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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’
116 <!-- ============================================================== -->
118 <title>Mac OS X</title>
121 DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and
122 higher. DCP-o-matic is split into five separate applications, each of
123 which can be installed by downloading the <code>.dmg</code>,
124 double-clicking to open and then dragging the icon to your
125 <guilabel>Applications</guilabel> folder.
129 If you are not sure which parts of DCP-o-matic to install, start
130 with the first (main) part.
135 <!-- ============================================================== -->
137 <title>Debian, Ubuntu or Mint Linux</title>
140 You can install DCP-o-matic on:
144 <listitem>Debian 7 (‘wheezy’), 8 (‘jessie’), 9 (‘squeeze’) and unstable (‘sid’)</listitem>
145 <listitem>Ubuntu 14.04 (‘Trusty Tahr’), 16.04 (‘Xenial Xerus’), 18.04 (‘Bionic Beaver’) and 18.10 (‘Cosmic Cuttlefish’)</listitem>
146 <listitem>Mint 17, 18 and 19</listitem>
150 using <code>.deb</code> packages: download the appropriate package
151 from <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
152 and double-click it. Debian, Ubuntu or Mint will install the necessary bits and
153 pieces and set DCP-o-matic up for you.
156 <!-- ============================================================== -->
159 <!-- ============================================================== -->
161 <title>Fedora, Centos and Mageia Linux</title>
163 <para>There are <code>.rpm</code> packages for Fedora 27, 28 and 29, Centos 6 and 7 and Mageia 6 on
164 <ulink url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>
167 <!-- ============================================================== -->
169 <!-- ============================================================== -->
171 <title>Arch Linux</title>
173 Packages for Arch Linux are available from <ulink
174 url="https://aur.archlinux.org/packages/dcpomatic/">https://aur.archlinux.org/packages/dcpomatic/</ulink>,
175 thanks to Stefan Karner.
180 <!-- ============================================================== -->
182 <title>Other Linux distributions</title>
185 Installation on other Linux systems (for which no packages are
186 available) is quite hard as it must be compiled from source. If you
187 can't download packages for your distribution, do let me know by
188 <ulink url="mailto:carl@dcpomatic.com">email</ulink> and I will look
189 into providing packages on the website.
193 The following dependencies are required:
195 <listitem><ulink url="http://ffmpeg.org/">FFmpeg</ulink></listitem>
196 <listitem><ulink url="http://www.mega-nerd.com/libsndfile/">libsndfile</ulink></listitem>
197 <listitem><ulink url="http://www.mega-nerd.com/SRC/">libsamplerate</ulink></listitem>
198 <listitem><ulink url="http://www.openssl.org/">OpenSSL</ulink></listitem>
199 <listitem><ulink url="http://www.openjpeg.org/">libopenjpeg</ulink></listitem>
200 <listitem><ulink url="http://www.boost.org/">Boost</ulink></listitem>
201 <listitem><ulink url="http://www.libssh.org/">libssh</ulink></listitem>
202 <listitem><ulink url="http://www.gtk.org/">GTK (on Linux)</ulink></listitem>
203 <listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
204 <listitem><ulink url="http://libxmlplusplus.sourceforge.net/">libxml++</ulink></listitem>
205 <listitem><ulink url="http://www.aleksey.com/xmlsec/">xmlsec</ulink></listitem>
206 <listitem><ulink url="http://curl.haxx.se/">curl</ulink></listitem>
207 <listitem><ulink url="http://www.nih.at/libzip/">libzip</ulink></listitem>
208 <listitem><ulink url="http://carlh.net/asdcplib">asdcplib with some patches</ulink></listitem>
209 <listitem><ulink url="http://carlh.net/libdcp">libdcp</ulink></listitem>
210 <listitem><ulink url="http://carlh.net/libsub">libsub</ulink></listitem>
211 <listitem><ulink url="http://carlh.net/libcxml">libcxml</ulink></listitem>
212 <listitem><ulink url="https://carlh.net/locked_sstream">locked_sstream</ulink></listitem>
213 <listitem><ulink url="https://www.music.mcgill.ca/~gary/rtaudio/">rtaudio</ulink></listitem>
214 <listitem><ulink url="http://site.icu-project.org">libicu</ulink></listitem>
219 Once you have installed the development packages for the dependencies,
220 download the source code from <ulink
221 url="http://dcpomatic.com/">http://dcpomatic.com/</ulink>,
222 unpack it and run the following commands from inside the source
233 With any luck, this will build and install DCP-o-matic on your system. To run it, enter:
248 <!-- ============================================================== -->
249 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
250 <title>Creating a DCP from a video</title>
253 In this chapter we will see how to create a DCP from a video file using
254 DCP-o-matic. We will gloss over the details and look at the basics.
258 <title>Creating a new film</title>
261 Let's make a very simple DCP to see how DCP-o-matic works. First, we
262 need some content. Download the low-resolution trailer for the open
263 movie <ulink url="http://sintel.org/">Sintel</ulink> from <ulink
264 url="https://download.blender.org/durian/trailer/Sintel_Trailer.480p.DivX_Plus_HD.mkv">their
265 website</ulink>. Generally one would want to use the
266 highest-resolution material available, but for this test we will use
267 the low-resolution version to save everyone's bandwidth bills.
271 Now, start DCP-o-matic and its window will open. First, we will
272 create a new ‘film’. A ‘film’ is how DCP-o-matic refers to
273 some pieces of content, along with some settings, which we will make into
274 a DCP. DCP-o-matic stores its data in a folder on your disk while it
275 creates the DCP. You can create a new film by selecting
276 <guilabel>New</guilabel> from the <guilabel>File</guilabel> menu, as
277 shown in <xref linkend="fig-file-new"/>.
280 <figure id="fig-file-new">
281 <title>Creating a new film</title>
284 <imagedata scale="250" fileref="screenshots/file-new&scs;"/>
290 This will open a dialogue box for the new film, as shown in <xref
291 linkend="fig-video-new-film"/>.
294 <figure id="fig-video-new-film">
295 <title>Dialogue box for creating a new film</title>
298 <imagedata fileref="screenshots/video-new-film&scs;"/>
304 In this dialogue box you can choose a name for the film. This will be
305 used to name the folder to store its data in, and also as the initial
306 name for the DCP itself. You can also choose whereabouts you want to create
307 the film. In the example from the figure, DCP-o-matic will create a
308 folder called ‘DCP Test’ inside my home folder (carl) into which it
309 will write its working files.
315 <!-- ============================================================== -->
317 <title>Adding content</title>
320 The next step is to add the content that you want to use. DCP-o-matic
321 can make DCPs from multiple pieces of content, but in this simple
322 example we will just use a single piece. Click the <guilabel>Add
323 file(s)...</guilabel> button, as shown in <xref
324 linkend="fig-add-file"/>, and a file chooser will open for you to
325 select the content file to use, as shown in <xref
326 linkend="fig-video-select-content-file"/>.
329 <figure id="fig-add-file">
330 <title>Adding content files</title>
333 <imagedata fileref="screenshots/add-file&scs;"/>
338 <figure id="fig-video-select-content-file">
339 <title>Selecting a video content file</title>
342 <imagedata fileref="screenshots/video-select-content-file&scs;"/>
348 Select your content file and click <guilabel>Open</guilabel>. In this
349 case we are using the Sintel trailer that we downloaded earlier.
353 When you do this, DCP-o-matic will take a look at your file. After a
354 short while (when the progress bar at the bottom right of the window
355 has finished), you can look through your content using the slider to
356 the right of the window, as shown in <xref linkend="fig-examine-content"/>.
359 <figure id="fig-examine-content">
360 <title>Examining the content</title>
363 <imagedata fileref="screenshots/examine-content&scs;"/>
369 Dragging the slider will move through your video. You can also click
370 the <guilabel>Play</guilabel> button to play the content back.
378 <!-- ============================================================== -->
380 <title>Making the DCP</title>
382 <para>In most cases, some adjustments would be made to DCP-o-matic's
383 settings once the content has been added. For our simple test,
384 however, the default values will suffice, so we can go straight onto
385 making the DCP.</para>
388 Choose <guilabel>Make DCP</guilabel> from the
389 <guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
390 This may take some time (many hours in some cases). While the job is
391 in progress, DCP-o-matic will update you on how it is getting on with
392 the progress bar in the bottom of its window, as shown in <xref
393 linkend="fig-making-dcp"/>.
396 <figure id="fig-making-dcp">
397 <title>Making the DCP</title>
400 <imagedata scale="250" fileref="screenshots/making-dcp&scs;"/>
406 When it has finished, the DCP will end up on your disk inside the
407 film's folder. You can then copy this to a projector via a USB
408 stick, hard-drive or network connection. See <xref
409 linkend="ch-files"/> for details about the files that DCP-o-matic creates.
413 Alternatively, if you have a projector or Theatre Management System
414 (TMS) that is accessible via SCP or FTP across your network, you can upload
415 the content directly from DCP-o-matic. See the <xref
416 linkend="sec-prefs-tms" endterm="sec-prefs-tms-short"/> in <xref linkend="sec-prefs-tms"/>.
423 <!-- ============================================================== -->
424 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
425 <title>Creating a DCP from a still image</title>
428 DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
429 for an advertisement or an on-screen announcement. This chapter shows you
434 As with DCPs made from video files, the first step is to create a new
435 ‘Film’; select <guilabel>New</guilabel> from the
436 <guilabel>File</guilabel> menu and the new film dialogue will open as
437 shown in <xref linkend="fig-still-new-film"/>.
440 <figure id="fig-still-new-film">
441 <title>Dialogue box for creating a new film</title>
444 <imagedata fileref="screenshots/still-new-film&scs;"/>
450 Enter a name and click <guilabel>OK</guilabel>. Now we need to add
451 the content. As before, click <guilabel>Add file(s)...</guilabel>.
452 For our example, we will add a single image file, as shown in <xref
453 linkend="fig-still-select-content-file"/>.
456 <figure id="fig-still-select-content-file">
457 <title>Selecting a still content file</title>
460 <imagedata fileref="screenshots/still-select-content-file&scs;"/>
466 Most of the default settings will be fine for a simple test. The one
467 thing that you might wish to change is the length of the still.
468 Select the <guilabel>Timing</guilabel> tab and you will see a
469 <guilabel>Play length</guilabel> setting, as shown in <xref
470 linkend="fig-timing-tab"/>.
473 <figure id="fig-timing-tab">
474 <title>The timing tab</title>
477 <imagedata fileref="screenshots/timing-tab&scs;"/>
483 This length is a ‘timecode’: it consists of four numbers.
484 The first is hours, the second minutes, the third seconds, and the
485 fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
489 Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
490 from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
491 be much quicker than creating a DCP from a video file, as DCP-o-matic only needs
492 to encode a single frame which it can then repeat.
498 <!-- ============================================================== -->
499 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
500 <title>Manipulating existing DCPs</title>
503 Frequently DCP-o-matic is used to take content in formats such as MP4
504 and convert it to JPEG2000 for a DCP. It can also be used
505 to take existing DCPs and modify them in various ways.
509 <title>Importing a DCP into DCP-o-matic</title>
512 If you want to do something to an existing DCP the first step is to
513 import it. Click <guilabel>Add DCP...</guilabel> and select your
514 DCP's folder. It will be added to the DCP-o-matic project. If the
515 DCP is unencrypted you can preview it in the normal way, though
516 playback will be very slow as decoding of DCPs is almost as
517 computationally intensive as encoding them.
521 If your DCP is a Version File (VF) (i.e. it refers to
522 another DCP's assets) you should import it as follows:
526 <listitem>Use <guilabel>Add DCP...</guilabel> to import the VF DCP.
527 The VF DCP will be added to the content list and marked “NEEDS
528 OV”.</listitem>
529 <listitem>Right-click on the VF DCP in the content list and choose <guilabel>Add OV...</guilabel> from the menu.</listitem>
530 <listitem>Choose the folder that contains the OV DCP. The VF will now be playable as normal.</listitem>
536 <section xml:id="sec-decrypting">
537 <title>Decrypting encrypted DCPs</title>
540 DCPs can be encrypted (see <xref linkend="ch-encryption"/> for
541 details). If you import an encrypted DCP you will need a key, in the
542 form of a Key Delivery Message (KDM), to decrypt it.
546 KDMs must be prepared by the organisation which created the DCP. They
547 contain the keys to decrypt the DCP wrapped up in such a way that only
548 the intended recipient can read them. You will need to provide the
549 organisation with a certificate which identifies your copy of
550 DCP-o-matic and allows them to create a KDM for you.
554 To get DCP-o-matic's decryption certificate, open the Preferences
555 dialogue (see <xref linkend="ch-preferences"/>) and go to the
556 <guilabel>Keys</guilabel> tab. Click the <guilabel>Export DCP
557 decryption certificate...</guilabel> button at the bottom of this tab
558 and save the certificate. Send this certificate to the DCP creators
559 and they can create a KDM to allow DCP-o-matic to decrypt their DCP.
563 Once you have your KDM, right-click the DCP's name in DCP-o-matic and
564 choose <guilabel>Add KDM...</guilabel>. Specify your KDM and the DCP
565 will be decrypted and become available for preview.
572 <title>Making a DCP from a DCP</title>
575 In many ways, using DCPs as <emphasis>content</emphasis> in
576 DCP-o-matic is the same as using any other content. There are a few
577 things to note, though.
582 <title>Re-use of existing data</title>
585 Where possible DCP-o-matic will re-use existing JPEG2000-compressed
586 data from DCP content without modification. This has the advantage
587 that creation of the new DCP will be quick, as the time-consuming
588 JPEG2000 encoding is not necessary.
592 DCP-o-matic can do this if you <emphasis>avoid</emphasis> changes to
593 the following content settings:
597 <listitem>Crop</listitem>
598 <listitem>Scaling</listitem>
599 <listitem>Subtitle burn-in</listitem>
600 <listitem>Fades</listitem>
601 <listitem>Colour conversion</listitem>
605 If you do change any of these settings on a piece of DCP content
606 DCP-o-matic will decode and then re-encode the JPEG2000 data.
612 <section xml:id="sec-overlay">
613 <title>Making overlay files</title>
616 With its default settings, DCP-o-matic will take any data from DCP
617 content and copy it into the DCP that it creates. See <xref linkend="fig-dcp-copy"/>.
620 <figure id="fig-dcp-copy">
621 <title>Creating a new DCP by copying an existing one</title>
622 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-copy&dia;"/></imageobject></mediaobject>
626 This can be inefficient in some cases. Consider, for example, a film
627 which has ten different translations for which the subtitles are
628 different but video and audio are the same. If the video and audio
629 content takes up, say, 100Gb this means that the set of DCPs for every
630 translation would be about 1Tb with a lot of duplicated data.
634 The DCP format has a solution to this problem. One DCP can refer to
635 the ‘assets’ (picture, sound or subtitle) of another DCP.
636 For our translation example this means that we could have a
637 ‘base’ DCP (often called the OV or Original Version)
638 containing video, audio and one set of subtitles and then any number
639 of overlay DCPs (often called VF or Version Files) which refer to the
640 base version and replace the original subtitles with their own. <xref
641 linkend="fig-dcp-refer"/> shows this principle for one of our
642 translations. The DCP that we make refers to the original content
643 DCP's video and audio rather than containing a copy.
646 <figure id="fig-dcp-refer">
647 <title>Creating a new DCP by referring to an existing one</title>
648 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/dcp-refer&dia;"/></imageobject></mediaobject>
652 To play back the subtitled DCP the projectionist ingests both the base
653 (OV) DCP and the overlay (VF) DCP, then plays the VF one.
657 To make a DCP like this:
661 <listitem>Import your ‘Content DCP’ to a DCP-o-matic project.</listitem>
662 <listitem>Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example).</listitem>
663 <listitem>Select the DCP in the content list</listitem>
664 <listitem>Tick the <guilabel>Use's this DCP's ... as OV and make VF</guilabel> checkbox
665 in the tabs for the parts of the DCP that you want to refer to in your
666 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>
667 <listitem>Do <guilabel>Make DCP</guilabel> as usual and your VF DCP will be created.</listitem>
677 <!-- ============================================================== -->
680 <!-- ============================================================== -->
681 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
682 <title>Content settings</title>
685 The previous chapters showed DCP generation using the default
686 settings. DCP-o-matic offers a range of features to adjust the
687 content that goes into your DCP, and this chapter describes those
692 <title>Adding and removing content</title>
695 At the top of the <guilabel>Content</guilabel> tab is a list of the
696 content that will go into our DCP. There can be as many pieces of
697 content as you like, and they can be of the following types:
701 <listitem>Movie — a file containing some video, probably some
702 audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB.
705 <listitem>Sound — a file containing one or more channels of
706 audio; for example, a WAV or AIFF file.
709 <listitem>Still image — a file containing a single still image; for
710 example, a JPEG, PNG or TIFF file.
713 <listitem>Moving image — a directory containing many still
714 images which should be treated as the frames of a video.
717 <listitem>Subtitle — a file containing subtitle which will be
718 superimposed on the image of the DCP. These can be
719 <guilabel>.srt</guilabel>, <guilabel>.ssa</guilabel>, <guilabel>.ass</guilabel> or <guilabel>.xml</guilabel>
722 <listitem>DCP — an existing DCP.</listitem>
726 To add one or more movie, sound, still-image or subtitle files, select
727 <guilabel>Add file(s)...</guilabel> and choose them from the selector.
731 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"/>.
734 <table id="tab-audio-file-naming">
735 <title>Audio file naming</title>
736 <tgroup cols='3' align='left' colsep='1' rowsep='1'>
740 <entry>Examples</entry>
741 <entry>Channel</entry>
746 <entry><code>L</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
747 <entry>film-L.wav my_movie_L_final.wav</entry>
751 <entry><code>R</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
752 <entry>film-R.wav my_movie_R_final.wav</entry>
756 <entry><code>C</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
757 <entry>film-C.wav my_movie_C_final.wav</entry>
758 <entry>Centre</entry>
761 <entry><code>Lfe</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
762 <entry>film-Lfe.wav my_movie_Lfe_final.wav</entry>
763 <entry>LFE (sub)</entry>
766 <entry><code>Ls</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
767 <entry>film-Ls.wav my_movie_Ls_final.wav</entry>
768 <entry>Left surround</entry>
771 <entry><code>Rs</code> surrounded by <code>.</code> <code>_</code> or <code>-</code></entry>
772 <entry>film-Rs.wav my_movie_Rs_final.wav</entry>
773 <entry>Right surround</entry>
780 To add a directory (folder) of images, choose <guilabel>Add
781 folder...</guilabel> and choose the directory from the selector.
782 DCP-o-matic will open a small dialogue box where you can enter the
783 frame rate that the image sequence should be run at.
787 To add a DCP, choose <guilabel>Add DCP...</guilabel> and choose the
788 DCP's directory from the selector.
792 You can remove a piece of content by clicking on its name and then
793 clicking the <guilabel>Remove</guilabel> button.
798 <!-- ============================================================== -->
800 <title>Adding existing DCPs</title>
802 <para>Adding existing DCPs to a DCP-o-matic film is a little different
803 to adding other types of content. Most content has to be converted to
804 JPEG2000, the compression scheme used by DCPs, which is a very
805 time-consuming process. Existing DCPs are already in JPEG2000 format
806 so do not require conversion. This means that, provided no settings
807 such as crop are used on the DCP content, picture and sound data will
808 be passed from existing to new DCP unaltered.
811 <para>Encrypted DCPs that are added as content will require a KDM
812 targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You
813 should ask the creator of the imported DCP to provide a KDM for
814 DCP-o-matic's decryption certificate, which can be obtained by
815 clicking <guilabel>Export DCP decryption certificate...</guilabel>
816 from the <guilabel>Keys</guilabel> tab of the
817 <guilabel>Preferences</guilabel> dialog (see <xref
818 linkend="sec-prefs-keys"/>).
823 <!-- ============================================================== -->
825 <title>Content Properties</title>
828 Below the content list are the controls to set content properties. To
829 adjust the properties for a piece of content, click its name in the
830 content list. The content property controls will then become active
831 for that piece of content.
835 If you want to change the properties for multiple pieces of content at
836 the same time, select the content in the list by clicking the first
837 piece then clicking the other pieces with <keycap>shift</keycap> key
838 held down. Note that not all settings can be changed in this way.
842 The content properties are split up into four sections:
843 <guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
844 <guilabel>Subtitles</guilabel> and <guilabel>Timing</guilabel>. Not
845 all of these sections will be active for all content types. The controls
846 in each section are described below.
852 <!-- ============================================================== -->
857 The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
860 <figure id="fig-video-tab">
861 <title>Video settings tab</title>
864 <imagedata fileref="screenshots/video-tab&scs;"/>
870 <!-- ============================================================== -->
872 <title>Use this DCP's video as OV and make VF</title>
875 This option is only applicable if the selected content is an existing
876 DCP. It allows you make a VF DCP, using the video content from the
877 existing DCP by referencing it (rather than copying). See <xref
878 linkend="sec-overlay"/>.
883 <!-- ============================================================== -->
885 <title>Image type</title>
888 The next option on this tab is the ‘type’ of the video.
889 This specifies how DCP-o-matic should interpret the video's image.
890 <guilabel>2D</guilabel> is the default; this just takes the video
891 image as a standard 2D frame. The <guilabel>3D
892 left/right</guilabel> option tells DCP-o-matic to interpret the frame as a
893 left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
896 <figure id="fig-3d-left-right">
897 <title>3D left/right image type</title>
900 <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
906 Alternatively the <guilabel>3D top/bottom</guilabel> option tells
907 DCP-o-matic to see the frame as a top-bottom pair, as shown in <xref
908 linkend="fig-3d-top-bottom"/>.
911 <figure id="fig-3d-top-bottom">
912 <title>3D top/bottom image type</title>
915 <imagedata scale="100" fileref="diagrams/3d-top-bottom&dia;"/>
921 Another option is <guilabel>3D alternate</guilabel> which takes the
922 first frame of the content as for the left eye, the second for the
923 right eye, the third for the left, and so on. Finally, you can
924 specify <guilabel>3D left only</guilabel> or <guilabel>3D right
925 only</guilabel> if this content contains only the the left or right
926 eye images. This is useful when you have the left and right eye image
927 sets in different files; you can specify one content as <guilabel>3D
928 left only</guilabel> and another as <guilabel>3D right only</guilabel>
929 and DCP-o-matic will pick up the appropriate frames from each.
935 <!-- ============================================================== -->
937 <title>Filtering</title>
940 The ‘filters’ settings allow you to apply various video
941 filters to the image. These may be useful to try to improve
942 poor-quality sources like DVDs. You can set up the filters by clicking the
943 <guilabel>Edit</guilabel> button next to the filters entry in the
944 setup area of the DCP-o-matic window; this opens the filters selector
945 as shown in <xref linkend="fig-filters"/>.
948 <figure id="fig-filters">
949 <title>Filters selector</title>
952 <imagedata fileref="screenshots/filters&scs;"/>
958 After changing the filters setup, you will need to regenerate the DCP
959 to see the effect on the cinema screen. The preview in DCP-o-matic
960 will update itself whenever filters are changed, though of course this
961 image is much smaller and of lower resolution than a projected image!
967 <!-- ============================================================== -->
969 <title>Colour conversion</title>
972 The <guilabel>Colour conversion</guilabel> setting specifies what
973 colour transforms and gamma correction DCP-o-matic will use when
974 converting the selected content into the XYZ colourspace for the DCP.
978 The easiest way to select the required conversion is to choose one of
979 DCP-o-matic's presets. DCP-o-matic knows how to convert from four
980 common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not
981 know which preset you should use, refer to the suggestions in <xref
982 linkend="tab-colour-conversion"/>.
985 <table id="tab-colour-conversion">
986 <title>Suggested colour conversion settings</title>
987 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
988 <colspec colwidth='1*'/>
989 <colspec colwidth='5*'/>
992 <entry>sRGB</entry><entry>Still images in RGB, e.g. photographs</entry>.
995 <entry>Rec. 601</entry><entry>Standard-definition content (fewer than about 1000 pixels across) including DVD rips.</entry>
998 <entry>Rec. 709</entry><entry>High-definition content including Blu-Ray rips.</entry>
1001 <entry>P3</entry><entry>Content explicitly graded to P3.</entry>
1008 For other required colour conversions, and if you know what you are
1009 doing, you can choose <guilabel>Custom</guilabel> which will open the full
1010 colour conversion editing dialogue box:
1013 <figure id="fig-colour-conversion">
1014 <title>Dialogue box for custom colour conversion</title>
1017 <imagedata fileref="screenshots/colour-conversion&scs;"/>
1023 Alternatively, choose <guilabel>None</guilabel> if your source files
1024 are already in the XYZ colour space and require no conversion.
1028 DCP-o-matic's colour conversion processes are discussed in much more
1029 detail in a separate document <ulink
1030 url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</ulink>.
1035 <!-- ============================================================== -->
1037 <title>Other settings</title>
1040 The <guilabel>crop</guilabel> settings can be used to crop your
1041 content, which is often used to remove black borders from the edges of
1042 the image. The specified number of pixels will be trimmed from each
1043 edge, and the content image in the right of the window will be updated
1044 to show the effect of the crop.
1048 The <guilabel>fade in</guilabel> and <guilabel>fade out</guilabel>
1049 settings can be used to apply linear fades into and out of a piece of
1050 content. Specify the time for each, clicking <guilabel>Set</guilabel>
1051 after making any changes.
1055 The <guilabel>Scale to</guilabel> option governs the shape that
1056 DCP-o-matic will scale the content's image into. Select the aspect
1057 ratio that your content should be presented in.
1062 <!-- ============================================================== -->
1064 <title>Video description</title>
1067 At the bottom of the video tab is a short description of what will
1068 happen to your video with the current settings. In the example of
1069 <xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
1070 video file is 1920x1080 pixels and it has square pixels (a pixel
1071 aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since
1072 the controls specify ‘16.9’ for the ratio, DCP-o-matic
1073 does not scale the image but pads it to the DCP's container ratio of
1074 1.85:1. For a 2K DCP this is 1998x1080 pixels.
1078 This description also gives the frame rate of the content and what
1079 will happen to it when it is played at the DCP's frame rate. See
1080 <xref linkend="ch-frame-rates"/> for details of DCP-o-matic's
1081 frame-rate conversion.
1089 <!-- ============================================================== -->
1091 <title>Audio</title>
1094 The <guilabel>Audio</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-audio-tab"/>.
1097 <figure id="fig-audio-tab">
1098 <title>Audio settings tab</title>
1101 <imagedata fileref="screenshots/audio-tab&scs;"/>
1106 <!-- ============================================================== -->
1108 <title>The audio map</title>
1111 The section at the bottom of the audio tab is the ‘audio
1112 map’. This governs how sound from the content will be arranged
1117 Down the left-hand side of the map is the list of audio channels in
1118 the currently-selected piece of content. These are labelled with two
1119 numbers; the first is the stream index within the content and the
1120 second is the channel number within that stream. Some content will
1121 have different streams for different languages or audio mixes. Along
1122 the top is each channel in the DCP. A green box means that the
1123 corresponding content channel will be copied into the corresponding
1128 When content channels are copied into DCP channels they can be done
1129 with variable gain. If, for example, you want to copy a channel
1130 as-is, you can set a gain of 0dB. Alternatively, if you want to mix
1131 two channels into one, you may want to use a gain of -6dB on each one
1132 to prevent clipping when the two channels are added.
1136 The green boxes of the audio mapping view tell you (very roughly) how
1137 much gain is applied to each channel. A full-height box means 0dB
1138 (i.e. unity) gain. Any less height indicates lower gain.
1142 To map one channel to another with 0dB gain, click in the empty box
1143 and it will turn green to reflect the mapping. A second click will
1144 turn the mapping back off. To set some other gain, right-click on the
1145 box to open the gain menu. This allows you to set
1146 <guilabel>Off</guilabel> (no mapping or negative infinity gain),
1147 <guilabel>Full</guilabel> (0dB gain), -6dB gain or
1148 <guilabel>Edit</guilabel> which allows you to set the required gain
1153 Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
1156 <figure id="fig-audio-map-eg1">
1157 <title>Audio map example 1</title>
1160 <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
1166 Here, we have two channels in the source which are mapped to left and
1167 right, respectively, in the DCP. The full green boxes show that the
1168 mapping is at unity gain (0dB) in each case. Imagine that we modify
1169 the settings to those shown in <xref linkend="fig-audio-map-eg2"/>
1172 <figure id="fig-audio-map-eg2">
1173 <title>Audio map example 2</title>
1176 <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
1182 We now have the content's streams mapped to left and right and also
1183 mixed together and placed in the DCP's centre channel. The smaller
1184 green boxes on the centre mappings show that those channels are added
1185 with some non-unity gain; you can see by hovering the mouse pointer
1186 over those boxes that the gain for content channels 1 and 2 is -6dB
1187 when being sent to the centre channel and 0dB when being sent to left
1191 <figure id="fig-audio-map-eg3">
1192 <title>Audio map example 3</title>
1195 <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
1201 As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
1202 shows the mapping of a 5.1 source into a 5.1 DCP.
1208 <!-- ============================================================== -->
1210 <title>Other controls</title>
1213 The <guilabel>Use this DCP's audio as OV and make VF</guilabel>
1214 checkbox is only applicable if the selected content is an existing
1215 DCP. It allows you to make a VF DCP, using the audio content from the
1216 existing DCP by referencing it (rather than copying). See <xref
1217 linkend="sec-overlay"/>.
1221 <guilabel>Show graphs of audio levels</guilabel> will analyse the
1222 audio of the selected content and plot it on a graph. See <xref
1223 linkend="sec-show-audio"/> for more details.
1227 ‘Audio Gain’ is used to alter the volume of the
1228 soundtrack. The specified gain (in dB) will be applied to each sound
1229 channel of your content before it is written to the DCP.
1233 If you use a sound processor that DCP-o-matic knows about, it can help
1234 you calculate changes in gain that you should apply. Say, for
1235 example, that you make a test DCP and find that you have to run it at
1236 volume 5 instead of volume 7 to get a good sound level in the screen.
1237 If this is the case, click the <guilabel>Calculate...</guilabel>
1238 button next to the audio gain entry, and the dialogue box in <xref
1239 linkend="fig-calculate-audio-gain"/> will open.
1242 <figure id="fig-calculate-audio-gain">
1243 <title>Calculating audio gain</title>
1246 <imagedata fileref="screenshots/calculate-audio-gain&scs;"/>
1252 For our example, put 5 in the first box and 7 in the second and click
1253 <guilabel>OK</guilabel>. DCP-o-matic will calculate the audio gain
1254 that it should apply to make this happen. Then you can re-make the
1255 DCP (this will be reasonably fast, as the video data will already have
1256 been done) and it should play back at the correct volume with 7 on
1257 your sound-rack fader.
1261 Current versions of DCP-o-matic only know about the Dolby CP650 and
1262 CP750. If you use a different sound processor, and know the gain
1263 curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
1268 <guilabel>Audio Delay</guilabel> is used to adjust the synchronisation
1269 between audio and video. A positive delay will move the audio later
1270 with respect to the video, and a negative delay will move it earlier.
1277 <!-- ============================================================== -->
1279 <title>Subtitles</title>
1282 The subtitles tab contains settings related to subtitles in your
1283 content, as shown in <xref linkend="fig-subtitles-tab"/>.
1286 <figure id="fig-subtitles-tab">
1287 <title>Subtitle settings tab</title>
1290 <imagedata fileref="screenshots/subtitles-tab&scs;"/>
1296 DCP-o-matic can either:
1300 <listitem>Extract subtitles that are embedded in video files, or</listitem>
1301 <listitem>Use subtitles from SubRip (<code>.srt</code>), SubStation
1302 Alpha (<code>.ssa</code> or <code>.ass</code>) or DCP XML files. You may find the great
1304 url="http://www.nikse.dk/subtitleedit/">Subtitle Edit</ulink> useful
1305 for creating such files.</listitem>
1309 Embedded subtitles are usually represented using a set of bitmaps,
1310 especially on files that have come from DVD or BluRay. Such subtitles
1311 can (currently) only be ‘burnt’ into the DCP (that is,
1312 they are included in the image and not overlaid by the projector).
1316 With SubRip, SubStation Alpha or DCP subtitles you have the choice to
1317 either burn-in or include the subtitles as separate subtitle
1318 ‘asset’ within your DCP (in which case the projector
1319 overlays them onto the image on playback). The difference between
1320 burn-in and overlay is illustrated by <xref linkend="fig-burn-in"/>
1321 and <xref linkend="fig-discrete"/>.
1324 <figure id="fig-burn-in">
1325 <title>Burnt-in subtitles</title>
1328 <imagedata scale="100" fileref="diagrams/burn-in&dia;"/>
1333 <figure id="fig-discrete">
1334 <title>Separate subtitles</title>
1337 <imagedata scale="100" fileref="diagrams/discrete&dia;"/>
1343 The advantage of separate subtitles is that the same video content can
1344 be used for DCPs in many different languages. This means that only a
1345 small text file needs to be changed for each target language, rather
1346 than a large video file. It also means that the time-consuming video
1347 encoding need only be done once for the project rather than once for
1352 Select the <guilabel>Use Subtitles</guilabel> check-box to enable
1353 the subtitles in the selected content.
1357 Select the <guilabel>Burn subtitles into image</guilabel> check-box to
1358 burn these subtitles into the image; if this is not ticked the
1359 subtitles will be included separately in the DCP to be rendered by the
1360 projector. This check-box will always be ticked if you are using
1361 embedded ‘image’ subtitles.
1365 The <guilabel>X Offset</guilabel> and <guilabel>Y Offset</guilabel>
1366 controls move the subtitles around within the image. The offsets are
1367 expressed as a percentage of the video frame size; 100% X offset is
1368 the entire width of the frame, and 100% Y offset is the entire height.
1369 Hence, to move the subtitles down by half the frame height you would
1370 use a Y offset of 50%.
1374 The <guilabel>X Scale</guilabel> and <guilabel>Y Scale</guilabel>
1375 controls scale the subtitles. Scale values of 1 make the subtitles
1376 the same size (relative to the size of the image) as they are on the
1377 original. Values lower than 1 make them smaller, and values higher
1378 make them larger. You can stretch the subtitles in either direction
1379 by specifying different values for X and Y scale. Subtitles from DVD
1380 and Blu Ray sources are frequently larger (relative to the video
1381 frame) than those typically used for DCP, so it is often useful to
1382 scale such subtitles down using these controls.
1386 The <guilabel>Line spacing</guilabel> control adjusts the line spacing
1387 of the subtitles. This only works for non-embedded (text) subtitles.
1391 The <guilabel>Stream</guilabel> control changes the subtitle stream
1392 that is used when the content has more than one.
1396 If you are using non-embedded (text) subtitles you can see the
1397 subtitle text and timings by clicking the <guilabel>View...</guilabel>
1398 button, or specify the fonts that should be used by clicking <guilabel>Fonts...</guilabel>.
1402 With any subtitles you can click <guilabel>Appearance...</guilabel> to
1403 change how the subtitles look.
1409 <!-- ============================================================== -->
1411 <title>Timing</title>
1414 The timing tab contains settings related to the timing of your
1415 content, as shown in <xref linkend="fig-timing-tab-detail"/>.
1418 <figure id="fig-timing-tab-detail">
1419 <title>Timing settings tab</title>
1422 <imagedata fileref="screenshots/timing-tab&scs;"/>
1428 Most of the timing tab's entries are <emphasis>time-codes</emphasis>.
1429 These are expressed as four numbers, as shown in <xref
1430 linkend="fig-timecode"/>.
1433 <figure id="fig-timecode">
1434 <title>Timecode</title>
1437 <imagedata scale="100" fileref="diagrams/timecode&dia;"/>
1443 <guilabel>Position</guilabel> is the time at which this piece of
1444 content should start within the DCP. In most cases, this will be
1445 <code>0:0:0:0</code> to make the content start at the beginning of the
1450 <guilabel>Full length</guilabel> is the length of the piece of
1451 content. This can only be set for still-image content: for video or
1452 sound content, it is fixed by the nature of the content file. If
1453 still-image content is being used you can set the length for which it
1454 should be displayed using this control.
1458 <guilabel>Trim from start</guilabel> specifies the amount that should
1459 be trimmed from the start of the content. You can set this amount to
1460 trim up to the current preview position by clicking <guilabel>Trim up
1461 to current position</guilabel>.
1465 <guilabel>Trim from end</guilabel> specifies the amount that should be
1466 trimmed from the end of the content. You can set this amount to trim
1467 after the current preview position by clicking <guilabel>Trim after to
1468 current position</guilabel>.
1472 <guilabel>Play length</guilabel> indicates how long this piece of
1473 content will be once the trims have been applied. This will be equal
1474 to the full length minus <guilabel>trim-from-start</guilabel> and minus <guilabel>trim-from-end</guilabel>.
1478 <guilabel>Video frame rate</guilabel> specifies the frame rate for
1479 still-image content. It can also be used to override the detected
1480 frame rate of other content if DCP-o-matic has got it wrong.
1484 Each timecode control has a <guilabel>Set</guilabel> which you should
1485 click when you have entered a new value for a timecode. The
1486 <guilabel>Set</guilabel> button will make DCP-o-matic take account of
1487 any changes to the corresponding timecode.
1493 <!-- ============================================================== -->
1495 <title>Video processing pipeline</title>
1498 This section gives a little more detail about how DCP-o-matic process
1499 video as it takes it from a source and puts it into a DCP.
1503 Consider, as a somewhat over-the-top example, that we have a 720 x 576
1504 image which is letterboxed with 36 black pixels each at the top and
1505 bottom, and the video content within the letterbox should be presented
1506 in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might
1507 happen with a trailer). The source image is shown in <xref
1508 linkend="fig-pipeline1"/>.
1511 <figure id="fig-pipeline1">
1512 <title>Example image to demonstrate video processing</title>
1515 <imagedata scale="100" fileref="diagrams/pipeline1&dia;"/>
1521 DCP-o-matic runs through the following steps when preparing an image for a DCP:
1525 <listitem>Crop</listitem>
1526 <listitem>Scale</listitem>
1527 <listitem>Place in container</listitem>
1531 First, some amount of the image can be cropped. This is almost always
1532 used to remove black borders (letterboxing and/or pillarboxing) around
1537 In our example image, we would use 36 pixels of crop from the top and
1538 bottom. This would give the new image shown in <xref
1539 linkend="fig-pipeline2"/>.
1542 <figure id="fig-pipeline2">
1543 <title>Example image after cropping</title>
1546 <imagedata scale="100" fileref="diagrams/pipeline2&dia;"/>
1552 The next step is to scale the image. Since this content should be
1553 presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select
1554 <guilabel>Scope</guilabel> from the <guilabel>Scale to</guilabel>
1555 option in the <guilabel>Video</guilabel> tab and
1556 <guilabel>Flat</guilabel> from the <guilabel>Container</guilabel>
1557 option in the <guilabel>DCP</guilabel> tab.
1560 <para>The <guilabel>Scale to</guilabel> option should always be set to
1561 the aspect ratio at which the content should be seen. The
1562 <guilabel>Container</guilabel> option should be set to the preset that
1563 you want to use on the projector. Of course, these two settings will
1568 Given the scaling and container information, DCP-o-matic will look at
1569 the DCP's container size, and then scale the source image up until one
1570 or both of its dimensions (width, height or both) fits the size of the
1571 container, all the while preserving the desired aspect ratio.
1575 In our example here, the DCP's container is specified as 1.85:1 (so
1576 that the DCP will play back correctly using the projector's
1577 ‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080.
1578 Scaling the source up whilst preserving its 1.85:1 aspect ratio will
1579 result in the image hitting the sides of the container first, at a
1580 size of 1998 x 836. This gives us a new version of the image as shown
1581 in <xref linkend="fig-pipeline3"/>.
1584 <figure id="fig-pipeline3">
1585 <title>Example image after cropping and scaling</title>
1588 <imagedata scale="100" fileref="diagrams/pipeline3&dia;"/>
1594 The final step is to place the image into the DCP. In this case,
1595 since we have a 2.39:1 image that should be presented as a 1.85:1 DCP,
1596 we have set the <guilabel>container</guilabel> in the
1597 <guilabel>DCP</guilabel> tab to be Scope. Since the content has been
1598 scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will
1599 be some black bars at the top and bottom of the image. DCP-o-matic
1600 shares out this black equally, as shown in <xref
1601 linkend="fig-pipeline3"/>.
1604 <figure id="fig-pipeline4">
1605 <title>Example image in the DCP</title>
1608 <imagedata scale="100" fileref="diagrams/pipeline4&dia;"/>
1617 <title>Copy and paste settings</title>
1620 Once you have set up a piece of content it is possible to copy the
1621 settings you have applied to another piece of content. To do this,
1622 select the content to copy from and choose <guilabel>Copy</guilabel>
1623 from the <guilabel>Edit</guilabel> menu. Then select the content to
1624 copy to and choose <guilabel>Paste</guilabel>. A dialogue box will
1625 open to allow you to choose which settings you want to copy. Clicking
1626 <guilabel>OK</guilabel> will apply the copied settings.
1635 <!-- ============================================================== -->
1636 <chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1637 <title>DCP settings</title>
1640 This chapter describes the settings that apply to the whole DCP. The
1641 controls for these settings are in the <guilabel>DCP</guilabel> tab of
1642 the main window, as shown in <xref linkend="fig-dcp-tab"/>.
1645 <figure id="fig-dcp-tab">
1646 <title>DCP settings tab</title>
1649 <imagedata fileref="screenshots/dcp-tab&scs;"/>
1655 The first thing here is the name. This is generally set to the title
1656 of the film that is being encoded. If <guilabel>Use ISDCF
1657 name</guilabel> is not ticked, the name that you specify will be used
1658 as-is for the name of the DCP. If <guilabel>Use ISDCF name</guilabel>
1659 is ticked, the name that you enter will be used as part of a
1660 ISDCF-compliant name.
1664 Underneath the name field is a preview of the name that the DCP will
1665 get. To use a ISDCF-compliant name, tick the <guilabel>Use ISDCF
1666 name</guilabel> check-box. The ISDCF name will be composed using details
1667 of your content's soundtrack, the current date and other things that
1668 can be specified in the ISDCF name details dialogue box, which you can
1669 open by clicking on the <guilabel>Details</guilabel> button.
1673 If you want to take the ISDCF-compliant name that DCP-o-matic
1674 generates and modify it, click <guilabel>Copy as name</guilabel> and
1675 the ISDCF name will be copied into the <guilabel>Name</guilabel> box.
1676 You can then edit it as you wish. The DCP name should not matter (in
1677 that it should not affect how the DCP ingests or plays) but
1678 projectionists will appreciate it if you use the standard naming
1679 scheme as it makes it easier to identify details of the content.
1683 The <guilabel>Content Type</guilabel> option can be
1684 ‘feature’, ‘trailer’ or whatever; select the
1685 required type from the drop-down list. On some projection systems
1686 this will affect where your content appears in the projector's server
1687 user interface, so take care to select an appropriate type.
1691 The <guilabel>Signed</guilabel> check-box sets whether or not the DCP
1692 is signed. This is rarely important; if in doubt, tick it.
1696 The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
1697 should be encrypted or not. If this is ticked, the DCP will require a
1698 KDM to play back. Encryption is discussed in <xref
1699 linkend="ch-encryption"/>.
1703 If you use encryption DCP-o-matic will generate a random encryption
1704 key for you. To specify your own key, click the
1705 <guilabel>Edit..</guilabel> button next to the key.
1709 The <guilabel>Reels</guilabel> and <guilabel>Reel length</guilabel>
1710 controls specify how the DCP will be split up into
1711 ‘reels’. See <xref linkend="sec-reels"/> below.
1715 The <guilabel>Standard</guilabel> option specifies which of the two
1716 DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
1717 more modern of the two).
1721 Ticking the <guilabel>Upload DCP to TMS after it is made</guilabel>
1722 will ask DCP-o-matic to copy the finished DCP to your configured TMS (see <xref linkend="sec-prefs-tms"/>).
1726 At the bottom of the DCP tab are a further two tabs, one each to
1727 contain the settings for the DCP's video and audio parts.
1731 The <guilabel>Container</guilabel> option sets the ratio of the image
1732 in the DCP. If this ratio is different to the ratio used for any
1733 content, DCP-o-matic will pad the content with black. In simple cases
1734 this should be set to the same ratio as that for the the primary piece
1735 of video content. Alternatively, you might want to pillarbox a small
1736 format into a Flat container: in this case, select the small format
1737 for the content's ratio and ‘Flat’ for the DCP.
1741 The <guilabel>Frame Rate</guilabel> control sets the frame rate of
1742 your DCP. This can be a little tricky to get right. Ideally, you
1743 want it to be the same as the video content that you are using. If it
1744 is not the same, DCP-o-matic must resort to some tricks to alter your
1745 content to fit the specified frame rate. Frame rates are discussed in
1746 more detail in <xref linkend="ch-frame-rates"/>.
1750 The <guilabel>Use best</guilabel> button sets the DCP video frame rate
1751 to what DCP-o-matic thinks is the best given the content that you have
1756 The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
1757 is checked. A 3D DCP will then be created, and any 2D content will be
1758 made 3D compatible by repeating the same frame for both left and right
1759 eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
1760 Real-D etc.) but not on a 2D system.
1764 The <guilabel>Resolution</guilabel> tab allows you to choose the
1765 resolution for your DCP. Use 2K unless you have content that is of
1766 high enough resolution to be worth presenting in 4K.
1770 The <guilabel>JPEG2000 bandwidth</guilabel>; setting changes how big
1771 the final image files used within the DCP will be. Larger numbers
1772 will give better quality, but correspondingly larger DCPs. The
1773 bandwidth can be between 50 and 250 megabits per second (Mbit/s).
1774 Most commercial DCPs use bit rates between 75 and 125 Mbit/s.
1778 The <guilabel>Audio Channels</guilabel> control sets the number of
1779 audio channels that the DCP will have. If the DCP has any channels
1780 for which there is no content audio they will be replaced by silence.
1781 You can only set an even number of channels here, since that is
1782 required by the DCI standard. If you want an odd number of channels,
1783 set the DCP channel count to one greater than you need and the
1784 unused channel will be filled with silence.
1788 The <guilabel>Processor</guilabel> control allows you to select a
1789 process to apply to the audio before it goes into the DCP. Three processes are currently provided:
1793 <listitem>Mid-side decode — this will take a L/R
1794 stereo input and extract the common part (corresponding to the
1795 ‘Mid’ in a mid-side signal) into the DCP's centre channel.
1796 The remaining L/R parts will be kept in the L/R channels of the DCP.
1797 This may be useful to make near-field L/R mixes more compatible with
1798 cinema audio systems.</listitem>
1799 <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:
1801 <listitem>DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1802 <listitem>DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz.</listitem>
1803 <listitem>DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz.</listitem>
1804 <listitem>DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz.</listitem>
1805 <listitem>DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1806 <listitem>DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz.</listitem>
1809 This upmixing algorithm is due to Gérald Maruccia.
1812 <listitem>Stereo to 5.1 up-mixer B — this uses a different approach:
1814 <listitem>DCP L is input L.</listitem>
1815 <listitem>DCP R is input R.</listitem>
1816 <listitem>DCP C is input L + input R taken down by 3dB.</listitem>
1817 <listitem>DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz.</listitem>
1818 <listitem>DCP Ls and Rs are input L - input R with a 20ms delay.</listitem>
1823 <!-- ============================================================== -->
1824 <section xml:id="sec-reels">
1825 <title>Reels</title>
1828 A ‘reel’ in a DCP is a subsection of the DCP, in the same
1829 way as a 35mm reel is a section of a film. A DCP can be split up into
1830 any number of reels and the joins (the equivalent to 35mm splices)
1831 between the reels are seamless.
1835 There is no reason why you can't just use a single reel for the whole
1836 of your DCP, as there is no limit on their length. Many people choose
1841 There are, however, some possible advantages of splitting things up
1847 The picture, sound and subtitle data of the DCP will be
1848 split up into more smaller files on disk, rather than fewer larger
1849 files. This can be useful if the DCP is to be transferred on storage
1850 that have file size limits. The FAT32 filesystem, for example, can
1851 only hold files smaller than 4Gb. A 6Gb DCP with a single reel could
1852 not be transferred using a FAT32-formatted disk. If that DCP were
1853 split up into two 3Gb reels it could be transferred.
1856 It is easier to re-use DCP components if they are in reels. Consider,
1857 for example, a film company who wants to put a 5 second ident onto the
1858 beginning of DCPs that they distribute. If they receive a feature
1859 film DCP they can modify it to add their ident as a separate reel.
1860 This is easier than attaching the picture data in the DCP.
1865 DCP-o-matic offers three options for setting up the reels in your DCP:
1866 single reel, split by video content or custom.
1870 <guilabel>Single reel</guilabel>, as its name suggests, keeps the whole DCP as one reel.
1871 This is a perfectly good option if you have no particular reason to
1876 <guilabel>Split by video content</guilabel> puts each piece of source
1877 video content in its own reel, as shown in <xref linkend="fig-reels-by-video"/>.
1880 <figure id="fig-reels-by-video">
1881 <title>Making reels using split by video content</title>
1882 <mediaobject><imageobject><imagedata scale="100" fileref="diagrams/reels-by-video&dia;"/></imageobject></mediaobject>
1886 Here we have three video files (<code>ident.mp4</code>,
1887 <code>feature.ts</code> and <code>cred.mov</code>). With
1888 <guilabel>split by video content</guilabel> DCP-o-matic makes a new
1889 reel to hold each video file.
1893 <guilabel>Custom</guilabel> splits reels by the size of the files that
1894 will make up their video content. With <guilabel>Custom</guilabel>
1895 you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length.
1901 <!-- ============================================================== -->
1902 <section xml:id="sec-show-audio">
1903 <title>Show audio</title>
1906 The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
1907 to examine the audio in your content and plot a graph of its level
1908 over time. This can be useful for getting a rough idea of how loud
1909 the sound will be in the cinema auditorium. A typical plot is shown
1910 in <xref linkend="fig-audio-plot"/>
1913 <figure id="fig-audio-plot">
1914 <title>Audio plot</title>
1917 <imagedata fileref="screenshots/audio-plot&scs;"/>
1923 The plot gives the audio level (vertical axis, in dB) with time
1924 (horizontal axis). 0dB represents full scale, so if there is anything
1925 near this you are in danger of clipping the projector's audio outputs.
1929 There are two plot types: the peak level and the RMS, which can be
1930 shown or hidden using the check-boxes on the right hand side of the
1935 The channel check-boxes will show or hide the plot(s) for
1936 the corresponding channels in the DCP.
1940 The smoothing slider applies a variable degree of temporal smoothing
1941 to the plots, which can make them easier to read in some cases.
1945 Obviously the audio plot is no substitute for listening in an
1946 auditorium, but it can be useful to get levels in the right rough area.
1954 <!-- ============================================================== -->
1955 <chapter xml:id="ch-templates" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
1956 <title>Templates</title>
1959 If you frequently make DCPs with similar settings you may find it
1960 useful to use templates.
1964 Say, for example, you often make 4K feature DCPs from video files in
1965 ’scope at 25fps. You can speed up this process by following
1970 <listitem>Create a film with any content and set it up how you like;
1971 in our example, set the content to scale to DCP, the DCP resolution
1972 to 4K, and so on.</listitem>
1973 <listitem>Choose <guilabel>Save as template...</guilabel> from the <guilabel>File</guilabel> menu.</listitem>
1974 <listitem>Enter a name for your template.</listitem>
1978 Then in the future you can create a new film, tick the
1979 <guilabel>Template</guilabel> box and choose your previously-saved
1980 template. The basic film's settings will come from your template, and
1981 when you add some content it will take on the settings of the
1982 first similarly-typed piece of content in your template.
1986 For example if the template has a piece of video content and some
1987 subtitles, any video that you add to the new film will take on the
1988 settings of the video in the template. Similarly, any subtitles that
1989 you add will take on the settings of the subtitles from the template.
1993 The following settings from the <guilabel>DCP</guilabel> tab are saved
1998 <listitem>“Use ISDCF name” checkbox</listitem>
1999 <listitem>Content type (FTR, TLR etc.)</listitem>
2000 <listitem>Container</listitem>
2001 <listitem>Resolution</listitem>
2002 <listitem>JPEG200 bandwidth</listitem>
2003 <listitem>Video frame rate</listitem>
2004 <listitem>Signed and encrypted checkboxes</listitem>
2005 <listitem>Audio channels</listitem>
2006 <listitem>Standard (Interop / SMPTE)</listitem>
2007 <listitem>Audio processor</listitem>
2008 <listitem>Reel type and length</listitem>
2009 <listitem>Upload after make DCP checkbox</listitem>
2013 In addition to this, the settings (but not the filenames) of any
2014 content in the template are stored, as discussed above. The status of
2015 the <guilabel>Keep video and subtitles in sequence</guilabel> checkbox
2016 from the timeline is also preserved.
2023 <!-- ============================================================== -->
2024 <chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2025 <title>Encryption</title>
2028 It is not required that DCPs be encrypted, but they can be. This
2029 chapter discusses the basic principles of DCP encryption, and how
2030 DCP-o-matic can create encrypted DCPs and KDMs for them.
2034 <!-- ============================================================== -->
2036 <title>Basics</title>
2039 DCPs can be encrypted. This means that the picture and sound data are
2040 encoded in such a way that only cinemas ‘approved’ by the
2041 DCP's creators can read them. In particular, this means copies of the
2042 DCP can be distributed by insecure means: if an ne'er-do-well called
2043 Mallory obtains a hard drive containing an encrypted DCP, there is no
2044 way that he can play it. Only those cinemas who receive a correct key
2045 delivery message (KDM) can play the DCP.
2049 <!-- ============================================================== -->
2051 <title>How it works</title>
2054 This section attempts to summarise how DCP encryption works. You can
2055 skip it if you like. You may need some knowledge of encryption
2056 methods to understand it.
2060 We suppose that we are trying to send a DCP to
2061 Alice's cinema without a troublemaker called Mallory being able to
2066 There are two main families of encryption techniques. The first,
2067 symmetric-key encryption, allows us to encode some data using some
2068 numeric key. After encoding, no-one can decode the data unless they
2073 The first step in a DCP encryption is to encode its data with some key
2074 using symmetric-key encryption. The encrypted DCP can then be sent
2075 anywhere, safe in the knowledge that even if Mallory got hold of a
2076 copy, he could not decrypt it.
2080 Alice, however, needs to know the key so she can play the DCP in her
2081 cinema. A simple approach might be for us to send Alice the key.
2082 However, if Mallory can intercept the DCP, he might also be able to
2083 intercept our communication of the key to Alice. Furthermore, if Alice
2084 happened to know Mallory, she could just send him a copy of the key.
2088 The clever bit in the process requires the use of public-key
2089 encryption. With this technique we can encrypt a block of data using
2090 some ‘public’ key. That data can then only be decrypted
2091 using a corresponding private key which is
2092 <emphasis>different</emphasis> to the public key. The private and
2093 public keys form a pair which are related mathematically, but it is
2094 extremely hard (or rather, virtually impossible) to derive the private
2095 key from the public key.
2099 Public-key encryption allows us to distribute the DCP's key to Alice
2100 securely. The manufacturer of Alice's projector generates a public
2101 and private key. They hide the private key inside the projector where
2102 no-one can read it. They then make the public key available to anyone
2107 DCP-o-matic has a similar arrangement except that it stores its
2108 private keys in the user's configuration file. See <xref
2109 linkend="sec-decrypting"/> for details of how to share DCP-o-matic's
2110 certificate so that others can make encrypted DCPs for DCP-o-matic.
2114 We take our DCP's symmetric key and encrypt it using the public key of
2115 Alice's projector. We send the result to Alice over email (using a
2116 format called a Key Delivery Message, or KDM). Her projector then
2117 decrypts our message using its private key, yielding the magic
2118 symmetric key which can decrypt the DCP.
2122 If is fine if Mallory intercepts our email to Alice, since the only
2123 key which can decrypt the message is the private key buried inside
2124 Alice's projector. The projector manufacturer is very careful that
2125 no-one ever finds out what this key is. Our DCP is secure: only Alice
2126 can play it back, since only her projector knows the key (even Alice
2134 <!-- ============================================================== -->
2136 <title>Encryption using DCP-o-matic</title>
2139 There are two steps to distributing an encrypted DCP. First, the
2140 DCP's data must be encrypted, and secondly KDMs must be generated for
2141 those cinemas that are allowed to play the DCP.
2145 The first part is simple: ticking the <guilabel>Encrypted</guilabel>
2146 box in the <guilabel>DCP</guilabel> tab will instruct DCP-o-matic to
2147 encrypt the DCP that it makes using a random key that DCP-o-matic
2148 generates. The key will be written to the film's metadata file, which
2149 should be kept secure.
2153 A DCP that is generated with the <guilabel>Encrypted</guilabel> box
2154 ticked will not play on any projector as-is (it will be marked as
2155 ‘locked’, or whatever the projector manufacturer's term
2160 The second part of distributions is to generate KDMs for the cinemas
2161 that you wish to allow to play your DCP. There are two approaches to
2162 this within DCP-o-matic: using the project, or using a DKDM. These
2163 approaches are now described in turn.
2167 <title>Creating KDMs from a DCP-o-matic project</title>
2170 You can create KDMs from inside a DCP-o-matic project using the
2171 <guilabel>Make KDMs</guilabel> option on the <guilabel>Jobs</guilabel>
2172 menu. This will open the KDM dialogue box, as shown in <xref
2173 linkend="fig-kdm"/>.
2176 <figure id="fig-kdm">
2177 <title>KDM dialog</title>
2180 <imagedata scale="40" fileref="screenshots/kdm&scs;"/>
2186 In order to generate KDMs for a particular projector, you need to know
2187 its <emphasis>certificate</emphasis>. These are usually made
2188 available by the projector manufacturers as text files with a
2189 <code>.pem</code> extension.
2193 DCP-o-matic can store these certificates along with details of their
2194 cinemas and screens within those cinemas. Each screen has a
2195 certificate for its projector (and optionally certificates for other
2196 trusted devices, such as the sound processor). DCP-o-matic can
2197 generate KDMs for any screens that it knows about.
2201 To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
2202 a dialogue box into which you can enter the cinema's name, and
2203 optionally an email address. This email address can be used to
2204 get DCP-o-matic to deliver KDMs via email.
2208 Once you have added a cinema, select it by clicking on its name, then
2209 click <guilabel>Add Screen...</guilabel>. The resulting dialogue
2210 allows you to enter a name for the screen and load in its certificate
2211 from a file. The certificate should be in SHA256 PEM format.
2215 Alternatively, certificates for projection systems made by some
2216 manufacturers can be downloaded from databases provided by the
2217 manufacturer. Currently this is supported for Doremi and Dolby
2218 equipment. If you are targeting a screen with equipment by one of
2219 these manufacturers you can click <guilabel>Download</guilabel> then
2220 enter the serial number of the server in the screen and click
2221 <guilabel>Download</guilabel> again and, all being well, the certificate
2226 Using the download system you will need to know the serial number of
2227 the media server in use in the screen. Most cinema projection or
2228 technical departments will know these serial numbers.
2232 Note that the reliability of the manufacturers' certificate databases
2233 cannot be guaranteed. It is vital that KDMs are tested by the
2234 destination cinema will in advance of show time to identify any
2239 Once you have set up all the screens that you need KDMs for, select
2240 the CPL that you want to create the KDM for. You can use the
2241 drop-down list to select the CPLs in the current film project, or load
2242 a CPL from somewhere else. Select the cinemas and/or screens that you
2243 want KDMs for and fill in the start and end dates and times.
2247 You must also select the type of KDM that you want to generate. If in
2248 doubt, use <guilabel>Modified Transitional 1</guilabel>.
2252 The differences between the three KDM types are fairly subtle.
2253 <guilabel>DCI Specific</guilabel> and <guilabel>DCI Any</guilabel> add
2254 a <code><ContentAuthenticator></code> tag to the KDM which
2255 allows the exhibitor to check that the DCP and KDM have come from a
2256 bona-fide source. In addition, <guilabel>DCI Specific</guilabel> adds
2257 information on trusted devices to the KDM. This allows the KDM
2258 creator to specify devices (such as sound processors) that are allowed
2259 to use keys delivered by the KDM. At present it is not clear how
2260 widely the <guilabel>DCI Specific</guilabel> and <guilabel>DCI
2261 Any</guilabel> features are supported (or even tolerated) by servers
2262 so you are advised to use <guilabel>Modified Transitional
2267 Finally, choose what you want to do with the KDMs. They can be
2268 written to disk, to a location that you can specify by clicking
2269 <guilabel>Browse</guilabel>. Alternatively, if you choose
2270 <guilabel>Send by email</guilabel> the KDMs will be zipped up and
2271 emailed to the appropriate cinema email addresses. Click
2272 <guilabel>Make KDMs</guilabel> to generate the KDMs.
2278 <title>Creating KDMs using a DKDM</title>
2282 It can be inconvenient to need a whole DCP-o-matic project just to
2283 create KDMs for its film. Perhaps you want to archive the project to
2284 save space, or create KDMs on a different machine. In such situations
2285 it is easier to use a DKDM. This is a normal KDM, but instead of
2286 being targeted at a projection system (to allow it to decrypt the
2287 content) it is targeted at a particular user's certificate. This
2288 means that the certificate owner can create new KDMs for other users.
2289 The DKDM holds everything that is required to create further KDMs.
2293 Sometimes it is useful to create DKDMs that can be used by
2294 DCP-o-matic. If you create such a DKDM you can keep it and then, at
2295 any point in the future, use DCP-o-matic's standalone KDM creator to
2296 make KDMs for the DKDM's film for any cinema.
2300 In other cases a DKDM is sent to a 3rd party so that they can create
2301 KDMs for your films. This can be useful if, for example, you have a
2302 distributor who provides 24-hour KDM support to cinemas and can create
2303 KDMs for anybody that requires them at short notice.
2307 To create a DKDM for DCP-o-matic, open your encrypted project and
2308 select <guilabel>Make DKDM for DCP-o-matic...</guilabel> from the
2309 <guilabel>Jobs</guilabel> menu. Select the CPL that you want to make
2310 the DKDM for and click <guilabel>OK</guilabel>. This DKDM will then
2311 be available in the KDM creator. This is a separate program which you
2312 can start from the same place that you start the ‘normal’
2313 DCP-o-matic. Its window is shown in <xref linkend="fig-kdm-creator"/>.
2316 <figure id="fig-kdm-creator">
2317 <title>The KDM creator</title>
2320 <imagedata scale="35" fileref="screenshots/kdm-creator&scs;"/>
2326 To create KDMs, select the cinema(s) and/or screens that you want KDMs
2327 to be created for, the date range, the DCP that the KDMs are for and
2328 the destination for the KDMs and click <guilabel>Create
2333 By default the <guilabel>DKDM</guilabel> list will list any DCPs for
2334 which you have clicked <guilabel>Make DKDM for
2335 DCP-o-matic</guilabel>in the main DCP-o-matic program. If you have
2336 other DKDMs you can add them by clicking <guilabel>Add...</guilabel> and
2337 specifying the file containing the DKDM.
2341 If another organisation wants to send you a DKDM they will ask you for
2342 a target certificate. You can get DCP-o-matic's target certificate by
2343 opening <guilabel>Preferences</guilabel> and clicking <guilabel>Export
2344 DCP decryption certificate...</guilabel> in the <guilabel>Keys</guilabel>
2352 <title>Encryption keys</title>
2355 You must be careful when using encryption not to lose important keys.
2359 If you are making KDMs from a DCP-o-matic film you
2360 <emphasis>must</emphasis> ensure that you have a backup of the
2361 <code>metadata.xml</code> file from the project, as well as the DCP
2366 If you are using a DKDM you <emphasis>must</emphasis> ensure that you
2367 have a backup of DCP-o-matic's <code>config.xml</code> file, since it
2368 contains the only key which can decrypt the DKDM. The
2369 <code>config.xml</code> file location depends on your operating
2370 system; possible locations are listed in <xref linkend="ch-config"/>
2376 <title>Encryption overview</title>
2378 <figure id="fig-encryption-overview">
2379 <title>Overview of encryption</title>
2382 <imagedata fileref="diagrams/crypt&dia;"/>
2392 <!-- ============================================================== -->
2393 <chapter xml:id="ch-preferences" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
2394 <title>Preferences</title>
2397 DCP-o-matic provides preferences which can be used to modify its
2398 behaviour. They are described in this chapter.
2402 Preferences can be edited by choosing
2403 <guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
2404 menu. This opens a dialogue which is split into seven tabs.
2407 <!-- ============================================================== -->
2409 <title>General</title>
2412 The general tab is shown in <xref linkend="fig-prefs-general"/>.
2415 <figure id="fig-prefs-general">
2416 <title>General preferences</title>
2419 <imagedata fileref="screenshots/prefs-general&scs;"/>
2425 <!-- ============================================================== -->
2427 <title>Language</title>
2430 If you tick the <guilabel>Set Language</guilabel> checkbox and choose
2431 a language from the list, that language will be used for DCP-o-matic.
2432 You will need to restart DCP-o-matic to see the new language.
2436 The translations for DCP-o-matic have been contributed by helpful
2437 users. If your language is not on the last, head to <ulink
2438 url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
2439 read about how to contribute a translation.
2444 <!-- ============================================================== -->
2446 <title>Number of threads DCP-o-matic should use</title>
2449 When DCP-o-matic is encoding DCPs it can use multiple parallel threads
2450 to speed things up. Set this value to the number of threads
2451 DCP-o-matic should use. This should normally be the number of
2452 processors (or processor cores) in your machine. DCP-o-matic will try
2453 to set this up correctly when you run it for the first time.
2459 <!-- ============================================================== -->
2461 <title>Number of threads DCP-o-matic encode server should use</title>
2464 This is the number of threads that the encode server should use when
2465 it is running and helping another copy of DCP-o-matic to speed up its
2472 <!-- ============================================================== -->
2474 <title>Configuration file</title>
2477 This is the location of DCP-o-matic's configuration file on disk. You
2478 can use this to share configuration between several copies of
2479 DCP-o-matic, across a network share, for instance.
2483 <!-- ============================================================== -->
2485 <title>Cinema and screen database file</title>
2488 This option allows you to change the file that DCP-o-matic uses to
2489 store details of the cinemas and screens used to make KDMs.
2494 <!-- ============================================================== -->
2496 <title>Play sound via</title>
2499 The checkbox to the left of <guilabel>Play sound</guilabel> enables or
2500 disables DCP-o-matic use of sound. On some machines there will be
2501 multiple options in the drop-down menu to decide how the sound should
2506 <!-- ============================================================== -->
2508 <title>Integrated loudness</title>
2511 If <guilabel>Find integrated loudness, true peak and loudness range
2512 when analysing audio</guilabel> is ticked, DCP-o-matic will do extra
2513 work when analysing audio. Leave this ticked if the extra parameters
2514 are useful to you. If not, untick it and audio analysis will be
2520 <!-- ============================================================== -->
2522 <title>Automatically analyse content audio</title>
2525 If this checkbox is ticked an audio analysis will be run whenever content is added that contains sound.
2529 <!-- ============================================================== -->
2531 <title>Updates</title>
2534 The <guilabel>Check for updates on startup</guilabel> option, if
2535 enabled, will tell DCP-o-matic to check on <ulink
2536 url="http://dcpomatic.com/">dcpomatic.com</ulink> to see if there any
2537 newer versions of DCP-o-matic then the one you are running. If so, a
2538 dialogue box will open with a link to download the new version.
2543 The <guilabel>Check for testing updates as well as stable
2544 ones</guilabel> option will also check for test updates as well as
2545 those that are formally ‘released’. This is useful if you
2546 like to live on the bleeding edge!
2550 <!-- ============================================================== -->
2552 <title>Issuer and creator</title>
2555 With these controls you can set the issuer and creator strings that
2556 will be put into the DCPs which you create.
2562 <!-- ============================================================== -->
2564 <title>Defaults</title>
2567 The defaults tab is shown in <xref linkend="fig-prefs-defaults"/>.
2570 <figure id="fig-prefs-defaults">
2571 <title>Defaults preferences</title>
2574 <imagedata fileref="screenshots/prefs-defaults&scs;"/>
2580 The options in this tab simply allow you to set up default values for
2581 various properties of new films.
2586 <!-- ============================================================== -->
2588 <title>Servers</title>
2591 The servers tab is shown in <xref linkend="fig-prefs-servers"/>.
2594 <figure id="fig-prefs-servers">
2595 <title>Servers preferences</title>
2598 <imagedata fileref="screenshots/prefs-servers&scs;"/>
2604 If <guilabel>Use all servers</guilabel> is ticked DCP-o-matic will
2605 locate encoding servers automatically (see <xref
2606 linkend="ch-servers"/>).
2610 Instead of this (or in addition) servers can be specified explicitly.
2611 To add a server, click <guilabel>Add...</guilabel> and enter the host
2612 name or IP address of the server to use.
2618 <!-- ============================================================== -->
2619 <section xml:id="sec-prefs-keys">
2623 The Keys tab (shown in <xref linkend="fig-prefs-keys"/>) has controls
2624 related to the keys and certificates used in some parts of DCP
2628 <figure id="fig-prefs-keys">
2629 <title>Keys preferences</title>
2632 <imagedata fileref="screenshots/prefs-keys&scs;"/>
2638 <guilabel>Export KDM decryption certificate...</guilabel> allows you
2639 to save the certificate that DCP-o-matic uses when decrypting KDMs
2640 that you give it. Use this option if somebody wants to make a KDM for
2641 you and asks for your certificate.
2645 <guilabel>Export KDM decryption chain...</guilabel> exports the whole
2646 KDM decryption chain rather than just its certificate. This may also
2647 be requested by KDM creators.
2651 <guilabel>Export all KDM decryption settings...</guilabel> exports a
2652 file which contains all the DCP-o-matic settings related to the use of
2653 KDMs supplied by other people. Use this button and <guilabel>Import
2654 all KDM decryption settings...</guilabel> to transfer settings between
2655 different copies of DCP-o-matic so that they can both use the same
2660 The two <guilabel>Advanced...</guilabel> buttons open advanced
2661 dialogue boxes for detailed manipulation of DCP-o-matic's certificate
2668 <title>Advanced keys settings</title>
2671 At the top of the <guilabel>Advanced</guilabel> dialogue for signing
2672 DCPs and KDMs is the chain of certificates that will be used to sign
2673 DCPs and KDMs. DCP-o-matic creates a random chain when you first run
2674 it and if you are happy to use this chain you can ignore the
2675 preferences. Otherwise, you can add or remove certificates from the
2676 chain using the <guilabel>Add...</guilabel> and
2677 <guilabel>Remove</guilabel> buttons.
2681 If you want DCP-o-matic to re-create the certificate chain (using new,
2682 random certificates) click <guilabel>Re-make
2683 certificates...</guilabel> and specify your organisation and common
2684 names in the dialogue box that opens.
2688 Underneath the certificate chain is the private key that corresponds
2689 to the leaf certificate in the chain. You can specify your own
2690 private key by clicking <guilabel>Load...</guilabel>. You must do
2691 this if you change the leaf certificate, so that the leaf private key
2692 corresponds to the public key held in the leaf certificate.
2696 At the top of the <guilabel>Advanced</guilabel> dialogue for decrypting DCPs is the chain and key which is used by
2697 DCP-o-matic when you import an encrypted DCP as a piece of content.
2698 The leaf certificate of this chain contains the public key that should
2699 be used when targeting a KDM at DCP-o-matic.
2704 If you want to import an encrypted DCP you will need to give the
2705 decryption certificate to the distributor of the DCP so that they can
2706 generate a DKDM for you. You can save this certificate to disk by
2707 clicking <guilabel>Export DCP decryption certificate...</guilabel>.
2708 As with the signing chain, DCP-o-matic will create a certificate chain
2709 and private key for you. You can also choose to load your own
2710 certificates and key or re-make the chain and key with new, random
2715 Clicking <guilabel>Export DCP decryption chain...</guilabel> will
2716 export the whole certificate chain, rather than just the leaf
2722 <!-- ============================================================== -->
2723 <section xml:id="sec-prefs-tms">
2725 <titleabbrev xml:id="sec-prefs-tms-short">TMS preferences</titleabbrev>
2728 The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
2729 options for specifying details about your theatre management system
2730 (TMS). If you do this, and your TMS accepts SSH or FTP connections,
2731 you can upload DCPs directly from DCP-o-matic to the TMS using the
2732 <guilabel>Send DCP to TMS</guilabel> option in the
2733 <guilabel>Jobs</guilabel> menu.
2736 <figure id="fig-prefs-tms">
2737 <title>TMS preferences</title>
2740 <imagedata fileref="screenshots/prefs-tms&scs;"/>
2746 <guilabel>Protocol</guilabel> should be set to SCP or FTP as
2747 appropriate for your TMS. We know that the Arts Alliance Media (AAM)
2748 and the Doremi ranges uses SCP connections, and that Dolby's TMSs use
2749 FTP. Do let us know if you use any other type of TMS with the
2750 <guilabel>Send DCP to TMS</guilabel> feature.
2754 <guilabel>TMS IP address</guilabel> should be set to the IP address of
2755 your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
2756 should be uploaded to (which will be relative to the home directory of
2757 the SSH or FTP user). Finally, the user name and password are the
2758 credentials required to log into the TMS via SSH or FTP.
2762 Note that for this to work on Doremi servers you will need to set the
2763 <code>PasswordAuthentication</code> option in your server's
2764 <code>sshd_config</code> to <code>yes</code>.
2770 <!-- ============================================================== -->
2772 <title>KDM email</title>
2775 The KDM email is shown in <xref linkend="fig-prefs-kdm-email"/>.
2778 <figure id="fig-prefs-kdm-email">
2779 <title>KDM email preferences</title>
2782 <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
2788 This is a template for the email that is used to send KDMs out to
2789 cinemas. You can change it to say whatever you like. A few
2790 ‘magic’ strings will be replaced by information from the
2791 KDM that is being sent:
2795 <title>‘Magic’ KDM strings</title>
2796 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2799 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2802 <entry><code>$CINEMA_NAME</code></entry><entry>Cinema name</entry>
2805 <entry><code>$SCREENS</code></entry><entry>Name of screen or screens that KDMs are being generated for</entry>
2808 <entry><code>$START_TIME</code></entry><entry>The time from which the KDMs are valid</entry>
2811 <entry><code>$END_TIME</code></entry><entry>The time until which the KDMs are valid</entry>
2818 The <guilabel>Reset to default text</guilabel> will replace the current KDM email with DCP-o-matic's default.
2824 <!-- ============================================================== -->
2826 <title>Cover sheet</title>
2829 The DCP cover sheet configuration is shown in <xref linkend="fig-prefs-cover-sheet"/>.
2832 <figure id="fig-prefs-cover-sheet">
2833 <title>DCP cover sheet preferences</title>
2836 <imagedata fileref="screenshots/prefs-cover-sheet&scs;"/>
2842 This is a template for the cover sheet that is written next to every DCP that DCP-o-matic creates. You can change it to say whatever you like. A few
2843 ‘magic’ strings will be replaced by information from the
2844 DCP that has been made:
2848 <title>‘Magic’ Cover sheet strings</title>
2849 <tgroup cols='2' align='left' colsep='1' rowsep='1'>
2852 <entry><code>$CPL_NAME</code></entry><entry>DCP title</entry>
2855 <entry><code>$TYPE</code></entry><entry>DCP content type (e.g. feature, trailer...)</entry>
2858 <entry><code>$CONTAINER</code></entry><entry>The container ratio (e.g. flat, scope...)</entry>
2861 <entry><code>$AUDIO</code></entry><entry>Details of the audio channels</entry>
2864 <entry><code>$AUDIO_LANGUAGE</code></entry><entry>Audio language</entry>
2867 <entry><code>$SUBTITLE_LANGUAGE</code></entry><entry>Subtitle language</entry>
2870 <entry><code>$LENGTH</code></entry><entry>DCP length in hours, minutes and seconds</entry>
2873 <entry><code>$SIZE</code></entry><entry>DCP size in gigabytes</entry>
2880 The <guilabel>Reset to default text</guilabel> will replace the current cover sheet with DCP-o-matic's default.
2886 <!-- ============================================================== -->
2887 <section xml:id="sec-prefs-advanced">
2888 <title>Advanced</title>
2889 <titleabbrev xml:id="sec-prefs-advanced-short">Advanced preferences</titleabbrev>
2892 The advanced preferences are shown in <xref linkend="fig-prefs-advanced"/>.
2895 <figure id="fig-prefs-advanced">
2896 <title>Advanced preferences</title>
2899 <imagedata fileref="screenshots/prefs-advanced&scs;"/>
2905 <guilabel>Maximum JPEG2000 bandwidth</guilabel> specifies the maximum
2906 bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You
2907 are advised to leave this at 250Mbit/s in normal use for maximum DCP
2912 <guilabel>Allow any DCP frame rate</guilabel> removes the limits on
2913 the DCP video frame rates that DCP-o-matic will create. This may be
2914 useful for experimentation. Again, you are strongly advised to leave
2915 this unticked for normal use.
2919 <guilabel>Only servers encode</guilabel> makes DCP-o-matic encode
2920 JPEG2000 data only on encoding servers and not on the host. We
2921 suggest you leave this unticked unless you have a good reason to do otherwise.
2925 With the filename format fields you can adjust the filenames that are
2926 used for metadata (CPL and PKL files) and assets (MXF and subtitle
2927 files). Below each field there is a list of the ‘magic’
2928 values that you can use in the format and an example of a filename
2929 that you might see with your current settings.
2933 The four checkboxes labelled <guilabel>Log</guilabel> control what
2934 sort of messages DCP-o-matic writes to its log file when creating a
2935 DCP. It is useful to leave <guilabel>General</guilabel>,
2936 <guilabel>Warnings</guilabel> and <guilabel>Errors</guilabel> ticked
2937 as this makes the log files useful for tracking down bugs.
2941 The <guilabel>Timing</guilabel> checkbox will enable extra log entries
2942 to allow developers to investigate and optimise the speed of
2943 DCP-o-matic. It will significantly increase the size of the log files
2944 that are generated, so in normal use it is best to leave this
2951 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
2952 <title>Frame rates</title>
2955 In an ideal world, a DCP would be created using content at the same
2956 video frame and audio sampling rates as the DCP. This is not,
2957 however, always possible.
2961 <!-- ============================================================== -->
2963 <title>DCP frame rate limitations</title>
2966 There are some limitations to video and audio frame rates in DCPs. This is
2967 complicated by the fact that not all projectors will play DCPs at the
2968 same frame rates. It is possible to create a DCP which one projector will
2969 play fine, but another (of a different type) will refuse to play, or
2970 even refuse to ingest.
2974 <!-- ============================================================== -->
2976 <title>Guaranteed rates</title>
2979 The only rates that are (pretty much) guaranteed to work on all DCI
2980 projectors are 24 frames per second (fps) for video and 48kHz for
2981 audio. If you are sending DCPs to unknown places it is wise to
2982 consider using these rates if at all possible.
2988 <!-- ============================================================== -->
2990 <title>Other often-supported rates</title>
2992 Many projectors now in the wild support additional video frame rates:
2993 25, 30, 48, 50 and 60 fps.
2998 <!-- ============================================================== -->
3000 <title>Adapting content to fit the DCP rate</title>
3003 DCP-o-matic has a few tricks to allow you to use content that is not
3004 in one of the ‘approved’ rates.
3008 Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
3009 with minimal loss in quality.
3013 Video rate conversion is harder. DCP-o-matic's basic strategy to deal
3014 with a non-supported content rate is to run it at the wrong speed, and
3015 to adjust the audio to keep it in sync.
3018 <para>Let us consider the example of a 25fps source for which you want
3019 to create a 24fps DCP. DCP-o-matic will put the frames from the
3020 source directly into the DCP without modification, but will tell the
3021 projector to play them back at 24fps. This means that the DCP's video
3022 will run slightly slower than the original.
3026 If DCP-o-matic did nothing else, the result of this would be that the
3027 audio would be running at the original speed with the video running
3028 slowly. Hence the audio would drift slowly out of sync. To avoid
3029 this, DCP-o-matic also resamples the audio such that the projector
3030 will play it too slow by the same amount. Hence it will sound
3031 slightly different but will remain in sync with the video.
3035 For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
3042 <!-- ============================================================== -->
3044 <title>Setting up</title>
3047 The <guilabel>Frame Rate</guilabel> control in the
3048 <guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
3049 will use. Clicking <guilabel>Use best</guilabel> sets the rate to
3050 what DCP-o-matic thinks is the best for your content. With this
3051 button, DCP-o-matic assumes that the whole range of frame rates (24,
3052 25, 30 and 48fps) are allowable.
3056 After this, the <guilabel>Video</guilabel> tab for each piece of
3057 content will give a summary of what DCP-o-matic is doing with that
3062 If you want to experiment with other non-standard frame rates, you can
3063 do so by ticking the <guilabel>Allow any DCP frame rate</guilabel> in
3064 the <guilabel>Advanced</guilabel> tab of the preferences dialogue (see the
3065 <xref linkend="sec-prefs-advanced" endterm="sec-prefs-advanced-short"/>). You are strongly advised to
3066 use this only on your own equipment, and only for experimentation
3075 <!-- ============================================================== -->
3076 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
3077 <title>Encoding servers</title>
3080 One way to increase the speed of DCP encoding is to use more
3081 than one machine at the same time. An instance of DCP-o-matic can
3082 offload some of the time-consuming JPEG2000 encoding to any number of
3083 other machines on a network. To do this, one ‘master’
3084 machine runs DCP-o-matic, and the ‘server’ machines run
3085 a small program called <code>dcpomatic_server</code>.
3089 The master and server machines do not need to be the same type, so you
3090 can mix Windows PCs, Macs and Linux machines as you wish.
3094 <!-- ============================================================== -->
3096 <title>Running the servers</title>
3099 There are two options for the encoding server;
3100 <code>dcpomatic_server_cli</code>, which runs on the command line, and
3101 <code>dcpomatic_server</code>, which has a simple GUI. The command line
3102 version is well-suited to headless servers, especially on Linux, and
3103 the GUI version works best on Windows where it will put an icon in the
3108 To run the command line version, simply enter:
3112 dcpomatic2_server_cli
3116 at a command prompt. If you are running the program on a machine with
3117 a multi-core processor, you can run multiple parallel encoding threads
3118 by doing something like:
3122 dcpomatic2_server_cli -t 4
3126 to run 4 threads in parallel.
3130 To run the GUI version on windows, run the ‘DCP-o-matic encode
3131 server’ from the start menu. An icon will appear in the system
3132 tray; right-click it to open a menu from whence you can quit the
3133 server or open a window to show its status.
3136 <para>If you would rather not bother installing DCP-o-matic on your
3137 server computers, the other option is to use the live-CD
3138 image that you can download from the <ulink
3139 url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
3141 <para>Either burn the image to CD, or write it to a USB stick (using
3142 something like <ulink
3143 url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
3144 PC from the CD or USB stick and it becomes a DCP-o-matic server
3145 without touching your standard operating system install.
3150 <!-- ============================================================== -->
3152 <title>Setting up DCP-o-matic</title>
3155 DCP-o-matic periodically looks on the local network for servers. Any
3156 that it finds are given work to do during encodes. Selecting
3157 <guilabel>Encoding Servers</guilabel> from the
3158 <guilabel>Tools</guilabel> menu brings up a window which shows that
3159 servers that DCP-o-matic has found.
3164 <!-- ============================================================== -->
3166 <title>Some notes about encode servers</title>
3169 DCP-o-matic does not mind if servers come and go; if a server
3170 disappears, DCP-o-matic will stop sending work to it, and will check
3171 it every minute or so in case it has come back online.
3175 You will probably find that using a 1Gb/s or faster network will
3176 provide a significant speed-up compared to a 100Mb/s network.
3183 <chapter xml:id="ch-files" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3184 <title>Generated files</title>
3187 DCP-o-matic generates a number of files as it makes a DCP. <xref
3188 linkend="fig-file-structure"/> shows the files that might be generated
3189 after you have created a DCP for a film called ‘DCP Test’.
3192 <figure id="fig-file-structure">
3193 <title>Creating a new film</title>
3196 <imagedata scale="100" fileref="diagrams/file-structure&dia;"/>
3202 The <code>DCP Test</code> folder is the one that you specify when you
3203 select the <guilabel>New Film</guilabel> option from DCP-o-matic's
3204 menu. Everything is stored inside this folder.
3208 DCP-o-matic generates some working files as it goes along. These are as follows:
3211 <listitem><code>log</code> is a list of notes that DCP-o-matic makes as it goes
3212 along. This can be useful for debugging purposes if something goes
3215 <listitem><code>metadata</code> stores the settings that you have made
3216 for this film: things like cropping, output format and so on.</listitem>
3218 <listitem><code>video</code> is where DCP-o-matic writes the DCP's
3219 video data as it encodes it.</listitem>
3221 <listitem><code>analysis</code> is used to keep the results of audio analysis runs.</listitem>
3223 <listitem><code>info</code> contains details of each video frame that
3224 DCP-o-matic has written so far. This is used when an encoding
3225 operation is interrupted and DCP-o-matic must resume it.</listitem>
3230 Following this is the DCP itself:
3231 <code>DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV</code>. This
3232 contains some small XML files, which describe the DCP, and two large
3233 MXF files, which contain the DCP's audio and video data. It may also
3234 contain subtitles in either XML or MXF format. This folder
3235 (<code>DCP-TEST_EN-XX_...</code>) is what you should ingest, or pass
3236 to the cinema which is showing your DCP.
3243 <title>Command-line tools</title>
3246 DCP-o-matic includes some tools which allow DCP creation from the
3247 command line or from scripting languages. This chapter covers the
3252 There are three command-line tools in DCP-o-matic.
3253 <code>dcpomatic2_create</code> creates film directories, with the
3254 associated metadata, from a list of content files. Then
3255 <code>dcpomatic2_cli</code> runs the transcode process on these
3256 film directories. Finally, <code>dcpomatic2_kdm_cli</code> can be
3257 used to create KDMs.
3261 Some applications will benefit from setting up the films using the
3262 main DCP-o-matic GUI and then using <code>dcpomatic2_cli</code> to
3263 do the encode. This allows, for example, setup on a relatively
3264 low-powered machine before running the encode on a higher-powered
3269 <title><code>dcpomatic2_create</code></title>
3272 The syntax for <code>dcpomatic2_create</code> is:
3276 <code>dcpomatic2_create [OPTION] [CONTENT] [<CONTENT> ...]</code>
3280 <code>[CONTENT]</code> are the files or folders that you want to use in the
3283 <listitem>‘Movie’ files in almost any common format (e.g. MP4, MOV, MKV, etc.)</listitem>
3284 <listitem>A folder containing and image sequence in almost any common format (e.g. TIFF, DPX etc.)</listitem>
3285 <listitem>Sound files (e.g. WAV, MP3, AIFF)</listitem>
3286 <listitem>Subtitles files (e.g. <code>.srt</code>, DCP XML, <code>.ssa</code> etc.)</listitem>
3295 <listitem><code>-v</code>, <code>--version</code> — show DCP-o-matic version</listitem>
3296 <listitem><code>-h</code>, <code>--help</code> — show this help</listitem>
3297 <listitem><code>-n</code>, <code>--name</code> — <name> film name</listitem>
3298 <listitem><code>-t, --template <name></code> — template name</listitem>
3299 <listitem><code>-c, --dcp-content-type <type></code> — FTR, SHR, TLR, TST, XSN, RTG, TSR, POL, PSA or ADV</listitem>
3300 <listitem><code>--container-ratio <ratio></code> — 119, 133, 137, 138, 166, 178, 185 or 239</listitem>
3301 <listitem><code>--content-ratio <ratio></code> — 119, 133, 137, 138, 166, 178, 185 or 239</listitem>
3302 <listitem><code>-s, --still-length <n></code> — number of seconds that still content should last</listitem>
3303 <listitem><code>--standard <standard></code> — SMPTE or interop (default SMPTE)</listitem>
3304 <listitem><code>--no-use-isdcf-name></code> — do not use an ISDCF name; use the specified name unmodified</listitem>
3305 <listitem><code>--no-sign</code>— do not sign the DCP</listitem>
3306 <listitem><code>-o</code>, <code>--output <dir></code> — output directory</listitem>
3310 For example, to setup a film using a MP4 file you might do:
3314 <code>dcpomatic2_create -o my_film --container-ratio 185 --content-ratio 185 -c FTR -n "My Film" Stuff.mp4</code>
3318 This will create a folder called <code>my_film</code> which is ready for a DCP to be made by <code>dcpomatic2_cli</code>.
3322 <code>dcpomatic2_create</code> will use any default settings that you have configured in the main DCP-o-matic preferences.
3327 <title><code>dcpomatic2_cli</code></title>
3330 The syntax for <code>dcpomatic2_cli</code> is:
3334 <code>dcpomatic2_cli [OPTION] [FILM]</code>
3339 <listitem><code>-v</code>, <code>--version</code> — show DCP-o-matic version</listitem>
3340 <listitem><code>-h</code>, <code>--help</code> — show this help</listitem>
3341 <listitem><code>-f</code>, <code>--flags</code> — show flags passed to C++ compiler on build</listitem>
3342 <listitem><code>-n</code>, <code>--no-progress</code> — do not print progress to stdout</listitem>
3343 <listitem><code>-r</code>, <code>--no-remote</code> — do not use any remote servers</listitem>
3344 <listitem><code>-t</code>, <code>--threads</code> — specify number of local encoding threads (overriding configuration)</listitem>
3345 <listitem><code>-j</code>, <code>--json</code> <port> — run a JSON server on the specified port</listitem>
3346 <listitem><code>-k</code>, <code>--keep-going</code> — keep running even when the job is complete</listitem>
3347 <listitem><code>-s</code>, <code>--servers</code> — just display a list of encoding servers that DCP-o-matic is configured to use; don't encode</listitem>
3348 <listitem><code>-d</code>, <code>--dcp-path</code> — echo DCP's path to stdout on successful completion (implies -n)</listitem>
3349 <listitem><code>--dump</code> — just dump a summary of the film's settings; don't encode</listitem>
3354 For example, to encode a film called <code>my_film</code> you might do:
3358 <code>dcpomatic2_cli my_film</code>
3363 <title><code>dcpomatic2_kdm_cli</code></title>
3366 The syntax for <code>dcpomatic2_kdm_cli</code> is:
3370 <code>dcpomatic2_kdm_cli [OPTION] <FILM|CPL-ID></code>
3375 <listitem><code>-o</code>, <code>--output</code> — output file or directory</listitem>
3376 <listitem><code>-f</code>, <code>--valid-from</code> — valid from time (in local time zone of the cinema) (e.g. "2013-09-28 01:41:51") or "now"</listitem>
3377 <listitem><code>-t</code>, <code>--valid-to</code> — valid to time (in local time zone of the cinema) (e.g. "2014-09-28 01:41:51")</listitem>
3378 <listitem><code>-d</code>, <code>--valid-duration</code> — valid duration (e.g. "1 day", "4 hours", "2 weeks")</listitem>
3379 <listitem><code>--formulation</code> — modified-transitional-1, dci-any or dci-specific [default modified-transitional-1]</listitem>
3380 <listitem><code>-z</code>, <code>--zip</code> — ZIP each cinema's KDMs into its own file</listitem>
3381 <listitem><code>-v</code>, <code>--verbose</code> — be verbose</listitem>
3382 <listitem><code>-c</code>, <code>--cinema</code> — specify a cinema, either by name or email address</listitem>
3383 <listitem><code>--certificate</code> — file containing projector certificate</listitem>
3384 <listitem><code>--cinemas</code> — list known cinemas from the DCP-o-matic settings</listitem>
3385 <listitem><code>--dkdm-cpls</code> — list CPLs for which DCP-o-matic has DKDMs</listitem>
3394 <!-- ============================================================== -->
3396 <title>Loose ends</title>
3399 This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
3403 <!-- ============================================================== -->
3405 <title>Resuming encodes</title>
3408 If you cancel a DCP encoding run half-way through, or your computer
3409 crashes... fear not. DCP-o-matic takes care to ensure that, in most
3410 cases, it can resume encoding from where it left off. When you
3411 re-start a DCP creation, using the same settings are a previous run,
3412 DCP-o-matic will first check that the existing picture frames are
3413 correct, and then resume from where it left off. The checking of
3414 existing frames does take some time, but it is much faster than
3415 running a full re-encode.
3419 This resumption is achieved by writing a digest (hash) to disk for
3420 every image frame that is written. On resumption, the existing MXF
3421 file for image data is read and its contents checked against the
3429 <!-- ============================================================== -->
3430 <chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3431 <title>Common tasks</title>
3434 This chapter describes how to carry out some commonly-required tasks
3435 with DCP-o-matic. The full details are elsewhere in the manual: here
3436 we just discuss different approaches to these tasks and how to carry
3441 <title>Adding subtitles to an existing DCP</title>
3444 You have three options:
3448 <listitem>Make a “Version File” (VF) DCP.</listitem>
3449 <listitem>Make a complete DCP with projector-added subtitles.</listitem>
3450 <listitem>Make a complete DCP with burnt-in subtitles.</listitem>
3454 Making a VF DCP is usually the best option. This will be a very small
3455 DCP which contains only the subtitles: it refers to your existing DCP
3456 for the picture and sound. The projectionist will ingest both the
3457 existing and VF DCPs and play back the VF. The advantages of this
3458 approach are that the VF is very quick to generate, and small in size,
3459 making it easy to distribute. This is especially useful if you have
3460 to make VF DCPs in many different languages.
3464 Making a complete DCP with projector-added subtitles gives you a new,
3465 single DCP which the projectionist can ingest and play. It will be
3466 the same size as your existing DCP, and fairly quick to create. This
3467 approach relies on the projector (or server) to create the subtitles
3468 and overlay them on the image, which mostly works well but is not
3469 100% reliable.
3473 Making a complete DCP with burnt-in subtitles gives you a new, single DCP
3474 but with the subtitles rendered by DCP-o-matic and copied into your
3475 image. This is slower to create than a DCP with projector-added
3476 subtitles as every video frame with a subtitle must be re-encoded.
3477 The advantage of this approach is that it is less likely to go wrong,
3478 especially if you are using unusual subtitle positioning or character
3483 <title>Making a VF DCP</title>
3486 <listitem>Start a new DCP-o-matic film.</listitem>
3487 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3488 <listitem>Go to the <guilabel>DCP</guilabel> tab and choose <guilabel>Split by video content</guilabel> for <guilabel>Reel type</guilabel>.</listitem>
3489 <listitem>Go to the <guilabel>Video</guilabel> and
3490 <guilabel>Audio</guilabel> tabs in turn and tick the <guilabel>Use this DCP's audio as OV and make VF</guilabel> checkboxes.</listitem>
3491 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3492 <listitem>Check the subtitle appearance in the preview; it will be
3493 slow to respond as it is having to decompress images from the existing
3495 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3501 <title>Making a complete DCP with projector-added subtitles</title>
3504 <listitem>Start a new DCP-o-matic film.</listitem>
3505 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3506 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3507 <listitem>Check the subtitle appearance in the preview; it will be
3508 slow to respond as it is having to decompress images from the existing
3509 DCP. Adjust the appearance using controls in the
3510 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3511 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3517 <title>Making a complete DCP with burnt-in subtitles</title>
3520 <listitem>Start a new DCP-o-matic film.</listitem>
3521 <listitem>Click <guilabel>Add folder...</guilabel> and specify your existing DCP's folder.</listitem>
3522 <listitem>Add your subtitles to the film in whatever format you have.</listitem>
3523 <listitem>Go to the <guilabel>Subtitle</guilabel> tab and tick the <guilabel>Burn subtitles into image</guilabel> checkbox.</listitem>
3524 <listitem>Check the subtitle appearance in the preview; it will be
3525 slow to respond as it is having to decompress images from the existing
3526 DCP. Adjust the appearance using controls in the
3527 <guilabel>Subtitle</guilabel> tab if required.</listitem>
3528 <listitem>Choose <guilabel>Make DCP</guilabel> from the menu.</listitem>
3535 <title>Adding soundtracks or subtitles in different languages</title>
3538 If you have a film that is to be dubbed or subtitled in several
3539 languages, the best approach with DCP-o-matic is as follows:
3543 <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>
3544 <listitem>For each language, make a new Version File (VF) DCP which refers to the OV.</listitem>
3548 Once you have done this, you send the OV DCP to every cinema and then
3549 the appropriate VF to each cinema depending on what language they want
3550 to play the film in. The projectionist ingests both DCPs and then plays the VF.
3554 The advantage of this approach is that the VF DCPs are much smaller
3555 than the OV since they only have the language-specific parts. If you
3556 are just changing the subtitles you can often ship the OV by normal
3557 transport means (e.g. a hard drive or high-speed download) and send
3562 The full details of OV and VF files are discussed in <xref linkend="sec-overlay"/>. The steps can be summarised as follows:
3566 <listitem>Create a new DCP-o-matic project for the OV, as normal, adding video and perhaps sound. Make the DCP.</listitem>
3567 <listitem>Create a new DCP-o-matic project for the VF.</listitem>
3568 <listitem>Use <guilabel>Add folder...</guilabel> to add your OV DCP to the project.</listitem>
3569 <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>
3570 <listitem>Do the same in the <guilabel>Audio</guilabel> tab if your OV has audio.</listitem>
3571 <listitem>Add your language-specific audio and/or subtitles and Make DCP.</listitem>
3578 <chapter xml:id="ch-player" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3579 <title>Playing DCPs</title>
3581 <para>DCP-o-matic includes a DCP player, and although it requires a
3582 very high-speed CPU to play DCPs in full resolution, it can also
3583 play DCPs at reduced resolutions with slower CPUs.</para>
3585 <para>To use the player, start <guilabel>DCP-o-matic
3586 Player</guilabel>, and load a DCP using the
3587 <guilabel>Open</guilabel> option on the <guilabel>File</guilabel>
3590 <para>If you load a VF and/or encrypted DCP you can add your OV
3591 and/or KDM using the appropriate options on the
3592 <guilabel>File</guilabel> menu.</para>
3594 <para>During playback the <guilabel>Performance</guilabel> area at
3595 the bottom right of the window will give details of how many frames
3596 are being dropped; these are frames that were not decoded from the
3597 DCP quickly enough. If this number is high you can increase
3598 performance at the cost of rendering quality by choosing an option
3599 from the <guilabel>View</guilabel> menu. If you set the player to
3600 decode at less than full resolution the DCP's data will be decoded
3601 at this lower resolution, which is quicker than decoding at full
3607 <!-- ============================================================== -->
3608 <chapter xml:id="ch-config" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
3609 <title>Configuration files</title>
3611 <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>
3614 <listitem>Windows: <code>c:\Users\your_user_name\AppData\Local\dcpomatic</code></listitem>
3615 <listitem>OS X: <code>/Users/your_user_Name/Library/Preferences/com.dcpomatic/2</code></listitem>
3616 <listitem>Linux: <code>~/.config/dcpomatic2</code></listitem>
3619 <para>Possible XML tags are as follows:</para>
3621 <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" href="config.xml"/>