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11 <book xmlns="http://docbook.org/ns/docbook" xmlns:mml="http://www.w3.org/1998/Math/MathML" version="5.0" xml:lang="en">
14 <title>DCP-o-matic users' manual</title>
15 <author><firstname>Carl</firstname><surname>Hetherington</surname></author>
18 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
19 <title>Introduction</title>
22 Hello, and welcome to DCP-o-matic!
25 <!-- ============================================================== -->
27 <title>What is DCP-o-matic?</title>
29 <para>DCP-o-matic is a set of programs to perform the following tasks:</para>
32 <listitem>Creation of <ulink
33 url="http://en.wikipedia.org/wiki/Digital_Cinema_Package">Digital
34 Cinema Packages</ulink> (DCPs) from video, audio and/or
35 subtitle and closed caption files.</listitem>
36 <listitem>Playback and verification of DCPs on a PC/Mac.</listitem>
37 <listitem>Creation of KDMs for DCPs.</listitem>
43 <!-- ============================================================== -->
45 <title>Licence</title>
48 DCP-o-matic is free and open-source and is licensed under the <ulink
49 url="http://www.gnu.org/licenses/old-licenses/gpl-2.0.html">GNU
56 <!-- ============================================================== -->
58 <title>Acknowledgements</title>
61 This manual uses icons from the <ulink url="http://tango.freedesktop.org/">Tango Desktop Project</ulink>, with thanks.
66 <!-- ============================================================== -->
68 <title>This manual</title>
71 This manual presents bits of DCP-o-matic's user interface (such as menu items or buttons) <guilabel>like this</guilabel>.
75 Notes of an advanced nature are presented like this. Ignore them unless you want to know the gory details.
82 <!-- ============================================================== -->
83 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
84 <title>Installation</title>
87 <!-- ============================================================== -->
89 <title>Windows</title>
92 To install DCP-o-matic on Windows, download the installer from
93 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
94 and double-click it. Click through the installer wizard, and
95 DCP-o-matic will be installed onto your machine.
99 If you are using a 32-bit version of Windows, you will need the 32-bit
100 installer. For 64-bit Windows, either installer will work, but I
101 suggest you used the 64-bit version as it will allow DCP-o-matic to
102 use more memory. You may find that DCP-o-matic crashes if you run
103 many parallel encoding threads (more than 4) on the 32-bit
108 If you are still using Windows XP, download the specific XP version as
109 it should be more stable on your machine than the ‘normal’
110 Windows version. Be aware, though, that support for Windows XP will
111 not last forever and you should plan to upgrade if at all possible.
117 <!-- ============================================================== -->
119 <title>Mac OS X</title>
122 DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
123 higher. DCP-o-matic is split into five separate applications, each of
124 which can be installed by downloading the <code>.dmg</code>,
125 double-clicking to open and then dragging the icon to your
126 <guilabel>Applications</guilabel> folder.
130 If you are not sure which parts of DCP-o-matic to install, start
131 with the first (main) part.
136 <!-- ============================================================== -->
138 <title>Debian, Ubuntu or Mint Linux</title>
141 You can install DCP-o-matic on:
145 <listitem>Debian 7 (‘wheezy’), 8 (‘jessie’), 9 (‘squeeze’) and unstable (‘sid’)</listitem>
146 <listitem>Ubuntu 14.04 (‘Trusty Tahr’), 16.04 (‘Xenial Xerus’), 18.04 (‘Bionic Beaver’) and 18.10 (‘Cosmic Cuttlefish’)</listitem>
147 <listitem>Mint 17, 18 and 19</listitem>
151 using <code>.deb</code> packages: download the appropriate package
152 from <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
153 and double-click it. Debian, Ubuntu or Mint will install the necessary bits and
154 pieces and set DCP-o-matic up for you.
157 <!-- ============================================================== -->
160 <!-- ============================================================== -->
162 <title>Fedora, Centos and Mageia Linux</title>
164 <para>There are <code>.rpm</code> packages for Fedora 27, 28 and 29, Centos 6 and 7 and Mageia 6 on
165 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
168 <!-- ============================================================== -->
170 <!-- ============================================================== -->
172 <title>Arch Linux</title>
174 Packages for Arch Linux are available from <ulink
175 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
176 thanks to Stefan Karner.
181 <!-- ============================================================== -->
183 <title>Other Linux distributions</title>
186 Installation on other Linux systems (for which no packages are
187 available) is quite hard as it must be compiled from source. If you
188 can't download packages for your distribution, do let me know by
189 <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I will look
190 into providing packages on the website.
194 The following dependencies are required:
196 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
197 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
198 <listitem><ulink url="http://www.mega-nerd.com/SRC/">libsamplerate</ulink></listitem>
199 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
200 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
201 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
202 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
203 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
204 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
205 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
206 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
207 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
208 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
209 <listitem><ulink url="http://carlh.net/asdcplib">asdcplib with some patches</ulink></listitem>
210 <listitem><ulink url="http://carlh.net/libdcp">libdcp</ulink></listitem>
211 <listitem><ulink url="http://carlh.net/libsub">libsub</ulink></listitem>
212 <listitem><ulink url="http://carlh.net/libcxml">libcxml</ulink></listitem>
213 <listitem><ulink url="https://carlh.net/locked_sstream">locked_sstream</ulink></listitem>
214 <listitem><ulink url="https://www.music.mcgill.ca/~gary/rtaudio/">rtaudio</ulink></listitem>
215 <listitem><ulink url="http://site.icu-project.org">libicu</ulink></listitem>
220 Once you have installed the development packages for the dependencies,
221 download the source code from <ulink
222 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>,
223 unpack it and run the following commands from inside the source
228 ./waf configure --disable-tests
234 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
246 <!-- ============================================================== -->
248 <title>‘Simple’ and ‘Full’ modes</title>
250 <para>When you start DCP-o-matic for the first time it will ask you if
251 you want to use ‘simple’ or ‘full’ mode.
254 <para>The difference between these two is that some of DCP-o-matic's
255 more complex or less-used controls are hidden from view in
256 ‘Simple’ mode. This makes the interface simpler to
257 navigate. You may wish to choose this mode if you do not have much
258 experience with video processing.
261 <para>Even if you choose ‘Simple’ mode you can always go
262 back to ‘Full’ mode by changing the <guilabel>Interface
263 complexity</guilabel> setting in the <guilabel>General</guilabel> tab
264 of <guilabel>Preferences</guilabel>.
268 All the screenshots in this manual are from a copy of DCP-o-matic in ‘Full’ mode.
278 <!-- ============================================================== -->
279 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
280 <title>Creating a DCP from a video</title>
283 In this chapter we will see how to create a DCP from a video file using
284 DCP-o-matic. We will gloss over the details and look at the basics.
288 <title>Creating a new film</title>
291 Let's make a very simple DCP to see how DCP-o-matic works. First, we
292 need some content. Download the low-resolution trailer for the open
293 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
294 url="https://download.blender.org/durian/trailer/Sintel_Trailer.480p.DivX_Plus_HD.mkv">their
295 website</ulink>. Generally one would want to use the
296 highest-resolution material available, but for this test we will use
297 the low-resolution version to save everyone's bandwidth bills.
301 Now, start DCP-o-matic and its window will open. First, we will
302 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
303 some pieces of content, along with some settings, which we will make into
304 a DCP. DCP-o-matic stores its data in a folder on your disk while it
305 creates the DCP. You can create a new film by selecting
306 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
307 shown in <xref linkend="fig-file-new"/>.
310 <figure id="fig-file-new">
311 <title>Creating a new film</title>
314 <imagedata scale="250" fileref="screenshots/file-new&scs;"/>
320 This will open a dialogue box for the new film, as shown in <xref
321 linkend="fig-video-new-film"/>.
324 <figure id="fig-video-new-film">
325 <title>Dialogue box for creating a new film</title>
328 <imagedata fileref="screenshots/video-new-film&scs;"/>
334 In this dialogue box you can choose a name for the film. This will be
335 used to name the folder to store its data in, and also as the initial
336 name for the DCP itself. You can also choose whereabouts you want to create
337 the film. In the example from the figure, DCP-o-matic will create a
338 folder called ‘DCP Test’ inside my home folder (carl) into which it
339 will write its working files.
345 <!-- ============================================================== -->
347 <title>Adding content</title>
350 The next step is to add the content that you want to use. DCP-o-matic
351 can make DCPs from multiple pieces of content, but in this simple
352 example we will just use a single piece. Click the <guilabel>Add
353 file(s)...</guilabel> button, as shown in <xref
354 linkend="fig-add-file"/>, and a file chooser will open for you to
355 select the content file to use, as shown in <xref
356 linkend="fig-video-select-content-file"/>.
359 <figure id="fig-add-file">
360 <title>Adding content files</title>
363 <imagedata fileref="screenshots/add-file&scs;"/>
368 <figure id="fig-video-select-content-file">
369 <title>Selecting a video content file</title>
372 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
378 Select your content file and click <guilabel>Open</guilabel>. In this
379 case we are using the Sintel trailer that we downloaded earlier.
383 When you do this, DCP-o-matic will take a look at your file. After a
384 short while (when the progress bar at the bottom right of the window
385 has finished), you can look through your content using the slider to
386 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
389 <figure id="fig-examine-content">
390 <title>Examining the content</title>
393 <imagedata fileref="screenshots/examine-content&scs;"/>
399 Dragging the slider will move through your video. You can also click
400 the <guilabel>Play</guilabel> button to play the content back.
408 <!-- ============================================================== -->
410 <title>Making the DCP</title>
412 <para>In most cases, some adjustments would be made to DCP-o-matic's
413 settings once the content has been added. For our simple test,
414 however, the default values will suffice, so we can go straight onto
415 making the DCP.</para>
418 Choose <guilabel>Make DCP</guilabel> from the
419 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
420 This may take some time (many hours in some cases). While the job is
421 in progress, DCP-o-matic will update you on how it is getting on with
422 the progress bar in the bottom of its window, as shown in <xref
423 linkend="fig-making-dcp"/>.
426 <figure id="fig-making-dcp">
427 <title>Making the DCP</title>
430 <imagedata scale="250" fileref="screenshots/making-dcp&scs;"/>
436 When it has finished, the DCP will end up on your disk inside the
437 film's folder. You can then copy this to a projector via a USB
438 stick, hard-drive or network connection. See <xref
439 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
443 Alternatively, if you have a projector or Theatre Management System
444 (TMS) that is accessible via SCP or FTP across your network, you can upload
445 the content directly from DCP-o-matic. See the <xref
446 linkend="sec-prefs-tms" endterm="sec-prefs-tms-short"/> in <xref linkend="sec-prefs-tms"/>.
453 <!-- ============================================================== -->
454 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
455 <title>Creating a DCP from a still image</title>
458 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
459 for an advertisement or an on-screen announcement. This chapter shows you
464 As with DCPs made from video files, the first step is to create a new
465 ‘Film’; select <guilabel>New</guilabel> from the
466 <guilabel>File</guilabel> menu and the new film dialogue will open as
467 shown in <xref linkend="fig-still-new-film"/>.
470 <figure id="fig-still-new-film">
471 <title>Dialogue box for creating a new film</title>
474 <imagedata fileref="screenshots/still-new-film&scs;"/>
480 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
481 the content. As before, click <guilabel>Add file(s)...</guilabel>.
482 For our example, we will add a single image file, as shown in <xref
483 linkend="fig-still-select-content-file"/>.
486 <figure id="fig-still-select-content-file">
487 <title>Selecting a still content file</title>
490 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
496 Most of the default settings will be fine for a simple test. The one
497 thing that you might wish to change is the length of the still.
498 Select the <guilabel>Timing</guilabel> tab and you will see a
499 <guilabel>Play length</guilabel> setting, as shown in <xref
500 linkend="fig-timing-tab"/>.
503 <figure id="fig-timing-tab">
504 <title>The timing tab</title>
507 <imagedata fileref="screenshots/timing-tab&scs;"/>
513 This length is a ‘timecode’: it consists of four numbers.
514 The first is hours, the second minutes, the third seconds, and the
515 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
519 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
520 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
521 be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
522 to encode a single frame which it can then repeat.
528 <!-- ============================================================== -->
529 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" id="ch-manipulating-existing-dcps">
530 <title>Manipulating existing DCPs</title>
533 DCP-o-matic is often used to take content in formats such as MP4 and
534 make it into a DCP. It can also be used to take existing DCPs and
535 modify them in various ways.
539 <title>Importing a DCP into DCP-o-matic</title>
542 The first step in manipulating an existing DCP is to import it. Click
543 <guilabel>Add DCP...</guilabel> and select your DCP's folder. It will
544 be added to the DCP-o-matic project. If the DCP is unencrypted you
545 can preview it in the normal way, though playback will be slow as
546 decoding of DCPs is almost as computationally intensive as encoding
551 If your DCP is a Version File (VF) (i.e. it refers to
552 another DCP's assets) you should import it as follows:
556 <listitem>Use <guilabel>Add DCP...</guilabel> to import the VF DCP.
557 The VF DCP will be added to the content list and marked “NEEDS
558 OV”.</listitem>
559 <listitem>Right-click on the VF DCP in the content list and choose <guilabel>Add OV...</guilabel> from the menu.</listitem>
560 <listitem>Choose the folder that contains the OV DCP. The VF will now be playable as normal.</listitem>
566 <section xml:id="sec-decrypting">
567 <title>Decrypting encrypted DCPs</title>
570 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
571 details). If you import an encrypted DCP you will need a key, in the
572 form of a Key Delivery Message (KDM), to decrypt it.
576 KDMs must be prepared by the organisation which created the DCP. They
577 contain the keys to decrypt the DCP wrapped up in such a way that only
578 the intended recipient can read them. You will need to provide the
579 organisation with a certificate which identifies your copy of
580 DCP-o-matic and allows them to create a KDM for you.
584 To get DCP-o-matic's decryption certificate, open the Preferences
585 dialogue (see <xref linkend="ch-preferences"/>) and go to the
586 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
587 decryption certificate...</guilabel> button at the bottom of this tab
588 and save the certificate. Send this certificate to the DCP creators
589 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
593 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
594 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and the DCP
595 will be decrypted and become available for preview.
602 <title>Making a DCP from a DCP</title>
605 In many ways, using DCPs as <emphasis>content</emphasis> in
606 DCP-o-matic is the same as using any other content. There are a few
607 things to note, though.
612 <title>Re-use of existing data</title>
615 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
616 data from DCP content without modification. This has the advantage
617 that creation of the new DCP will be quick, as the time-consuming
618 JPEG2000 encoding is not necessary.
622 DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
623 the following content settings:
627 <listitem>Crop</listitem>
628 <listitem>Scaling</listitem>
629 <listitem>Subtitle burn-in</listitem>
630 <listitem>Fades</listitem>
631 <listitem>Colour conversion</listitem>
635 DCP-o-matic will be forced to decode and re-encode your JPEG2000 data
636 if you change any of these settings on a piece of DCP content.
642 <section xml:id="sec-overlay">
643 <title>Making overlay files</title>
646 With its default settings, DCP-o-matic will take any data from DCP
647 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
650 <figure id="fig-dcp-copy">
651 <title>Creating a new DCP by copying an existing one</title>
652 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
656 This can be inefficient in some cases. Consider, for example, a film
657 which has ten different translations for which the subtitles are
658 different but video and audio are the same. If the video and audio
659 content takes up, say, 100Gb this means that the set of DCPs for every
660 translation would be about 1Tb with a lot of duplicated data.
664 The DCP format has a solution to this problem. One DCP can refer to
665 the ‘assets’ (picture, sound or subtitle) of another DCP.
666 For our translation example this means that we could have a
667 ‘base’ DCP (often called the OV or Original Version)
668 containing video, audio and one set of subtitles and then any number
669 of overlay DCPs (often called VF or Version Files) which refer to the
670 base version and replace the original subtitles with their own. <xref
671 linkend="fig-dcp-refer"/> shows this principle for one of our
672 translations. The DCP that we make refers to the original content
673 DCP's video and audio rather than containing a copy.
676 <figure id="fig-dcp-refer">
677 <title>Creating a new DCP by referring to an existing one</title>
678 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
682 To play back the subtitled DCP the projectionist ingests both the base
683 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
687 To make a DCP like this:
691 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
692 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
693 <listitem>Select the DCP in the content list</listitem>
694 <listitem>Tick the <guilabel>Use's this DCP's ... as OV and make VF</guilabel> checkbox
695 in the tabs for the parts of the DCP that you want to refer to in your
696 new DCP. For example, to refer to the Content DCP's video and audio you would select the <guilabel>Video</guilabel> tab, click <guilabel>Use this DCP's video as OV and make VF</guilabel> then select the <guilabel>Audio</guilabel> tab and click <guilabel>Use this DCP's audio as OV and make VF</guilabel>.</listitem>
697 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
707 <!-- ============================================================== -->
710 <!-- ============================================================== -->
711 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
712 <title>Content settings</title>
715 The previous chapters showed DCP generation using the default
716 settings. DCP-o-matic offers a range of features to adjust the
717 content that goes into your DCP, and this chapter describes those
722 <title>Adding and removing content</title>
725 At the top of the <guilabel>Content</guilabel> tab is a list of the
726 content that will go into our DCP. There can be as many pieces of
727 content as you like, and they can be of the following types:
731 <listitem>Movie — a file containing some video, probably some
732 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
735 <listitem>Sound — a file containing one or more channels of
736 audio; for example, a WAV or AIFF file.
739 <listitem>Still image — a file containing a single still image; for
740 example, a JPEG, PNG or TIFF file.
743 <listitem>Moving image — a directory containing many still
744 images which should be treated as the frames of a video.
747 <listitem>Subtitle — a file containing subtitle which will be
748 superimposed on the image of the DCP. These can be
749 <guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel>, <guilabel>.ass</guilabel> or <guilabel>.xml</guilabel>
752 <listitem>DCP — an existing DCP.</listitem>
756 To add one or more movie, sound, still-image or subtitle files, select
757 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
761 DCP-o-matic will automatically map a set of audio files to the correct channels if you include appropriate ‘tags’ in your filenames, as shown in <xref linkend="tab-audio-file-naming"/>.
764 <table id="tab-audio-file-naming">
765 <title>Audio file naming</title>
766 <tgroup cols='3' align='left' colsep='1' rowsep='1'>
770 <entry>Examples</entry>
771 <entry>Channel</entry>
776 <entry><code>L</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
777 <entry>film-L.wav my_movie_L_final.wav</entry>
781 <entry><code>R</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
782 <entry>film-R.wav my_movie_R_final.wav</entry>
786 <entry><code>C</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
787 <entry>film-C.wav my_movie_C_final.wav</entry>
788 <entry>Centre</entry>
791 <entry><code>Lfe</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
792 <entry>film-Lfe.wav my_movie_Lfe_final.wav</entry>
793 <entry>LFE (sub)</entry>
796 <entry><code>Ls</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
797 <entry>film-Ls.wav my_movie_Ls_final.wav</entry>
798 <entry>Left surround</entry>
801 <entry><code>Rs</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
802 <entry>film-Rs.wav my_movie_Rs_final.wav</entry>
803 <entry>Right surround</entry>
810 To add a directory (folder) of images, choose <guilabel>Add
811 folder...</guilabel> and choose the directory from the selector.
812 DCP-o-matic will open a small dialogue box where you can enter the
813 frame rate that the image sequence should be run at.
817 To add a DCP, choose <guilabel>Add DCP...</guilabel> and choose the
818 DCP's directory from the selector.
822 You can remove a piece of content by clicking on its name and then
823 clicking the <guilabel>Remove</guilabel> button.
828 <!-- ============================================================== -->
830 <title>Adding existing DCPs</title>
832 <para>Adding existing DCPs to a DCP-o-matic film is a little different
833 to adding other types of content. Most content has to be converted to
834 JPEG2000, the compression scheme used by DCPs, which is a very
835 time-consuming process. Existing DCPs are already in JPEG2000 format
836 so do not require conversion. This means that, provided no settings
837 such as crop are used on the DCP content, picture and sound data will
838 be passed from existing to new DCP unaltered.
841 <para>Encrypted DCPs that are added as content will require a KDM
842 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
843 should ask the creator of the imported DCP to provide a KDM for
844 DCP-o-matic's decryption certificate, which can be obtained by
845 clicking <guilabel>Export DCP decryption certificate...</guilabel>
846 from the <guilabel>Keys</guilabel> tab of the
847 <guilabel>Preferences</guilabel> dialog (see <xref
848 linkend="sec-prefs-keys"/>).
853 <!-- ============================================================== -->
855 <title>Content Properties</title>
858 Below the content list are the controls to set content properties. To
859 adjust the properties for a piece of content, click its name in the
860 content list. The content property controls will then become active
861 for that piece of content.
865 If you want to change the properties for multiple pieces of content at
866 the same time, select the content in the list by clicking the first
867 piece then clicking the other pieces with <keycap>shift</keycap> key
868 held down. Note that not all settings can be changed in this way.
872 The content properties are split up into four sections:
873 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
874 <guilabel>Subtitles</guilabel> and <guilabel>Timing</guilabel>. Not
875 all of these sections will be active for all content types. The controls
876 in each section are described below.
882 <!-- ============================================================== -->
887 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
890 <figure id="fig-video-tab">
891 <title>Video settings tab</title>
894 <imagedata fileref="screenshots/video-tab&scs;"/>
900 <!-- ============================================================== -->
902 <title>Use this DCP's video as OV and make VF</title>
905 This option is only applicable if the selected content is an existing
906 DCP. It allows you make a VF DCP, using the video content from the
907 existing DCP by referencing it (rather than copying). See <xref
908 linkend="sec-overlay"/>.
913 <!-- ============================================================== -->
915 <title>Image type</title>
918 The next option on this tab is the ‘type’ of the video.
919 This specifies how DCP-o-matic should interpret the video's image.
920 <guilabel>2D</guilabel> is the default; this just takes the video
921 image as a standard 2D frame. The <guilabel>3D
922 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
923 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
926 <figure id="fig-3d-left-right">
927 <title>3D left/right image type</title>
930 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
936 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
937 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
938 linkend="fig-3d-top-bottom"/>.
941 <figure id="fig-3d-top-bottom">
942 <title>3D top/bottom image type</title>
945 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
951 Another option is <guilabel>3D alternate</guilabel> which takes the
952 first frame of the content as for the left eye, the second for the
953 right eye, the third for the left, and so on. Finally, you can
954 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
955 only</guilabel> if this content contains only the the left or right
956 eye images. This is useful when you have the left and right eye image
957 sets in different files; you can specify one content as <guilabel>3D
958 left only</guilabel> and another as <guilabel>3D right only</guilabel>
959 and DCP-o-matic will pick up the appropriate frames from each.
965 <!-- ============================================================== -->
967 <title>Filtering</title>
970 The ‘filters’ settings allow you to apply various video
971 filters to the image. These may be useful to try to improve
972 poor-quality sources like DVDs. You can set up the filters by clicking the
973 <guilabel>Edit</guilabel> button next to the filters entry in the
974 setup area of the DCP-o-matic window; this opens the filters selector
975 as shown in <xref linkend="fig-filters"/>.
978 <figure id="fig-filters">
979 <title>Filters selector</title>
982 <imagedata fileref="screenshots/filters&scs;"/>
988 After changing the filters setup, you will need to regenerate the DCP
989 to see the effect on the cinema screen. The preview in DCP-o-matic
990 will update itself whenever filters are changed, though of course this
991 image is much smaller and of lower resolution than a projected image!
997 <!-- ============================================================== -->
999 <title>Colour conversion</title>
1002 The <guilabel>Colour conversion</guilabel> setting specifies what
1003 colour transforms and gamma correction DCP-o-matic will use when
1004 converting the selected content into the XYZ colourspace for the DCP.
1008 The easiest way to select the required conversion is to choose one of
1009 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
1010 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
1011 know which preset you should use, refer to the suggestions in <xref
1012 linkend="tab-colour-conversion"/>.
1015 <table id="tab-colour-conversion">
1016 <title>Suggested colour conversion settings</title>
1017 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
1018 <colspec colwidth='1*'/>
1019 <colspec colwidth='5*'/>
1022 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs.</entry>
1025 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
1028 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
1031 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
1038 For other required colour conversions, and if you know what you are
1039 doing, you can choose <guilabel>Custom</guilabel> which will open the full
1040 colour conversion editing dialogue box:
1043 <figure id="fig-colour-conversion">
1044 <title>Dialogue box for custom colour conversion</title>
1047 <imagedata fileref="screenshots/colour-conversion&scs;"/>
1053 Alternatively, choose <guilabel>None</guilabel> if your source files
1054 are already in the XYZ colour space and require no conversion.
1058 DCP-o-matic's colour conversion processes are discussed in much more
1059 detail in a separate document <ulink
1060 url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
1065 <!-- ============================================================== -->
1067 <title>Other settings</title>
1070 The <guilabel>crop</guilabel> settings can be used to crop your
1071 content, which is often used to remove black borders from the edges of
1072 the image. The specified number of pixels will be trimmed from each
1073 edge, and the content image in the right of the window will be updated
1074 to show the effect of the crop.
1078 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
1079 settings can be used to apply linear fades into and out of a piece of
1080 content. Specify the time for each, clicking <guilabel>Set</guilabel>
1081 after making any changes.
1085 The <guilabel>Scale to</guilabel> option governs the shape that
1086 DCP-o-matic will scale the content's image into. Select the aspect
1087 ratio that your content should be presented in.
1092 <!-- ============================================================== -->
1094 <title>Video description</title>
1097 At the bottom of the video tab is a short description of what will
1098 happen to your video with the current settings. In the example of
1099 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
1100 video file is 1920x1080 pixels and it has square pixels (a pixel
1101 aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since
1102 the controls specify ‘16.9’ for the ratio, DCP-o-matic
1103 does not scale the image but pads it to the DCP's container ratio of
1104 1.85:1. For a 2K DCP this is 1998x1080 pixels.
1108 This description also gives the frame rate of the content and what
1109 will happen to it when it is played at the DCP's frame rate. See
1110 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
1111 frame-rate conversion.
1119 <!-- ============================================================== -->
1121 <title>Audio</title>
1124 The <guilabel>Audio</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-audio-tab"/>.
1127 <figure id="fig-audio-tab">
1128 <title>Audio settings tab</title>
1131 <imagedata fileref="screenshots/audio-tab&scs;"/>
1136 <!-- ============================================================== -->
1138 <title>The audio map</title>
1141 The section at the bottom of the audio tab is the ‘audio
1142 map’. This governs how sound from the content will be arranged
1147 Down the left-hand side of the map is the list of audio channels in
1148 the currently-selected piece of content. These are labelled with two
1149 numbers; the first is the stream index within the content and the
1150 second is the channel number within that stream. Some content will
1151 have different streams for different languages or audio mixes. Along
1152 the top is each channel in the DCP. A green box means that the
1153 corresponding content channel will be copied into the corresponding
1158 When content channels are copied into DCP channels they can be done
1159 with variable gain. If, for example, you want to copy a channel
1160 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1161 two channels into one, you may want to use a gain of -6dB on each one
1162 to prevent clipping when the two channels are added.
1166 The green boxes of the audio mapping view tell you (very roughly) how
1167 much gain is applied to each channel. A full-height box means 0dB
1168 (i.e. unity) gain. Any less height indicates lower gain.
1172 To map one channel to another with 0dB gain, click in the empty box
1173 and it will turn green to reflect the mapping. A second click will
1174 turn the mapping back off. To set some other gain, right-click on the
1175 box to open the gain menu. This allows you to set
1176 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1177 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1178 <guilabel>Edit</guilabel> which allows you to set the required gain
1183 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1186 <figure id="fig-audio-map-eg1">
1187 <title>Audio map example 1</title>
1190 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1196 Here, we have two channels in the source which are mapped to left and
1197 right, respectively, in the DCP. The full green boxes show that the
1198 mapping is at unity gain (0dB) in each case. Imagine that we modify
1199 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1202 <figure id="fig-audio-map-eg2">
1203 <title>Audio map example 2</title>
1206 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1212 We now have the content's streams mapped to left and right and also
1213 mixed together and placed in the DCP's centre channel. The smaller
1214 green boxes on the centre mappings show that those channels are added
1215 with some non-unity gain; you can see by hovering the mouse pointer
1216 over those boxes that the gain for content channels 1 and 2 is -6dB
1217 when being sent to the centre channel and 0dB when being sent to left
1221 <figure id="fig-audio-map-eg3">
1222 <title>Audio map example 3</title>
1225 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1231 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1232 shows the mapping of a 5.1 source into a 5.1 DCP.
1238 <!-- ============================================================== -->
1240 <title>Other controls</title>
1243 The <guilabel>Use this DCP's audio as OV and make VF</guilabel>
1244 checkbox is only applicable if the selected content is an existing
1245 DCP. It allows you to make a VF DCP, using the audio content from the
1246 existing DCP by referencing it (rather than copying). See <xref
1247 linkend="sec-overlay"/>.
1251 <guilabel>Show graphs of audio levels</guilabel> will analyse the
1252 audio of the selected content and plot it on a graph. See <xref
1253 linkend="sec-show-audio"/> for more details.
1257 ‘Audio Gain’ is used to alter the volume of the
1258 soundtrack. The specified gain (in dB) will be applied to each sound
1259 channel of your content before it is written to the DCP.
1263 If you use a sound processor that DCP-o-matic knows about, it can help
1264 you calculate changes in gain that you should apply. Say, for
1265 example, that you make a test DCP and find that you have to run it at
1266 volume 5 instead of volume 7 to get a good sound level in the screen.
1267 If this is the case, click the <guilabel>Calculate...</guilabel>
1268 button next to the audio gain entry, and the dialogue box in <xref
1269 linkend="fig-calculate-audio-gain"/> will open.
1272 <figure id="fig-calculate-audio-gain">
1273 <title>Calculating audio gain</title>
1276 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1282 For our example, put 5 in the first box and 7 in the second and click
1283 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1284 that it should apply to make this happen. Then you can re-make the
1285 DCP (this will be reasonably fast, as the video data will already have
1286 been done) and it should play back at the correct volume with 7 on
1287 your sound-rack fader.
1291 Current versions of DCP-o-matic only know about the Dolby CP650 and
1292 CP750. If you use a different sound processor, and know the gain
1293 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1298 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1299 between audio and video. A positive delay will move the audio later
1300 with respect to the video, and a negative delay will move it earlier.
1307 <!-- ============================================================== -->
1309 <title>Timed text (subtitles and closed captions)</title>
1312 The timed text tab contains settings related to subtitles and closed captions in your
1313 content, as shown in <xref linkend="fig-timed-text-tab"/>.
1316 <figure id="fig-timed-text-tab">
1317 <title>Timed text settings tab</title>
1320 <imagedata fileref="screenshots/timed-text-tab&scs;"/>
1326 Depending on where timed text comes from it can sometimes be used as
1327 either an open subtitle (to be overlaid onto the cinema screen and so
1328 seen by everybody) or as a closed caption (to be displayed to
1329 individual viewers using a special system such as the Doremi
1334 DCP-o-matic can either:
1338 <listitem>Extract timed text that is embedded in video files, or</listitem>
1339 <listitem>Use timed text from SubRip (<code>.srt</code>), SubStation
1340 Alpha (<code>.ssa</code> or <code>.ass</code>) or DCP XML files. You may find the great
1342 url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
1343 for creating such files.</listitem>
1347 Embedded timed text is usually represented using a set of bitmaps,
1348 especially on files that have come from DVD or BluRay. Such text can
1349 be used as a subtitle, but not a closed caption (since the closed
1350 captioning system requires the text to be delivered as
1351 character codes rather than an image).
1354 <para>In contrast, SubRip, SubStation Alpha or DCP text can be used as either a subtitle or a closed caption.</para>
1357 With subtitles you have the further choice of whether to burn the
1358 subtitles into the image or include them as a separate subtitle
1359 ‘asset’ within your DCP (in which case the projector
1360 overlays them onto the image on playback). The difference between
1361 burn-in and overlay is illustrated by <xref linkend="fig-burn-in"/>
1362 and <xref linkend="fig-discrete"/>.
1365 <figure id="fig-burn-in">
1366 <title>Burnt-in subtitles</title>
1369 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1374 <figure id="fig-discrete">
1375 <title>Separate subtitles</title>
1378 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1384 The advantage of separate subtitles is that the same video content can
1385 be used for DCPs in many different languages. This means that only a
1386 small text file needs to be changed for each target language, rather
1387 than a large video file. It also means that the time-consuming video
1388 encoding need only be done once for the project rather than once for
1393 Select the <guilabel>Use as</guilabel> check-box to enable the timed
1394 text in the selected content, then choose what you want to use the
1395 text for: open subtitles or closed captions.
1399 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1400 burn subtitles into the image; if this is not ticked the
1401 subtitles will be included separately in the DCP to be rendered by the
1406 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1407 controls move subtitles around within the image. These controls have
1408 no effect for closed captions. The offsets are expressed as a
1409 percentage of the video frame size; 100% X offset is the entire width
1410 of the frame, and 100% Y offset is the entire height. Hence, to move
1411 the subtitles down by half the frame height you would use a Y offset
1416 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1417 controls scale subtitles. These controls have no effect for closed
1418 captions. Scale values of 1 make the subtitles the same size
1419 (relative to the size of the image) as they are on the original.
1420 Values lower than 1 make them smaller, and values higher make them
1421 larger. You can stretch the subtitles in either direction by
1422 specifying different values for X and Y scale. Subtitles from DVD and
1423 Blu Ray sources are frequently larger (relative to the video frame)
1424 than those typically used for DCP, so it is often useful to scale such
1425 subtitles down using these controls.
1429 The <guilabel>Line spacing</guilabel> control adjusts the line spacing
1430 of the subtitles. This only works for subtitles that did not come from bitmaps.
1434 The <guilabel>Stream</guilabel> control changes the subtitle stream
1435 that is used when the content has more than one.
1439 If you are using non-image (text) subtitles or closed captions you can see the
1440 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1441 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1445 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1446 change how the subtitles look. Some of the controls in the
1447 <guilabel>Apperance</guilabel> only apply to burnt-in subtitles, as
1448 only limited control is available for subtitles rendered by the
1455 <!-- ============================================================== -->
1457 <title>Timing</title>
1460 The timing tab contains settings related to the timing of your
1461 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1464 <figure id="fig-timing-tab-detail">
1465 <title>Timing settings tab</title>
1468 <imagedata fileref="screenshots/timing-tab&scs;"/>
1474 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1475 These are expressed as four numbers, as shown in <xref
1476 linkend="fig-timecode"/>.
1479 <figure id="fig-timecode">
1480 <title>Timecode</title>
1483 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1489 <guilabel>Position</guilabel> is the time at which this piece of
1490 content should start within the DCP. In most cases, this will be
1491 <code>0:0:0:0</code> to make the content start at the beginning of the
1496 <guilabel>Full length</guilabel> is the length of the piece of
1497 content. This can only be set for still-image content: for video or
1498 sound content, it is fixed by the nature of the content file. If
1499 still-image content is being used you can set the length for which it
1500 should be displayed using this control.
1504 <guilabel>Trim from start</guilabel> specifies the amount that should
1505 be trimmed from the start of the content. You can set this amount to
1506 trim up to the current preview position by clicking <guilabel>Trim up
1507 to current position</guilabel>.
1511 <guilabel>Trim from end</guilabel> specifies the amount that should be
1512 trimmed from the end of the content. You can set this amount to trim
1513 after the current preview position by clicking <guilabel>Trim after to
1514 current position</guilabel>.
1518 <guilabel>Play length</guilabel> indicates how long this piece of
1519 content will be once the trims have been applied. This will be equal
1520 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1524 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1525 still-image content. It can also be used to override the detected
1526 frame rate of other content if DCP-o-matic has got it wrong.
1530 Each timecode control has a <guilabel>Set</guilabel> which you should
1531 click when you have entered a new value for a timecode. The
1532 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1533 any changes to the corresponding timecode.
1539 <!-- ============================================================== -->
1541 <title>Video processing pipeline</title>
1544 This section gives a little more detail about how DCP-o-matic process
1545 video as it takes it from a source and puts it into a DCP.
1549 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1550 image which is letterboxed with 36 black pixels each at the top and
1551 bottom, and the video content within the letterbox should be presented
1552 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1553 happen with a trailer). The source image is shown in <xref
1554 linkend="fig-pipeline1"/>.
1557 <figure id="fig-pipeline1">
1558 <title>Example image to demonstrate video processing</title>
1561 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1567 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1571 <listitem>Crop</listitem>
1572 <listitem>Scale</listitem>
1573 <listitem>Place in container</listitem>
1577 First, some amount of the image can be cropped. This is almost always
1578 used to remove black borders (letterboxing and/or pillarboxing) around
1583 In our example image, we would use 36 pixels of crop from the top and
1584 bottom. This would give the new image shown in <xref
1585 linkend="fig-pipeline2"/>.
1588 <figure id="fig-pipeline2">
1589 <title>Example image after cropping</title>
1592 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1598 The next step is to scale the image. Since this content should be
1599 presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select
1600 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1601 option in the <guilabel>Video</guilabel> tab and
1602 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1603 option in the <guilabel>DCP</guilabel> tab.
1606 <para>The <guilabel>Scale to</guilabel> option should always be set to
1607 the aspect ratio at which the content should be seen. The
1608 <guilabel>Container</guilabel> option should be set to the preset that
1609 you want to use on the projector. Of course, these two settings will
1614 Given the scaling and container information, DCP-o-matic will look at
1615 the DCP's container size, and then scale the source image up until one
1616 or both of its dimensions (width, height or both) fits the size of the
1617 container, all the while preserving the desired aspect ratio.
1621 In our example here, the DCP's container is specified as 1.85:1 (so
1622 that the DCP will play back correctly using the projector's
1623 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1624 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1625 result in the image hitting the sides of the container first, at a
1626 size of 1998 x 836. This gives us a new version of the image as shown
1627 in <xref linkend="fig-pipeline3"/>.
1630 <figure id="fig-pipeline3">
1631 <title>Example image after cropping and scaling</title>
1634 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1640 The final step is to place the image into the DCP. In this case,
1641 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1642 we have set the <guilabel>container</guilabel> in the
1643 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1644 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1645 be some black bars at the top and bottom of the image. DCP-o-matic
1646 shares out this black equally, as shown in <xref
1647 linkend="fig-pipeline3"/>.
1650 <figure id="fig-pipeline4">
1651 <title>Example image in the DCP</title>
1654 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1663 <title>Copy and paste settings</title>
1666 Once you have set up a piece of content it is possible to copy the
1667 settings you have applied to another piece of content. To do this,
1668 select the content to copy from and choose <guilabel>Copy</guilabel>
1669 from the <guilabel>Edit</guilabel> menu. Then select the content to
1670 copy to and choose <guilabel>Paste</guilabel>. A dialogue box will
1671 open to allow you to choose which settings you want to copy. Clicking
1672 <guilabel>OK</guilabel> will apply the copied settings.
1681 <!-- ============================================================== -->
1682 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1683 <title>DCP settings</title>
1686 This chapter describes the settings that apply to the whole DCP. The
1687 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1688 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1691 <figure id="fig-dcp-tab">
1692 <title>DCP settings tab</title>
1695 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1701 The first thing here is the name. This is generally set to the title
1702 of the film that is being encoded. If <guilabel>Use ISDCF
1703 name</guilabel> is not ticked, the name that you specify will be used
1704 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1705 is ticked, the name that you enter will be used as part of a
1706 ISDCF-compliant name.
1710 Underneath the name field is a preview of the name that the DCP will
1711 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1712 name</guilabel> check-box. The ISDCF name will be composed using details
1713 of your content's soundtrack, the current date and other things that
1714 can be specified in the ISDCF name details dialogue box, which you can
1715 open by clicking on the <guilabel>Details</guilabel> button.
1719 If you want to take the ISDCF-compliant name that DCP-o-matic
1720 generates and modify it, click <guilabel>Copy as name</guilabel> and
1721 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1722 You can then edit it as you wish. The DCP name should not matter (in
1723 that it should not affect how the DCP ingests or plays) but
1724 projectionists will appreciate it if you use the standard naming
1725 scheme as it makes it easier to identify details of the content.
1729 The <guilabel>Content Type</guilabel> option can be
1730 ‘feature’, ‘trailer’ or whatever; select the
1731 required type from the drop-down list. On some projection systems
1732 this will affect where your content appears in the projector's server
1733 user interface, so take care to select an appropriate type.
1737 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1738 is signed. This is rarely important; if in doubt, tick it.
1742 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1743 should be encrypted or not. If this is ticked, the DCP will require a
1744 KDM to play back. Encryption is discussed in <xref
1745 linkend="ch-encryption"/>.
1749 If you use encryption DCP-o-matic will generate a random encryption
1750 key for you. To specify your own key, click the
1751 <guilabel>Edit..</guilabel> button next to the key.
1755 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1756 controls specify how the DCP will be split up into
1757 ‘reels’. See <xref linkend="sec-reels"/> below.
1761 The <guilabel>Standard</guilabel> option specifies which of the two
1762 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1763 more modern of the two).
1767 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1768 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1772 At the bottom of the DCP tab are a further two tabs, one each to
1773 contain the settings for the DCP's video and audio parts.
1777 The <guilabel>Container</guilabel> option sets the ratio of the image
1778 in the DCP. If this ratio is different to the ratio used for any
1779 content, DCP-o-matic will pad the content with black. In simple cases
1780 this should be set to the same ratio as that for the the primary piece
1781 of video content. Alternatively, you might want to pillarbox a small
1782 format into a Flat container: in this case, select the small format
1783 for the content's ratio and ‘Flat’ for the DCP.
1787 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1788 your DCP. This can be a little tricky to get right. Ideally, you
1789 want it to be the same as the video content that you are using. If it
1790 is not the same, DCP-o-matic must resort to some tricks to alter your
1791 content to fit the specified frame rate. Frame rates are discussed in
1792 more detail in <xref linkend="ch-frame-rates"/>.
1796 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1797 to what DCP-o-matic thinks is the best given the content that you have
1802 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1803 is checked. A 3D DCP will then be created, and any 2D content will be
1804 made 3D compatible by repeating the same frame for both left and right
1805 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1806 Real-D etc.) but not on a 2D system.
1810 The <guilabel>Resolution</guilabel> tab allows you to choose the
1811 resolution for your DCP. Use 2K unless you have content that is of
1812 high enough resolution to be worth presenting in 4K.
1816 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1817 the final image files used within the DCP will be. Larger numbers
1818 will give better quality, but correspondingly larger DCPs. The
1819 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1820 Most commercial DCPs use bit rates between 75 and 125 Mbit/s.
1824 The <guilabel>Audio Channels</guilabel> control sets the number of
1825 audio channels that the DCP will have. If the DCP has any channels
1826 for which there is no content audio they will be replaced by silence.
1827 You can only set an even number of channels here, since that is
1828 required by the DCI standard. If you want an odd number of channels,
1829 set the DCP channel count to one greater than you need and the
1830 unused channel will be filled with silence.
1834 The <guilabel>Processor</guilabel> control allows you to select a
1835 process to apply to the audio before it goes into the DCP. Three processes are currently provided:
1839 <listitem>Mid-side decode — this will take a L/R
1840 stereo input and extract the common part (corresponding to the
1841 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1842 The remaining L/R parts will be kept in the L/R channels of the DCP.
1843 This may be useful to make near-field L/R mixes more compatible with
1844 cinema audio systems.</listitem>
1845 <listitem>Stereo to 5.1 up-mixer A — this will take a stereo input and up-mix it to ‘fake’ 5.1. The input L/R are treated as follows:
1847 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1848 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1849 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1850 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1851 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1852 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1855 This upmixing algorithm is due to Gérald Maruccia.
1858 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1860 <listitem>DCP L is input L.</listitem>
1861 <listitem>DCP R is input R.</listitem>
1862 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1863 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1864 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1869 <!-- ============================================================== -->
1870 <section xml:id="sec-reels">
1871 <title>Reels</title>
1874 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1875 way as a 35mm reel is a section of a film. A DCP can be split up into
1876 any number of reels and the joins (the equivalent to 35mm splices)
1877 between the reels are seamless.
1881 There is no reason why you can't just use a single reel for the whole
1882 of your DCP, as there is no limit on their length. Many people choose
1887 There are, however, some possible advantages of splitting things up
1893 The picture, sound and subtitle data of the DCP will be
1894 split up into more smaller files on disk, rather than fewer larger
1895 files. This can be useful if the DCP is to be transferred on storage
1896 that have file size limits. The FAT32 filesystem, for example, can
1897 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1898 not be transferred using a FAT32-formatted disk. If that DCP were
1899 split up into two 3Gb reels it could be transferred.
1902 It is easier to re-use DCP components if they are in reels. Consider,
1903 for example, a film company who wants to put a 5 second ident onto the
1904 beginning of DCPs that they distribute. If they receive a feature
1905 film DCP they can modify it to add their ident as a separate reel.
1906 This is easier than attaching the picture data in the DCP.
1911 DCP-o-matic offers three options for setting up the reels in your DCP:
1912 single reel, split by video content or custom.
1916 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1917 This is a perfectly good option if you have no particular reason to
1922 <guilabel>Split by video content</guilabel> puts each piece of source
1923 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1926 <figure id="fig-reels-by-video">
1927 <title>Making reels using split by video content</title>
1928 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1932 Here we have three video files (<code>ident.mp4</code>,
1933 <code>feature.ts</code> and <code>cred.mov</code>). With
1934 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1935 reel to hold each video file.
1939 <guilabel>Custom</guilabel> splits reels by the size of the files that
1940 will make up their video content. With <guilabel>Custom</guilabel>
1941 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1947 <!-- ============================================================== -->
1948 <section xml:id="sec-show-audio">
1949 <title>Show audio</title>
1952 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1953 to examine the audio in your content and plot a graph of its level
1954 over time. This can be useful for getting a rough idea of how loud
1955 the sound will be in the cinema auditorium. A typical plot is shown
1956 in <xref linkend="fig-audio-plot"/>
1959 <figure id="fig-audio-plot">
1960 <title>Audio plot</title>
1963 <imagedata fileref="screenshots/audio-plot&scs;"/>
1969 The plot gives the audio level (vertical axis, in dB) with time
1970 (horizontal axis). 0dB represents full scale, so if there is anything
1971 near this you are in danger of clipping the projector's audio outputs.
1975 There are two plot types: the peak level and the RMS, which can be
1976 shown or hidden using the check-boxes on the right hand side of the
1981 The channel check-boxes will show or hide the plot(s) for
1982 the corresponding channels in the DCP.
1986 The smoothing slider applies a variable degree of temporal smoothing
1987 to the plots, which can make them easier to read in some cases.
1991 Obviously the audio plot is no substitute for listening in an
1992 auditorium, but it can be useful to get levels in the right rough area.
2000 <!-- ============================================================== -->
2001 <chapter xml:id="ch-templates" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2002 <title>Templates</title>
2005 If you frequently make DCPs with similar settings you may find it
2006 useful to use templates.
2010 Say, for example, you often make 4K feature DCPs from video files in
2011 ’scope at 25fps. You can speed up this process by following
2016 <listitem>Create a film with any content and set it up how you like;
2017 in our example, set the content to scale to DCP, the DCP resolution
2018 to 4K, and so on.</listitem>
2019 <listitem>Choose <guilabel>Save as template...</guilabel> from the <guilabel>File</guilabel> menu.</listitem>
2020 <listitem>Enter a name for your template.</listitem>
2024 Then in the future you can create a new film, tick the
2025 <guilabel>Template</guilabel> box and choose your previously-saved
2026 template. The basic film's settings will come from your template, and
2027 when you add some content it will take on the settings of the
2028 first similarly-typed piece of content in your template.
2032 For example if the template has a piece of video content and some
2033 subtitles, any video that you add to the new film will take on the
2034 settings of the video in the template. Similarly, any subtitles that
2035 you add will take on the settings of the subtitles from the template.
2039 The following settings from the <guilabel>DCP</guilabel> tab are saved
2044 <listitem>“Use ISDCF name” checkbox</listitem>
2045 <listitem>Content type (FTR, TLR etc.)</listitem>
2046 <listitem>Container</listitem>
2047 <listitem>Resolution</listitem>
2048 <listitem>JPEG200 bandwidth</listitem>
2049 <listitem>Video frame rate</listitem>
2050 <listitem>Signed and encrypted checkboxes</listitem>
2051 <listitem>Audio channels</listitem>
2052 <listitem>Standard (Interop / SMPTE)</listitem>
2053 <listitem>Audio processor</listitem>
2054 <listitem>Reel type and length</listitem>
2055 <listitem>Upload after make DCP checkbox</listitem>
2059 In addition to this, the settings (but not the filenames) of any
2060 content in the template are stored, as discussed above. The status of
2061 the <guilabel>Keep video and subtitles in sequence</guilabel> checkbox
2062 from the timeline is also preserved.
2068 <!-- ============================================================== -->
2069 <chapter xml:id="ch-export" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2070 <title>Export</title>
2073 As well as creating DCPs from the content you specify, DCP-o-matic
2074 can also export projects to ProRes and MP4 files. This is most
2075 often useful to convert DCPs to a file that is smaller and easier to play back.
2079 To convert a DCP to ProRes or MP4, the first step is start a new
2080 project and import the DCP (see <xref
2081 linkend="ch-manipulating-existing-dcps"/>). Then, choose
2082 <guilabel>Export...</guilabel> from the <guilabel>Jobs</guilabel>
2083 menu to open the export dialogue, as shown in <xref linkend="fig-export"/>.
2086 <figure id="fig-export">
2087 <title>Export dialogue</title>
2090 <imagedata fileref="screenshots/export&scs;"/>
2096 From this dialogue you can select the required output format,
2097 output file and, in the case of MP4, the quality of the output
2098 file. Higher quality files will, of course, be larger.
2102 You can also choose whether to mix down multichannel sources to stereo and whether you want to write separate reels to separate files.
2106 <!-- ============================================================== -->
2107 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2108 <title>Encryption</title>
2111 It is not required that DCPs be encrypted, but they can be. This
2112 chapter discusses the basic principles of DCP encryption, and how
2113 DCP-o-matic can create encrypted DCPs and KDMs for them.
2117 <!-- ============================================================== -->
2119 <title>Basics</title>
2122 DCPs can be encrypted. This means that the picture and sound data are
2123 encoded in such a way that only cinemas ‘approved’ by the
2124 DCP's creators can read them. In particular, this means copies of the
2125 DCP can be distributed by insecure means: if an ne'er-do-well called
2126 Mallory obtains a hard drive containing an encrypted DCP, there is no
2127 way that he can play it. Only those cinemas who receive a correct key
2128 delivery message (KDM) can play the DCP.
2132 <!-- ============================================================== -->
2134 <title>How it works</title>
2137 This section attempts to summarise how DCP encryption works. You can
2138 skip it if you like. You may need some knowledge of encryption
2139 methods to understand it.
2143 We suppose that we are trying to send a DCP to
2144 Alice's cinema without a troublemaker called Mallory being able to
2149 There are two main families of encryption techniques. The first,
2150 symmetric-key encryption, allows us to encode some data using some
2151 numeric key. After encoding, no-one can decode the data unless they
2156 The first step in a DCP encryption is to encode its data with some key
2157 using symmetric-key encryption. The encrypted DCP can then be sent
2158 anywhere, safe in the knowledge that even if Mallory got hold of a
2159 copy, he could not decrypt it.
2163 Alice, however, needs to know the key so she can play the DCP in her
2164 cinema. A simple approach might be for us to send Alice the key.
2165 However, if Mallory can intercept the DCP, he might also be able to
2166 intercept our communication of the key to Alice. Furthermore, if Alice
2167 happened to know Mallory, she could just send him a copy of the key.
2171 The clever bit in the process requires the use of public-key
2172 encryption. With this technique we can encrypt a block of data using
2173 some ‘public’ key. That data can then only be decrypted
2174 using a corresponding private key which is
2175 <emphasis>different</emphasis> to the public key. The private and
2176 public keys form a pair which are related mathematically, but it is
2177 extremely hard (or rather, virtually impossible) to derive the private
2178 key from the public key.
2182 Public-key encryption allows us to distribute the DCP's key to Alice
2183 securely. The manufacturer of Alice's projector generates a public
2184 and private key. They hide the private key inside the projector where
2185 no-one can read it. They then make the public key available to anyone
2190 DCP-o-matic has a similar arrangement except that it stores its
2191 private keys in the user's configuration file. See <xref
2192 linkend="sec-decrypting"/> for details of how to share DCP-o-matic's
2193 certificate so that others can make encrypted DCPs for DCP-o-matic.
2197 We take our DCP's symmetric key and encrypt it using the public key of
2198 Alice's projector. We send the result to Alice over email (using a
2199 format called a Key Delivery Message, or KDM). Her projector then
2200 decrypts our message using its private key, yielding the magic
2201 symmetric key which can decrypt the DCP.
2205 If is fine if Mallory intercepts our email to Alice, since the only
2206 key which can decrypt the message is the private key buried inside
2207 Alice's projector. The projector manufacturer is very careful that
2208 no-one ever finds out what this key is. Our DCP is secure: only Alice
2209 can play it back, since only her projector knows the key (even Alice
2217 <!-- ============================================================== -->
2219 <title>Encryption using DCP-o-matic</title>
2222 There are two steps to distributing an encrypted DCP. First, the
2223 DCP's data must be encrypted, and secondly KDMs must be generated for
2224 those cinemas that are allowed to play the DCP.
2228 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
2229 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
2230 encrypt the DCP that it makes using a random key that DCP-o-matic
2231 generates. The key will be written to the film's metadata file, which
2232 should be kept secure.
2236 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
2237 ticked will not play on any projector as-is (it will be marked as
2238 ‘locked’, or whatever the projector manufacturer's term
2243 The second part of distributions is to generate KDMs for the cinemas
2244 that you wish to allow to play your DCP. There are two approaches to
2245 this within DCP-o-matic: using the project, or using a DKDM. These
2246 approaches are now described in turn.
2250 <title>Creating KDMs from a DCP-o-matic project</title>
2253 You can create KDMs from inside a DCP-o-matic project using the
2254 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
2255 menu. This will open the KDM dialogue box, as shown in <xref
2256 linkend="fig-kdm"/>.
2259 <figure id="fig-kdm">
2260 <title>KDM dialog</title>
2263 <imagedata scale="35" fileref="screenshots/kdm&scs;"/>
2269 In order to generate KDMs for a particular projector, you need to know
2270 its <emphasis>certificate</emphasis>. These are usually made
2271 available by the projector manufacturers as text files with a
2272 <code>.pem</code> extension.
2276 DCP-o-matic can store these certificates along with details of their
2277 cinemas and screens within those cinemas. Each screen has a
2278 certificate for its projector (and optionally certificates for other
2279 trusted devices, such as the sound processor). DCP-o-matic can
2280 generate KDMs for any screens that it knows about.
2284 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
2285 a dialogue box into which you can enter the cinema's name, and
2286 optionally an email address. This email address can be used to
2287 get DCP-o-matic to deliver KDMs via email.
2291 Once you have added a cinema, select it by clicking on its name, then
2292 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2293 allows you to enter a name for the screen and load in its certificate
2294 from a file. The certificate should be in SHA256 PEM format.
2298 Alternatively, certificates for projection systems made by some
2299 manufacturers can be downloaded from databases provided by the
2300 manufacturer. Currently this is supported for Doremi and Dolby
2301 equipment. If you are targeting a screen with equipment by one of
2302 these manufacturers you can click <guilabel>Download</guilabel> then
2303 enter the serial number of the server in the screen and click
2304 <guilabel>Download</guilabel> again and, all being well, the certificate
2309 Using the download system you will need to know the serial number of
2310 the media server in use in the screen. Most cinema projection or
2311 technical departments will know these serial numbers.
2315 Note that the reliability of the manufacturers' certificate databases
2316 cannot be guaranteed. It is vital that KDMs are tested by the
2317 destination cinema will in advance of show time to identify any
2322 Once you have set up all the screens that you need KDMs for, select
2323 the CPL that you want to create the KDM for. You can use the
2324 drop-down list to select the CPLs in the current film project, or load
2325 a CPL from somewhere else. Select the cinemas and/or screens that you
2326 want KDMs for and fill in the start and end dates and times.
2330 You must also select the type of KDM that you want to generate. If in
2331 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2335 The differences between the three KDM types are fairly subtle.
2336 <guilabel>DCI Specific</guilabel> and <guilabel>DCI Any</guilabel> add
2337 a <code><ContentAuthenticator></code> tag to the KDM which
2338 allows the exhibitor to check that the DCP and KDM have come from a
2339 bona-fide source. In addition, <guilabel>DCI Specific</guilabel> adds
2340 information on trusted devices to the KDM. This allows the KDM
2341 creator to specify devices (such as sound processors) that are allowed
2342 to use keys delivered by the KDM. At present it is not clear how
2343 widely the <guilabel>DCI Specific</guilabel> and <guilabel>DCI
2344 Any</guilabel> features are supported (or even tolerated) by servers
2345 so you are advised to use <guilabel>Modified Transitional
2350 Finally, choose what you want to do with the KDMs. They can be
2351 written to disk, to a location that you can specify by clicking
2352 <guilabel>Browse</guilabel>. Alternatively, if you choose
2353 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2354 emailed to the appropriate cinema email addresses. Click
2355 <guilabel>Make KDMs</guilabel> to generate the KDMs.
2361 <title>Creating KDMs using a DKDM</title>
2365 It can be inconvenient to need a whole DCP-o-matic project just to
2366 create KDMs for its film. Perhaps you want to archive the project to
2367 save space, or create KDMs on a different machine. In such situations
2368 it is easier to use a DKDM. This is a normal KDM, but instead of
2369 being targeted at a projection system (to allow it to decrypt the
2370 content) it is targeted at a particular user's certificate. This
2371 means that the certificate owner can create new KDMs for other users.
2372 The DKDM holds everything that is required to create further KDMs.
2376 Sometimes it is useful to create DKDMs that can be used by
2377 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2378 any point in the future, use DCP-o-matic's standalone KDM creator to
2379 make KDMs for the DKDM's film for any cinema.
2383 In other cases a DKDM is sent to a 3rd party so that they can create
2384 KDMs for your films. This can be useful if, for example, you have a
2385 distributor who provides 24-hour KDM support to cinemas and can create
2386 KDMs for anybody that requires them at short notice.
2390 To create a DKDM for DCP-o-matic, open your encrypted project and
2391 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2392 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2393 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2394 be available in the KDM creator. This is a separate program which you
2395 can start from the same place that you start the ‘normal’
2396 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2399 <figure id="fig-kdm-creator">
2400 <title>The KDM creator</title>
2403 <imagedata scale="30" fileref="screenshots/kdm-creator&scs;"/>
2409 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2410 to be created for, the date range, the DCP that the KDMs are for and
2411 the destination for the KDMs and click <guilabel>Create
2416 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2417 which you have clicked <guilabel>Make DKDM for
2418 DCP-o-matic</guilabel>in the main DCP-o-matic program. If you have
2419 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2420 specifying the file containing the DKDM.
2424 If another organisation wants to send you a DKDM they will ask you for
2425 a target certificate. You can get DCP-o-matic's target certificate by
2426 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2427 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2435 <title>Encryption keys</title>
2438 You must be careful when using encryption not to lose important keys.
2442 If you are making KDMs from a DCP-o-matic film you
2443 <emphasis>must</emphasis> ensure that you have a backup of the
2444 <code>metadata.xml</code> file from the project, as well as the DCP
2449 If you are using a DKDM you <emphasis>must</emphasis> ensure that you
2450 have a backup of DCP-o-matic's <code>config.xml</code> file, since it
2451 contains the only key which can decrypt the DKDM. The
2452 <code>config.xml</code> file location depends on your operating
2453 system; possible locations are listed in <xref linkend="ch-config"/>
2459 <title>Encryption overview</title>
2461 <figure id="fig-encryption-overview">
2462 <title>Overview of encryption</title>
2465 <imagedata fileref="diagrams/crypt&dia;"/>
2475 <!-- ============================================================== -->
2476 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2477 <title>Preferences</title>
2480 DCP-o-matic provides preferences which can be used to modify its
2481 behaviour. They are described in this chapter.
2485 Preferences can be edited by choosing
2486 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2487 menu. This opens a dialogue which is split into seven tabs.
2490 <!-- ============================================================== -->
2492 <title>General</title>
2495 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2498 <figure id="fig-prefs-general">
2499 <title>General preferences</title>
2502 <imagedata fileref="screenshots/prefs-general&scs;"/>
2508 <!-- ============================================================== -->
2510 <title>Language</title>
2513 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2514 a language from the list, that language will be used for DCP-o-matic.
2515 You will need to restart DCP-o-matic to see the new language.
2519 The translations for DCP-o-matic have been contributed by helpful
2520 users. If your language is not on the last, head to <ulink
2521 url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2522 read about how to contribute a translation.
2527 <!-- ============================================================== -->
2529 <title>Number of threads DCP-o-matic should use</title>
2532 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2533 to speed things up. Set this value to the number of threads
2534 DCP-o-matic should use. This should normally be the number of
2535 processors (or processor cores) in your machine. DCP-o-matic will try
2536 to set this up correctly when you run it for the first time.
2542 <!-- ============================================================== -->
2544 <title>Number of threads DCP-o-matic encode server should use</title>
2547 This is the number of threads that the encode server should use when
2548 it is running and helping another copy of DCP-o-matic to speed up its
2555 <!-- ============================================================== -->
2557 <title>Configuration file</title>
2560 This is the location of DCP-o-matic's configuration file on disk. You
2561 can use this to share configuration between several copies of
2562 DCP-o-matic, across a network share, for instance.
2566 <!-- ============================================================== -->
2568 <title>Cinema and screen database file</title>
2571 This option allows you to change the file that DCP-o-matic uses to
2572 store details of the cinemas and screens used to make KDMs.
2577 <!-- ============================================================== -->
2579 <title>Play sound via</title>
2582 The checkbox to the left of <guilabel>Play sound</guilabel> enables or
2583 disables DCP-o-matic use of sound. On some machines there will be
2584 multiple options in the drop-down menu to decide how the sound should
2589 <!-- ============================================================== -->
2591 <title>Integrated loudness</title>
2594 If <guilabel>Find integrated loudness, true peak and loudness range
2595 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2596 work when analysing audio. Leave this ticked if the extra parameters
2597 are useful to you. If not, untick it and audio analysis will be
2603 <!-- ============================================================== -->
2605 <title>Automatically analyse content audio</title>
2608 If this checkbox is ticked an audio analysis will be run whenever content is added that contains sound.
2612 <!-- ============================================================== -->
2614 <title>Updates</title>
2617 The <guilabel>Check for updates on startup</guilabel> option, if
2618 enabled, will tell DCP-o-matic to check on <ulink
2619 url="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2620 newer versions of DCP-o-matic then the one you are running. If so, a
2621 dialogue box will open with a link to download the new version.
2626 The <guilabel>Check for testing updates as well as stable
2627 ones</guilabel> option will also check for test updates as well as
2628 those that are formally ‘released’. This is useful if you
2629 like to live on the bleeding edge!
2633 <!-- ============================================================== -->
2635 <title>Issuer and creator</title>
2638 With these controls you can set the issuer and creator strings that
2639 will be put into the DCPs which you create.
2645 <!-- ============================================================== -->
2647 <title>Defaults</title>
2650 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2653 <figure id="fig-prefs-defaults">
2654 <title>Defaults preferences</title>
2657 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2663 The options in this tab simply allow you to set up default values for
2664 various properties of new films.
2669 <!-- ============================================================== -->
2671 <title>Servers</title>
2674 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2677 <figure id="fig-prefs-servers">
2678 <title>Servers preferences</title>
2681 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2687 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2688 locate encoding servers automatically (see <xref
2689 linkend="ch-servers"/>).
2693 Instead of this (or in addition) servers can be specified explicitly.
2694 To add a server, click <guilabel>Add...</guilabel> and enter the host
2695 name or IP address of the server to use.
2701 <!-- ============================================================== -->
2702 <section xml:id="sec-prefs-keys">
2706 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) has controls
2707 related to the keys and certificates used in some parts of DCP
2711 <figure id="fig-prefs-keys">
2712 <title>Keys preferences</title>
2715 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2721 <guilabel>Export KDM decryption certificate...</guilabel> allows you
2722 to save the certificate that DCP-o-matic uses when decrypting KDMs
2723 that you give it. Use this option if somebody wants to make a KDM for
2724 you and asks for your certificate.
2728 <guilabel>Export KDM decryption chain...</guilabel> exports the whole
2729 KDM decryption chain rather than just its certificate. This may also
2730 be requested by KDM creators.
2734 <guilabel>Export all KDM decryption settings...</guilabel> exports a
2735 file which contains all the DCP-o-matic settings related to the use of
2736 KDMs supplied by other people. Use this button and <guilabel>Import
2737 all KDM decryption settings...</guilabel> to transfer settings between
2738 different copies of DCP-o-matic so that they can both use the same
2743 The two <guilabel>Advanced...</guilabel> buttons open advanced
2744 dialogue boxes for detailed manipulation of DCP-o-matic's certificate
2751 <title>Advanced keys settings</title>
2754 At the top of the <guilabel>Advanced</guilabel> dialogue for signing
2755 DCPs and KDMs is the chain of certificates that will be used to sign
2756 DCPs and KDMs. DCP-o-matic creates a random chain when you first run
2757 it and if you are happy to use this chain you can ignore the
2758 preferences. Otherwise, you can add or remove certificates from the
2759 chain using the <guilabel>Add...</guilabel> and
2760 <guilabel>Remove</guilabel> buttons.
2764 If you want DCP-o-matic to re-create the certificate chain (using new,
2765 random certificates) click <guilabel>Re-make
2766 certificates...</guilabel> and specify your organisation and common
2767 names in the dialogue box that opens.
2771 Underneath the certificate chain is the private key that corresponds
2772 to the leaf certificate in the chain. You can specify your own
2773 private key by clicking <guilabel>Load...</guilabel>. You must do
2774 this if you change the leaf certificate, so that the leaf private key
2775 corresponds to the public key held in the leaf certificate.
2779 At the top of the <guilabel>Advanced</guilabel> dialogue for decrypting DCPs is the chain and key which is used by
2780 DCP-o-matic when you import an encrypted DCP as a piece of content.
2781 The leaf certificate of this chain contains the public key that should
2782 be used when targeting a KDM at DCP-o-matic.
2787 If you want to import an encrypted DCP you will need to give the
2788 decryption certificate to the distributor of the DCP so that they can
2789 generate a DKDM for you. You can save this certificate to disk by
2790 clicking <guilabel>Export DCP decryption certificate...</guilabel>.
2791 As with the signing chain, DCP-o-matic will create a certificate chain
2792 and private key for you. You can also choose to load your own
2793 certificates and key or re-make the chain and key with new, random
2798 Clicking <guilabel>Export DCP decryption chain...</guilabel> will
2799 export the whole certificate chain, rather than just the leaf
2805 <!-- ============================================================== -->
2806 <section xml:id="sec-prefs-tms">
2808 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2811 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2812 options for specifying details about your theatre management system
2813 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2814 you can upload DCPs directly from DCP-o-matic to the TMS using the
2815 <guilabel>Send DCP to TMS</guilabel> option in the
2816 <guilabel>Jobs</guilabel> menu.
2819 <figure id="fig-prefs-tms">
2820 <title>TMS preferences</title>
2823 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2829 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2830 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2831 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2832 FTP. Do let us know if you use any other type of TMS with the
2833 <guilabel>Send DCP to TMS</guilabel> feature.
2837 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2838 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2839 should be uploaded to (which will be relative to the home directory of
2840 the SSH or FTP user). Finally, the user name and password are the
2841 credentials required to log into the TMS via SSH or FTP.
2845 Note that for this to work on Doremi servers you will need to set the
2846 <code>PasswordAuthentication</code> option in your server's
2847 <code>sshd_config</code> to <code>yes</code>.
2853 <!-- ============================================================== -->
2855 <title>Email</title>
2858 The Email tab is shown in <xref linkend="fig-prefs-email"/>.
2861 <figure id="fig-prefs-email">
2862 <title>Email preferences</title>
2865 <imagedata fileref="screenshots/prefs-email&scs;"/>
2871 These settings are used when DCP-o-matic sends emails.
2875 <guilabel>Outgoing mail server</guilabel> should be the host name of a mail (SMTP) server that DCP-o-matic can use. You can also specify the port that DCP-o-matic should use. <guilabel>User name</guilabel> and <guilabel>Password</guilabel> are the credentials that are required to send email through the server you have specified.
2880 <!-- ============================================================== -->
2882 <title>KDM email</title>
2885 The KDM email tab is shown in <xref linkend="fig-prefs-kdm-email"/>.
2888 <figure id="fig-prefs-kdm-email">
2889 <title>KDM email preferences</title>
2892 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2898 This is a template for the email that is used to send KDMs out to
2899 cinemas. You can change it to say whatever you like. A few
2900 ‘magic’ strings will be replaced by information from the
2901 KDM that is being sent:
2905 <title>‘Magic’ KDM strings</title>
2906 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2909 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2912 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2915 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2918 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2921 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2928 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2934 <!-- ============================================================== -->
2936 <title>Accounts</title>
2939 The Accounts tab is shown in <xref linkend="fig-prefs-accounts"/>.
2942 <figure id="fig-prefs-accounts">
2943 <title>Accounts preferences</title>
2946 <imagedata fileref="screenshots/prefs-accounts&scs;"/>
2952 DCP-o-matic can download projector certificates from the Barco and
2953 Christie websites if you have the appropriate credentials. Enter your
2954 usernames and passwords.
2960 <!-- ============================================================== -->
2962 <title>Notifications</title>
2965 The Notifications tab is shown in <xref linkend="fig-prefs-notifications"/>.
2968 <figure id="fig-prefs-notifications">
2969 <title>Notifications preferences</title>
2972 <imagedata fileref="screenshots/prefs-notifications&scs;"/>
2978 DCP-o-matic can notify the user when jobs have completed. These
2979 notifications can be either or both of a message box on-screen (if
2980 <guilabel>Message box</guilabel> is ticked) and email (if
2981 <guilabel>Email</guilabel> is ticked). If you enable email
2982 notifications you can fill in the details of the emails you want to
2987 The bottom box in the tab is the contents of the email that should
2988 be sent. DCP-o-matic will replace the ‘magic’ strings
2989 <code>$JOB_NAME</code> and <code>$JOB_STATUS</code> in the with the
2990 details of the job that has completed.
2996 <!-- ============================================================== -->
2998 <title>Cover sheet</title>
3001 The DCP cover sheet configuration is shown in <xref linkend="fig-prefs-cover-sheet"/>.
3004 <figure id="fig-prefs-cover-sheet">
3005 <title>DCP cover sheet preferences</title>
3008 <imagedata fileref="screenshots/prefs-cover-sheet&scs;"/>
3014 This is a template for the cover sheet that is written next to every DCP that DCP-o-matic creates. You can change it to say whatever you like. A few
3015 ‘magic’ strings will be replaced by information from the
3016 DCP that has been made:
3020 <title>‘Magic’ Cover sheet strings</title>
3021 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
3024 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
3027 <entry><code>$TYPE</code></entry><entry>DCP content type (e.g. feature, trailer...)</entry>
3030 <entry><code>$CONTAINER</code></entry><entry>The container ratio (e.g. flat, scope...)</entry>
3033 <entry><code>$AUDIO</code></entry><entry>Details of the audio channels</entry>
3036 <entry><code>$AUDIO_LANGUAGE</code></entry><entry>Audio language</entry>
3039 <entry><code>$SUBTITLE_LANGUAGE</code></entry><entry>Subtitle language</entry>
3042 <entry><code>$LENGTH</code></entry><entry>DCP length in hours, minutes and seconds</entry>
3045 <entry><code>$SIZE</code></entry><entry>DCP size in gigabytes</entry>
3052 The <guilabel>Reset to default text</guilabel> will replace the current cover sheet with DCP-o-matic's default.
3058 <!-- ============================================================== -->
3059 <section xml:id="sec-prefs-advanced">
3060 <title>Advanced</title>
3061 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
3064 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
3067 <figure id="fig-prefs-advanced">
3068 <title>Advanced preferences</title>
3071 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
3077 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
3078 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
3079 are advised to leave this at 250Mbit/s in normal use for maximum DCP
3084 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
3085 the DCP video frame rates that DCP-o-matic will create. This may be
3086 useful for experimentation. Again, you are strongly advised to leave
3087 this unticked for normal use.
3091 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
3092 JPEG2000 data only on encoding servers and not on the host. We
3093 suggest you leave this unticked unless you have a good reason to do otherwise.
3097 With the filename format fields you can adjust the filenames that are
3098 used for metadata (CPL and PKL files) and assets (MXF and subtitle
3099 files). Below each field there is a list of the ‘magic’
3100 values that you can use in the format and an example of a filename
3101 that you might see with your current settings.
3105 The four checkboxes labelled <guilabel>Log</guilabel> control what
3106 sort of messages DCP-o-matic writes to its log file when creating a
3107 DCP. It is useful to leave <guilabel>General</guilabel>,
3108 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
3109 as this makes the log files useful for tracking down bugs.
3113 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
3114 to allow developers to investigate and optimise the speed of
3115 DCP-o-matic. It will significantly increase the size of the log files
3116 that are generated, so in normal use it is best to leave this
3123 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
3124 <title>Frame rates</title>
3127 In an ideal world, a DCP would be created using content at the same
3128 video frame and audio sampling rates as the DCP. This is not,
3129 however, always possible.
3133 <!-- ============================================================== -->
3135 <title>DCP frame rate limitations</title>
3138 There are some limitations to video and audio frame rates in DCPs. This is
3139 complicated by the fact that not all projectors will play DCPs at the
3140 same frame rates. It is possible to create a DCP which one projector will
3141 play fine, but another (of a different type) will refuse to play, or
3142 even refuse to ingest.
3146 <!-- ============================================================== -->
3148 <title>Guaranteed rates</title>
3151 The only rates that are (pretty much) guaranteed to work on all DCI
3152 projectors are 24 frames per second (fps) for video and 48kHz for
3153 audio. If you are sending DCPs to unknown places it is wise to
3154 consider using these rates if at all possible.
3160 <!-- ============================================================== -->
3162 <title>Other often-supported rates</title>
3164 Many projectors now in the wild support additional video frame rates:
3165 25, 30, 48, 50 and 60 fps.
3170 <!-- ============================================================== -->
3172 <title>Adapting content to fit the DCP rate</title>
3175 DCP-o-matic has a few tricks to allow you to use content that is not
3176 in one of the ‘approved’ rates.
3180 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
3181 with minimal loss in quality.
3185 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
3186 with a non-supported content rate is to run it at the wrong speed, and
3187 to adjust the audio to keep it in sync.
3190 <para>Let us consider the example of a 25fps source for which you want
3191 to create a 24fps DCP. DCP-o-matic will put the frames from the
3192 source directly into the DCP without modification, but will tell the
3193 projector to play them back at 24fps. This means that the DCP's video
3194 will run slightly slower than the original.
3198 If DCP-o-matic did nothing else, the result of this would be that the
3199 audio would be running at the original speed with the video running
3200 slowly. Hence the audio would drift slowly out of sync. To avoid
3201 this, DCP-o-matic also resamples the audio such that the projector
3202 will play it too slow by the same amount. Hence it will sound
3203 slightly different but will remain in sync with the video.
3207 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
3214 <!-- ============================================================== -->
3216 <title>Setting up</title>
3219 The <guilabel>Frame Rate</guilabel> control in the
3220 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
3221 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
3222 what DCP-o-matic thinks is the best for your content. With this
3223 button, DCP-o-matic assumes that the most commonly-working frame rates (24,
3224 25 and 30fps) are allowed.
3228 After this, the <guilabel>Video</guilabel> tab for each piece of
3229 content will give a summary of what DCP-o-matic is doing with that
3234 If you want to experiment with other non-standard frame rates, you can
3235 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
3236 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
3237 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
3238 use this only on your own equipment, and only for experimentation
3247 <!-- ============================================================== -->
3248 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
3249 <title>Encoding servers</title>
3252 One way to increase the speed of DCP encoding is to use more
3253 than one machine at the same time. An instance of DCP-o-matic can
3254 offload some of the time-consuming JPEG2000 encoding to any number of
3255 other machines on a network. To do this, one ‘master’
3256 machine runs DCP-o-matic, and the ‘server’ machines run
3257 a small program called <code>dcpomatic_server</code>.
3261 The master and server machines do not need to be the same type, so you
3262 can mix Windows PCs, Macs and Linux machines as you wish.
3266 <!-- ============================================================== -->
3268 <title>Running the servers</title>
3271 There are two options for the encoding server;
3272 <code>dcpomatic_server_cli</code>, which runs on the command line, and
3273 <code>dcpomatic_server</code>, which has a simple GUI. The command line
3274 version is well-suited to headless servers, especially on Linux, and
3275 the GUI version works best on Windows where it will put an icon in the
3280 To run the command line version, simply enter:
3284 dcpomatic2_server_cli
3288 at a command prompt. If you are running the program on a machine with
3289 a multi-core processor, you can run multiple parallel encoding threads
3290 by doing something like:
3294 dcpomatic2_server_cli -t 4
3298 to run 4 threads in parallel.
3302 To run the GUI version on windows, run the ‘DCP-o-matic encode
3303 server’ from the start menu. An icon will appear in the system
3304 tray; right-click it to open a menu from whence you can quit the
3305 server or open a window to show its status.
3308 <para>If you would rather not bother installing DCP-o-matic on your
3309 server computers, the other option is to use the live-CD
3310 image that you can download from the <ulink
3311 url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
3313 <para>Either burn the image to CD, or write it to a USB stick (using
3314 something like <ulink
3315 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
3316 PC from the CD or USB stick and it becomes a DCP-o-matic server
3317 without touching your standard operating system install.
3322 <!-- ============================================================== -->
3324 <title>Setting up DCP-o-matic</title>
3327 DCP-o-matic periodically looks on the local network for servers. Any
3328 that it finds are given work to do during encodes. Selecting
3329 <guilabel>Encoding Servers</guilabel> from the
3330 <guilabel>Tools</guilabel> menu brings up a window which shows that
3331 servers that DCP-o-matic has found.
3336 <!-- ============================================================== -->
3338 <title>Some notes about encode servers</title>
3341 DCP-o-matic does not mind if servers come and go; if a server
3342 disappears, DCP-o-matic will stop sending work to it, and will check
3343 it every minute or so in case it has come back online.
3347 You will probably find that using a 1Gb/s or faster network will
3348 provide a significant speed-up compared to a 100Mb/s network.
3355 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3356 <title>Generated files</title>
3359 DCP-o-matic generates a number of files as it makes a DCP. <xref
3360 linkend="fig-file-structure"/> shows the files that might be generated
3361 after you have created a DCP for a film called ‘DCP Test’.
3364 <figure id="fig-file-structure">
3365 <title>Creating a new film</title>
3368 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
3374 The <code>DCP Test</code> folder is the one that you specify when you
3375 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
3376 menu. Everything is stored inside this folder.
3380 DCP-o-matic generates some working files as it goes along. These are as follows:
3383 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
3384 along. This can be useful for debugging purposes if something goes
3387 <listitem><code>metadata</code> stores the settings that you have made
3388 for this film: things like cropping, output format and so on.</listitem>
3390 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
3391 video data as it encodes it.</listitem>
3393 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
3395 <listitem><code>info</code> contains details of each video frame that
3396 DCP-o-matic has written so far. This is used when an encoding
3397 operation is interrupted and DCP-o-matic must resume it.</listitem>
3402 Following this is the DCP itself:
3403 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
3404 contains some small XML files, which describe the DCP, and two large
3405 MXF files, which contain the DCP's audio and video data. It may also
3406 contain subtitles in either XML or MXF format. This folder
3407 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
3408 to the cinema which is showing your DCP.
3415 <title>Command-line tools</title>
3418 DCP-o-matic includes some tools which allow DCP creation from the
3419 command line or from scripting languages. This chapter covers the
3424 There are three command-line tools in DCP-o-matic.
3425 <code>dcpomatic2_create</code> creates film directories, with the
3426 associated metadata, from a list of content files. Then
3427 <code>dcpomatic2_cli</code> runs the transcode process on these
3428 film directories. Finally, <code>dcpomatic2_kdm_cli</code> can be
3429 used to create KDMs.
3433 Some applications will benefit from setting up the films using the
3434 main DCP-o-matic GUI and then using <code>dcpomatic2_cli</code> to
3435 do the encode. This allows, for example, setup on a relatively
3436 low-powered machine before running the encode on a higher-powered
3441 <title><code>dcpomatic2_create</code></title>
3444 The syntax for <code>dcpomatic2_create</code> is:
3448 <code>dcpomatic2_create [OPTION] <CONTENT> [[OPTION] <CONTENT> ...]</code>
3452 <code>[CONTENT]</code> are the files or folders that you want to use in the
3455 <listitem>‘Movie’ files in almost any common format (e.g. MP4, MOV, MKV, etc.)</listitem>
3456 <listitem>A folder containing and image sequence in almost any common format (e.g. TIFF, DPX etc.)</listitem>
3457 <listitem>Sound files (e.g. WAV, MP3, AIFF)</listitem>
3458 <listitem>Subtitles files (e.g. <code>.srt</code>, DCP XML, <code>.ssa</code> etc.)</listitem>
3466 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_create.xml"/>
3469 For example, to setup a film using a MP4 file you might do:
3473 <code>dcpomatic2_create -o my_film --container-ratio 185 --content-ratio 185 -c FTR -n "My Film" Stuff.mp4</code>
3477 This will create a folder called <code>my_film</code> which is ready for a DCP to be made by <code>dcpomatic2_cli</code>.
3481 <code>dcpomatic2_create</code> will use any default settings that you have configured in the main DCP-o-matic preferences.
3486 <title><code>dcpomatic2_cli</code></title>
3489 The syntax for <code>dcpomatic2_cli</code> is:
3493 <code>dcpomatic2_cli [OPTION] [FILM]</code>
3496 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_cli.xml"/>
3499 For example, to encode a film called <code>my_film</code> you might do:
3503 <code>dcpomatic2_cli my_film</code>
3508 <title><code>dcpomatic2_kdm_cli</code></title>
3511 The syntax for <code>dcpomatic2_kdm_cli</code> is:
3515 <code>dcpomatic2_kdm_cli [OPTION] <FILM|CPL-ID></code>
3518 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="dcpomatic_kdm_cli.xml"/>
3525 <!-- ============================================================== -->
3527 <title>Loose ends</title>
3530 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
3534 <!-- ============================================================== -->
3536 <title>Resuming encodes</title>
3539 If you cancel a DCP encoding run half-way through, or your computer
3540 crashes... fear not. DCP-o-matic takes care to ensure that, in most
3541 cases, it can resume encoding from where it left off. When you
3542 re-start a DCP creation, using the same settings are a previous run,
3543 DCP-o-matic will first check that the existing picture frames are
3544 correct, and then resume from where it left off. The checking of
3545 existing frames does take some time, but it is much faster than
3546 running a full re-encode.
3550 This resumption is achieved by writing a digest (hash) to disk for
3551 every image frame that is written. On resumption, the existing MXF
3552 file for image data is read and its contents checked against the
3560 <!-- ============================================================== -->
3561 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3562 <title>Common tasks</title>
3565 This chapter describes how to carry out some commonly-required tasks
3566 with DCP-o-matic. The full details are elsewhere in the manual: here
3567 we just discuss different approaches to these tasks and how to carry
3572 <title>Adding subtitles to an existing DCP</title>
3575 You have three options:
3579 <listitem>Make a “Version File” (VF) DCP.</listitem>
3580 <listitem>Make a complete DCP with projector-added subtitles.</listitem>
3581 <listitem>Make a complete DCP with burnt-in subtitles.</listitem>
3585 Making a VF DCP is usually the best option. This will be a very small
3586 DCP which contains only the subtitles: it refers to your existing DCP
3587 for the picture and sound. The projectionist will ingest both the
3588 existing and VF DCPs and play back the VF. The advantages of this
3589 approach are that the VF is very quick to generate, and small in size,
3590 making it easy to distribute. This is especially useful if you have
3591 to make VF DCPs in many different languages.
3595 Making a complete DCP with projector-added subtitles gives you a new,
3596 single DCP which the projectionist can ingest and play. It will be
3597 the same size as your existing DCP, and fairly quick to create. This
3598 approach relies on the projector (or server) to create the subtitles
3599 and overlay them on the image, which mostly works well but is not
3600 100% reliable.
3604 Making a complete DCP with burnt-in subtitles gives you a new, single DCP
3605 but with the subtitles rendered by DCP-o-matic and copied into your
3606 image. This is slower to create than a DCP with projector-added
3607 subtitles as every video frame with a subtitle must be re-encoded.
3608 The advantage of this approach is that it is less likely to go wrong,
3609 especially if you are using unusual subtitle positioning or character
3614 <title>Making a VF DCP</title>
3617 <listitem>Start a new DCP-o-matic film.</listitem>
3618 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3619 <listitem>Go to the <guilabel>DCP</guilabel> tab and choose <guilabel>Split by video content</guilabel> for <guilabel>Reel type</guilabel>.</listitem>
3620 <listitem>Go to the <guilabel>Video</guilabel> and
3621 <guilabel>Audio</guilabel> tabs in turn and tick the <guilabel>Use this DCP's audio as OV and make VF</guilabel> checkboxes.</listitem>
3622 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3623 <listitem>Check the subtitle appearance in the preview; it will be
3624 slow to respond as it is having to decompress images from the existing
3626 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3632 <title>Making a complete DCP with projector-added subtitles</title>
3635 <listitem>Start a new DCP-o-matic film.</listitem>
3636 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3637 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3638 <listitem>Check the subtitle appearance in the preview; it will be
3639 slow to respond as it is having to decompress images from the existing
3640 DCP. Adjust the appearance using controls in the
3641 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3642 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3648 <title>Making a complete DCP with burnt-in subtitles</title>
3651 <listitem>Start a new DCP-o-matic film.</listitem>
3652 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3653 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3654 <listitem>Go to the <guilabel>Subtitle</guilabel> tab and tick the <guilabel>Burn subtitles into image</guilabel> checkbox.</listitem>
3655 <listitem>Check the subtitle appearance in the preview; it will be
3656 slow to respond as it is having to decompress images from the existing
3657 DCP. Adjust the appearance using controls in the
3658 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3659 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3666 <title>Adding soundtracks or subtitles in different languages</title>
3669 If you have a film that is to be dubbed or subtitled in several
3670 languages, the best approach with DCP-o-matic is as follows:
3674 <listitem>Make a DCP with the common elements (perhaps just the video, or maybe the video and sound); this is known as the Original Version (OV).</listitem>
3675 <listitem>For each language, make a new Version File (VF) DCP which refers to the OV.</listitem>
3679 Once you have done this, you send the OV DCP to every cinema and then
3680 the appropriate VF to each cinema depending on what language they want
3681 to play the film in. The projectionist ingests both DCPs and then plays the VF.
3685 The advantage of this approach is that the VF DCPs are much smaller
3686 than the OV since they only have the language-specific parts. If you
3687 are just changing the subtitles you can often ship the OV by normal
3688 transport means (e.g. a hard drive or high-speed download) and send
3693 The full details of OV and VF files are discussed in <xref linkend="sec-overlay"/>. The steps can be summarised as follows:
3697 <listitem>Create a new DCP-o-matic project for the OV, as normal, adding video and perhaps sound. Make the DCP.</listitem>
3698 <listitem>Create a new DCP-o-matic project for the VF.</listitem>
3699 <listitem>Use <guilabel>Add folder...</guilabel> to add your OV DCP to the project.</listitem>
3700 <listitem>Select the video tab and tick <guilabel>Use this DCP's video as OV and make VF</guilabel> (you may need to select <guilabel>By video content</guilabel> for <guilabel>Reel type</guilabel> in the <guilabel>DCP</guilabel> tab).</listitem>
3701 <listitem>Do the same in the <guilabel>Audio</guilabel> tab if your OV has audio.</listitem>
3702 <listitem>Add your language-specific audio and/or subtitles and Make DCP.</listitem>
3709 <chapter xml:id="ch-player" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3710 <title>Playing DCPs</title>
3712 <para>DCP-o-matic includes a DCP player, and although it requires a
3713 very high-speed CPU to play DCPs in full resolution, it can also
3714 play DCPs at reduced resolutions with slower CPUs.</para>
3716 <para>To use the player, start <guilabel>DCP-o-matic
3717 Player</guilabel>, and load a DCP using the
3718 <guilabel>Open</guilabel> option on the <guilabel>File</guilabel>
3721 <para>If you load a VF and/or encrypted DCP you can add your OV
3722 and/or KDM using the appropriate options on the
3723 <guilabel>File</guilabel> menu.</para>
3725 <para>During playback the <guilabel>Performance</guilabel> area at
3726 the bottom right of the window will give details of how many frames
3727 are being dropped; these are frames that were not decoded from the
3728 DCP quickly enough. If this number is high you can increase
3729 performance at the cost of rendering quality by choosing an option
3730 from the <guilabel>View</guilabel> menu. If you set the player to
3731 decode at less than full resolution the DCP's data will be decoded
3732 at this lower resolution, which is quicker than decoding at full
3738 <!-- ============================================================== -->
3739 <chapter xml:id="ch-config" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3740 <title>Configuration files</title>
3742 <para>Most of DCP-o-matic's configuration is stored in an XML file called <code>config.xml</code>. This is stored in different places depending on your operating system:</para>
3745 <listitem>Windows: <code>c:\Users\your_user_name\AppData\Local\dcpomatic</code></listitem>
3746 <listitem>OS X: <code>/Users/your_user_Name/Library/Preferences/com.dcpomatic/2</code></listitem>
3747 <listitem>Linux: <code>~/.config/dcpomatic2</code></listitem>
3750 <para>Possible XML tags are as follows:</para>
3752 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="config.xml"/>
projects / dcpomatic.git / blob