects of different filters or scalers on the -image quality, A/B mode might be useful. In this mode, DCP-o-matic -will generate a DCP where the left half of the image uses some -‘reference’ filtering and scaling, and the right half of -the image uses a different set of filters and a different scaler. -This DCP can then be played back on a projector and the image quality -evaluated. +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. -To enable A/B mode, click the A/B checkbox in the setup area of the -DCP-o-matic window. When you generate your DCP, the left half of the -screen will use the filters and scaler specified in the preferences dialogue, and the right -half will use the filters and scaler specified in the film setup. +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 . -
- -
-Encoding servers + +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. + + + +
-One way to increase the speed of DCP encoding is to use more -than one machine at the same time. An instance of DCP-o-matic can -offload some of the time-consuming JPEG2000 encoding to any number of -other machines on a network. To do this, one ‘master’ -machine runs DCP-o-matic, and the ‘server’ machines run -a small program called ‘servomatic’. +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: -
-Running the servers - - -There are two options for the encoding server; -servomatic_cli, which runs on the command line, and -servomatic_gui, which has a simple GUI. The command line -version is well-suited to headless servers, especially on Linux, and -the GUI version works best on Windows where it will put an icon in the -system tray. - +
+ Dialogue box for custom colour conversion + + + + + +
-To run the command line version, simply enter: +Alternatively, choose None if your source files +are already in the XYZ colour space and require no conversion. - -servomatic_cli - - -at a command prompt. If you are running the program on a machine with -a multi-core processor, you can run multiple parallel encoding threads -by doing something like: +DCP-o-matic's colour conversion processes are discussed in much more +detail in a separate document colour.pdf. - -servomatic_cli -t 4 - +
- -to run 4 threads in parallel. - + +
+Other settings -To run the GUI version on windows, run the ‘DCP-o-matic encode -server’ from the start menu. An icon will appear in the system -tray; right-click it to open a menu from whence you can quit the -server or open a window to show its status. +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. -
-
-Setting up DCP-o-matic - -Once your servers are running, you need to tell your master -DCP-o-matic instance about them. Start DCP-o-matic and open the -Preferences dialog from the -Edit menu. At the bottom of this dialog is a -section where you can add, edit and remove encoding servers. For each -encoding server you need only specify its IP address and the number of -threads that it is running, so that DCP-o-matic knows how many -parallel encode jobs to send to the server. +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. -Once this is done, any encodes that you start will split the workload -up between the master machine and the servers. +The Scale to option governs the shape that +DCP-o-matic will scale the content's image into. Select the aspect +ratio that your content should be presented in.
-
-Some notes about encode servers - -DCP-o-matic does not mind if servers come and go; if a server -disappears, DCP-o-matic will stop sending work to it, and will check -it every minute or so in case it has come back online. - + +
+Video description -You will probably find that using a 1Gb/s or faster network will -provide a significant speed-up compared to a 100Mb/s network. +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 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. -Making changes to the server configuration in the master DCP-o-matic -will have no effect while an encode is running; the changes will only -be noticed when a new encode is started. +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 + for details of DCP-o-matic's +frame-rate conversion.
+
- - -Generated files + +
+Audio -DCP-o-matic generates a number of files as it makes a DCP. shows the files that might be generated -after you have created a DCP for a film called ‘DCP Test’. +The Audio tab controls properties of the image, as shown in . -
- Creating a new film +
+ Audio settings tab - - - + + +
+ + +
+The audio map + -The DCP Test folder is the one that you specify when you -select the New Film option from DCP-o-matic's -menu. Everything is stored inside this folder. +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. -DCP-o-matic generates some working files as it goes along. These are as follows: - - -log is a list of notes that DCP-o-matic makes as it goes -along. This can be useful for debugging purposes if something goes -wrong. - -metadata stores the settings that you have made -for this film: things like cropping, output format and so on. - -video is where DCP-o-matic writes the DCP's -video data as it encodes it. - -analysis is used to keep the results of audio analysis runs. - -info contains details of each video frame that -DCP-o-matic has written so far. This is used when an encoding -operation is interrupted and DCP-o-matic must resume it. - +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. -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 -(DCP-TEST_EN-XX_...) is what you should ingest, or pass -to the cinema which is showing your DCP. +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. - - - - - - -
-Audio tab +Other controls -This tab contains settings related to the sound in your content, as shown in . - - -
- Audio settings tab - - - XXX: content audio tab - - -
- - -Once again, these settings can be left at their defaults for our Sintel example. - - - -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. The audio graphic is -discussed in more detail later in the manual. - XXX: link - - - -‘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. +‘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. @@ -932,12 +961,12 @@ button next to the audio gain entry, and the dialogue box in will open. -
+
Calculating audio gain - + - +
@@ -951,9 +980,9 @@ your sound-rack fader. -Current versions of DCP-o-matic only know about the Dolby CP750. If -you use a different sound processor, and know the gain curve of its -volume control, get in +Current versions of DCP-o-matic only know about the Dolby CP650 and +CP750. If you use a different sound processor, and know the gain +curve of its volume control, get in touch. @@ -963,95 +992,391 @@ 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. +
+
+ + + +
+Subtitles + + +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) 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 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 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. +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. -The final section in the audio tab is the ‘audio map’. -This governs how sound from the content will be arranged in the DCP. -Our Sintel clip is in 5.1, so DCP-o-matic will default to assigning -each channel from the content to the appropriate DCP channel. This -audio mapping is described in more detail later in the manual. - XXX: link +The Stream control changes the subtitle stream +that is used when the content has more than one.
+ +
-Subtitles tab +Timing -This tab contains settings related to subtitles in your content, as shown in . +The timing tab contains settings related to the timing of your +content, as shown in . -
- Subtitle settings tab +
+ Timing settings tab - - XXX: subtitles 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. -Select the With Subtitles checkbox to enable -subtitles. The offset control moves the -subtitles up and down the image, and the scale -control changes their size. +Most of the timing tab's entries are time-codes. +These are expressed as four numbers, as shown in . +
+ Timecode + + + + + +
+ -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). +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. -
+ +
-Setting up the DCP +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 + + + + + +
+ +
+ + + + +DCP settings -Now that we have set up the content that will go into our DCP, we can -set things up for the DCP itself. This is done from the -DCP tab which can be found at the top of the -DCP-o-matic window (next to the Content tab). -The DCP tab is shown in foo. +This chapter describes the settings that apply to the whole DCP. The +controls for these settings are in the DCP tab of +the main window, as shown in . - XXX: DCP tab +
+ DCP settings tab + + + + + +
The first thing here is the name. This is generally set to the title -of the film that is being encoded. If Use DCI +of the film that is being encoded. If Use ISDCF name is not ticked, the name that you specify will be used -as-is for the name of the DCP. If Use DCI name +as-is for the name of the DCP. If Use ISDCF name is ticked, the name that you enter will be used as part of a -DCI-compliant name. Set the name to something useful, like -‘Sintel’. +ISDCF-compliant name. Underneath the name field is a preview of the name that the DCP will -get. To use a DCI-compliant name, tick the Use DCI -name checkbox. The DCI name will be composed using details +get. To use a ISDCF-compliant name, tick the Use ISDCF +name 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 DCI name details dialogue box, which you can +can be specified in the ISDCF name details dialogue box, which you can open by clicking on the Details button. -If the DCP name is long, it may not all be visible. You can see the -full name by hovering the mouse pointer over the partial name. +If you want to take the ISDCF-compliant name that DCP-o-matic +generates and modify it, click Copy as name and +the ISDCF name will be copied into the Name 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. + + + +The Content Type 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. + + + +The Signed check-box sets whether or not the DCP +is signed. This is rarely important; if in doubt, tick it. + + + +The Encrypted check-box will set whether the DCP +should be encrypted or not. If this is ticked, the DCP will require a +KDM to play back. Encryption is discussed in . + + + +If you use encryption DCP-o-matic will generate a random encryption +key for you. To specify your own key, click the +Edit.. button next to the key. + + + +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). + + + +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. @@ -1064,19 +1389,13 @@ format into a Flat container: in this case, select the small format for the content's ratio and ‘Flat’ for the DCP. - -Next up is the content type. This can be -‘feature’, ‘trailer’ or whatever; select the -required type from the drop-down list. - - The Frame Rate 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 later. - XXX: link +content to fit the specified frame rate. Frame rates are discussed in +more detail in . @@ -1086,15 +1405,18 @@ added. -The Audio Channels control sets the number of -audio channels that the DCP will have. If the DCP has any channels -for which there is no content audio they will be replaced by silence. +Burn subtitles into image should be selected if +you want DCP-o-matic to overlay the subtitles onto the video frame +before encoding. Leave this un-ticked to include the subtitles +separately in the DCP. The 3D button will set your DCP to 3D mode if it -is checked. This is discussed later. - XXX: link +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. @@ -1104,22 +1426,999 @@ high enough resolution to be worth presenting in 4K. -The JPEG2000 bandwidth; 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 (MBps). +The JPEG2000 bandwidth; 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. + + + +The Audio Channels control sets the number of +audio channels that the DCP will have. If the DCP has any channels +for which there is no content audio they will be replaced by silence. +You can only set an even number of channels here, since that is +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. + + + +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: + + + +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. +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: + +DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz. +DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz. +DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz. +DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz. +DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz. +DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz. + + + + + +This upmixing algorithm is due to Gérald Maruccia. + + + + +
+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 channel check-boxes will show or hide the plot(s) for +the corresponding channels 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. + + + +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. + + +
+ + + + +Encryption + + +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. + + + + +
+Basics + + +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. + + + + +
+How it works (in a nutshell) + + +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. + + + +We suppose that we are trying to distribute a DCP, to +Alice's cinema, without a troublemaker called Mallory being able to +watch it himself. + + + +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. + + + +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. + + + +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. + + + +The clever bit in DCP encryption 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 different ‘private’ key. The +private and public keys are related mathematically, but it is +extremely hard (or rather, virtually impossible) to derive the private +key from the public key. + + + +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. + + + +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. -Finally, the scaler is the method that will be used to scale up -your content to the required size for the DCP, if required. We will -discuss the options in more detail later; Bicubic is a fine choice in -most situations. - XXX: link +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).
+
+ + +
+Encryption using DCP-o-matic + +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. + ---> \ No newline at end of file + +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. + + + +A DCP that is generated with the Encrypted box +ticked will not play on any projector as-is (it will be marked as +‘locked’, or whatever the projector manufacturer's term +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 . + + +
+ KDM dialog + + + + + +
+ + +In order to generate KDMs for a particular projector, you need to know +its certificate. These are usually made +available by the projector manufacturers as text files with a +.pem extension. + + + +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. + + + +To add a cinema, click Add Cinema.... 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, but it is optional. + + + +Once you have added a cinema, select it by clicking on its name, then +click Add Screen.... 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. + + + +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. + + + +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. + + + +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. + + + +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. + + + +You must also select the type of KDM that you want to generate. If in +doubt, 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. + + +
+ + + + + + + +Preferences + + +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... from the Edit +menu. The dialogue is split into seven tabs. + + + +
+General + + +The general tab is shown in . + + +
+ General preferences + + + + + +
+ + + +
+Language + + +If you tick the Set Language 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. + + + +The translations for DCP-o-matic have been contributed by helpful +users. If your language is not on the last, head to the DCP-o-matic website to +read about how to contribute a translation. + +
+ + + +
+Threads + + +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. + + +
+ + +
+Updates + + +The Check for updates on startup option, if +enabled, will tell DCP-o-matic to check on dcpomatic.com 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 + + + +The Check for testing updates as well as stable +ones 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! + +
+ +
+ + +
+Defaults + + +The defaults tab is shown in . + + +
+ Defaults preferences + + + + + +
+ + +The options in this tab simply allow you to set up default values for +various properties of new films. + + +
+ + +
+Servers + + +The servers tab is shown in . + + +
+ Servers preferences + + + + + +
+ + +If Use all servers is ticked DCP-o-matic will +locate encoding servers automatically (see ). + + + +Instead of this (or in addition) servers can be specified explicitly. +To add a server, click Add... and enter the host +name or IP address of the server to use. + + +
+ + + +
+Keys + + +The Keys tab (shown in ) holds options +related to the keys and certificates used in some parts of DCP +creation. + + +
+ Keys preferences + + + + + +
+ + +At the top of the tab is the chain of certificates that will be used +to sign DCPs and KDMs. DCP-o-matic creates a random chain when you +first run it, so if you are happy to use a randomly-generated chain +you can ignore the preferences. Otherwise, you can add or remove +certificates from the chain using the Add... and +Remove buttons. + + + +If you want DCP-o-matic to re-create the certificate chain (using new, +random certificates) click Re-make +certificates... and specify your organisation and common +names in the dialogue box that opens. + + + +Underneath the certificate chain is the private key that corresponds +to the leaf certificate in the chain. You can specify your own +private key by clicking Load.... You must do +this if you change the leaf certificate, so that the leaf private key +corresponds to the public key held in the leaf certificate. + + + +The bottom of the tab specifies the certificate and private key that +is used to decrypt DCPs if they are imported as sources to +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. As with the certificate chain, +DCP-o-matic will create a certificate and private key for you. You +can also choose to load your own certificate and key. + + +
+ + +
+TMS +TMS preferences + + +The TMS tab (shown in ) gives some +options for specifying details about your theatre management system +(TMS). If you do this, and your TMS accepts SSH connections, you can +upload DCPs directly from DCP-o-matic to the TMS using the +Send DCP to TMS option in the +Jobs menu. + + +
+ TMS preferences + + + + + +
+ + +TMS IP address should be set to the IP address of +your TMS, TMS target path to the place that DCPs +should be uploaded to (which will be relative to the home directory of +the SSH user). Finally, the user name and password are the +credentials required to log into the TMS via SSH. + + + +Note that for this to work on Doremi servers you will need to set the +PasswordAuthentication option in your server's +sshd_config to yes. + + +
+ + + +
+KDM email + + +The KDM email is shown in . + + +
+ 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. 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. + + +
+
+ + + +Frame rates + + +In an ideal world, a DCP would be created using content at the same +video frame and audio sampling rates as the DCP. This is not, +however, always possible. + + + + +
+DCP frame rate limitations + + +There are some limitations to video and audio frame rates in DCPs. This is +complicated by the fact that not all projectors will play DCPs at the +same frame rates. It is possible to create a DCP which one projector will +play fine, but another (of a different type) 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 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 + +Many projectors now in the wild support additional video frame rates: +25, 30 and 48 fps. + +
+ + + +
+Adapting content to fit the DCP rate + + +DCP-o-matic has a few tricks to allow you to use content that is not +in one of the ‘approved’ rates. + + + +Audio is easy: DCP-o-matic can resample to 48kHz from any source rate +with minimal loss in quality. + + + +Video rate conversion is harder. DCP-o-matic's basic strategy to deal +with a non-supported content rate is to run it at the wrong speed, and +to adjust the audio to keep it in sync. + + +Let us consider the example of a 25fps source for which you want +to create a 24fps DCP. DCP-o-matic will put the frames from the +source directly into the DCP without modification, but will tell the +projector to play them back at 24fps. This means that the DCP's video +will run slightly slower than the original. + + + +If DCP-o-matic did nothing else, the result of this would be that the +audio would be running at the original speed with the video running +slowly. Hence the audio would drift slowly out of sync. To avoid +this, DCP-o-matic also resamples the audio such that the projector +will play it too slow by the same amount. Hence it will sound +slightly different but will remain in sync with the video. + + + +For very low or high frame rates, DCP-o-matic can also skip or duplicate frames. + + +
+
+ + + +
+Setting up + + +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 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. + + + +After this, the Video tab for each piece of +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. + + +
+ + + + + +Encoding servers + + +One way to increase the speed of DCP encoding is to use more +than one machine at the same time. An instance of DCP-o-matic can +offload some of the time-consuming JPEG2000 encoding to any number of +other machines on a network. To do this, one ‘master’ +machine runs DCP-o-matic, and the ‘server’ machines run +a small program called dcpomatic_server. + + + +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 + + +There are two options for the encoding server; +dcpomatic_server_cli, which runs on the command line, and +dcpomatic_server, which has a simple GUI. The command line +version is well-suited to headless servers, especially on Linux, and +the GUI version works best on Windows where it will put an icon in the +system tray. + + + +To run the command line version, simply enter: + + + +dcpomatic2_server_cli + + + +at a command prompt. If you are running the program on a machine with +a multi-core processor, you can run multiple parallel encoding threads +by doing something like: + + + +dcpomatic2_server_cli -t 4 + + + +to run 4 threads in parallel. + + + +To run the GUI version on windows, run the ‘DCP-o-matic encode +server’ from the start menu. An icon will appear in the system +tray; right-click it to open a menu from whence you can quit the +server or open a window to show its status. + + +If you would rather not bother installing DCP-o-matic on your +server computers, the other option is to use the live-CD +image that you can download from the DCP-o-matic web site. + +Either burn the image to CD, or write it to a USB stick (using +something like unetbootin). Boot a +PC from the CD or USB stick and it becomes a DCP-o-matic server +without touching your standard operating system install. + + +
+ + +
+Setting up DCP-o-matic + + +DCP-o-matic periodically looks on the local network for servers. Any +that it finds are given work to do during encodes. Selecting +Encoding Servers from the +Tools menu brings up a window which shows that +servers that DCP-o-matic has found. + + +
+ + +
+Some notes about encode servers + + +DCP-o-matic does not mind if servers come and go; if a server +disappears, DCP-o-matic will stop sending work to it, and will check +it every minute or so in case it has come back online. + + + +You will probably find that using a 1Gb/s or faster network will +provide a significant speed-up compared to a 100Mb/s network. + + +
+ + + + +Generated files + + +DCP-o-matic generates a number of files as it makes a DCP. shows the files that might be generated +after you have created a DCP for a film called ‘DCP Test’. + + +
+ Creating a new film + + + + + +
+ + +The DCP Test folder is the one that you specify when you +select the New Film option from DCP-o-matic's +menu. Everything is stored inside this folder. + + + +DCP-o-matic generates some working files as it goes along. These are as follows: + + +log is a list of notes that DCP-o-matic makes as it goes +along. This can be useful for debugging purposes if something goes +wrong. + +metadata stores the settings that you have made +for this film: things like cropping, output format and so on. + +video is where DCP-o-matic writes the DCP's +video data as it encodes it. + +analysis is used to keep the results of audio analysis runs. + +info contains details of each video frame that +DCP-o-matic has written so far. This is used when an encoding +operation is interrupted and DCP-o-matic must resume it. + + + + +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 +(DCP-TEST_EN-XX_...) is what you should ingest, or pass +to the cinema which is showing your DCP. + + + + + +Loose ends + + +This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual. + + + + +
+Resuming encodes + + +If you cancel a DCP encoding run half-way through, or your computer +crashes... fear not. DCP-o-matic takes care to ensure that, in most +cases, it can resume encoding from where it left off. When you +re-start a DCP creation, using the same settings are a previous run, +DCP-o-matic will first check that the existing picture frames are +correct, and then resume from where it left off. The checking of +existing frames does take some time, but it is much faster than +running a full re-encode. + + + +This resumption is achieved by writing a digest (hash) to disk for +every image frame that is written. On resumption, the existing MXF +file for image data is read and its contents checked against the +hashes. + + +
+ + + +