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-<book xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
+<book xmlns="http://docbook.org/ns/docbook" xmlns:mml="http://www.w3.org/1998/Math/MathML" version="5.0" xml:lang="en">
+
+<!-- By good luck or good management, the scale parameter to imagedata
+ appears only to affect PDF output. HTML scaling is done in the
+ Makefile.
+-->
<bookinfo>
<title>DCP-o-matic</title>
Installation on non-Ubuntu Linux is currently a little involved, as
there are no packages available (yet); you will have to compile it
from source. If you are using a non-Ubuntu distribution, do let me
-know via the <ulink url="mailto:dcpomatic@carlh.net">mailing
+know via the <ulink url="mailto:carl@dcpomatic.com">mailing
list</ulink> and I will see about building some packages.
</para>
<listitem><ulink url="http://www.gtk.org/">GTK</ulink></listitem>
<listitem><ulink url="http://www.wxwidgets.org/">wxWidgets</ulink></listitem>
<listitem><ulink url="http://carlh.net/software/libdcp/">libdcp</ulink></listitem>
+<listitem><ulink url="http://carlh.net/software/libcxml/">libcxml</ulink></listitem>
</itemizedlist>
</para>
<para>
In this chapter we will see how to create a video DCP using
-DCP-o-matic. We will gloss over some of the finer details, which are
-explained in later chapters.
+DCP-o-matic. We will gloss over the details and look at the basics.
</para>
<section>
shown in <xref linkend="fig-file-new"/>.
</para>
-<figure id="fig-file-new"> <!-- ok -->
+<figure id="fig-file-new">
<title>Creating a new film</title>
<mediaobject>
<imageobject>
linkend="fig-video-new-film"/>.
</para>
-<figure id="fig-video-new-film"> <!-- ok -->
+<figure id="fig-video-new-film">
<title>Dialogue box for creating a new film</title>
<mediaobject>
<imageobject>
will write its working files.
</para>
-<para>
-The folder that you choose should have plenty of free disc space
-available. As a very rough guide, you will need about 25Mb per second
-of your DCP. This works out at 1.5Gb per minute, or 90Gb per hour.
-</para>
-
-<para>
-If you always create your DCPs in a particular folder, you can use
-DCP-o-matic's <guilabel>Preferences</guilabel> to make life a little
-easier by setting the default folder that DCP-o-matic will offer in this dialogue.
-See <xref linkend="ch-preferences"/>.
-</para>
-
</section>
<section>
The next step is to add the content that you want to use. DCP-o-matic
can make DCPs from multiple pieces of content, but in this simple
example we will just use a single piece. Click the <guilabel>Add
-file...</guilabel> button, and a file chooser will open for you to
+file(s)...</guilabel> button, as shown in <xref
+linkend="fig-add-file"/>, and a file chooser will open for you to
select the content file to use, as shown in <xref
linkend="fig-video-select-content-file"/>.
</para>
-<figure id="fig-add-content">
- <title>Adding content</title>
+<figure id="fig-add-file">
+ <title>Adding content files</title>
<mediaobject>
<imageobject>
- <!-- XXX: clicking the Add file... button -->
+ <imagedata fileref="screenshots/add-file&scs;"/>
</imageobject>
</mediaobject>
</figure>
When you do this, DCP-o-matic will take a look at your file. After a
short while (when the progress bar at the bottom right of the window
has finished), you can look through your content using the slider to
-the right of the window, as shown in <xref linkend="fig-examine-thumbs"/>.
+the right of the window, as shown in <xref linkend="fig-examine-content"/>.
</para>
-<figure id="fig-examine-thumbs">
+<figure id="fig-examine-content">
<title>Examining the content</title>
<mediaobject>
<imageobject>
- <imagedata fileref="screenshots/examine-thumbs&scs;"/>
+ <imagedata fileref="screenshots/examine-content&scs;"/>
</imageobject>
</mediaobject>
</figure>
accurate (it may be slightly slower or faster than it should be, for
example). This player is really only intended for brief inspection of
content; if you need to check it more thoroughly, use another player
-such as <ulink url="http://projects.gnome.org/totem/index.html">Totem</ulink>, <ulink url="http://www.mplayerhq.hu/design7/news.html">mplayer</ulink> or <ulink url="http://www.videolan.org/vlc/index.html">VLC</ulink>.
+such as <ulink
+url="http://projects.gnome.org/totem/index.html">Totem</ulink>, <ulink
+url="http://www.mplayerhq.hu/design7/news.html">mplayer</ulink> or
+<ulink url="http://www.videolan.org/vlc/index.html">VLC</ulink>.
</para>
</section>
+
+
<section>
-<title>Setting up the content</title>
+<title>Making the DCP</title>
+
+<para>In most cases, some adjustments would be made to DCP-o-matic's
+settings once the content has been added. For our simple test,
+however, the default values will suffice, so we can go straight onto
+making the DCP.</para>
+
+<para>
+Choose <guilabel>Make DCP</guilabel> from the
+<guilabel>Jobs</guilabel> menu. DCP-o-matic will encode your DCP.
+This may take some time (many hours in some cases). While the job is
+in progress, DCP-o-matic will update you on how it is getting on with
+the progress bar in the bottom of its window, as shown in <xref
+linkend="fig-making-dcp"/>.
+</para>
+
+<figure id="fig-making-dcp">
+ <title>Making the DCP</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata scale="30" fileref="screenshots/making-dcp&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+When it has finished, the DCP will end up on your disk inside the
+film's folder. You can then copy this to a projector via a USB
+stick, hard-drive or network connection. See <xref
+linkend="ch-files"/> for details about the files that DCP-o-matic creates.
+</para>
+
+<para>
+Alternatively, if you have a projector or TMS that is accessible via
+SCP across your network, you can upload the content directly from
+DCP-o-matic. See the preferences in <xref linkend="sec-prefs-tms"/>.
+</para>
+
+</section>
+</chapter>
+
+<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
+<title>Creating a still-image DCP</title>
+
+<para>
+DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
+for an advertisement or an on-screen announcement. This chapter shows you
+how to do it.
+</para>
+
+<para>
+As with video DCPs, the first step is to create a new
+‘Film’; select <guilabel>New</guilabel> from the
+<guilabel>File</guilabel> menu and the new film dialogue will open as
+shown in <xref linkend="fig-still-new-film"/>.
+</para>
+
+<figure id="fig-still-new-film">
+ <title>Dialogue box for creating a new film</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/still-new-film&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+Enter a name and click <guilabel>OK</guilabel>. Now we need to add
+the content. As before, click <guilabel>Add file(s)...</guilabel>.
+For our example, we will add a single image file, as shown in <xref
+linkend="fig-still-select-content-file"/>.
+</para>
+
+<figure id="fig-still-select-content-file">
+ <title>Selecting a still content file</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/still-select-content-file&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+As with video DCPs, most of the default settings will be fine for a
+simple test. The one thing that you might wish to change is the
+length of the still. Select the <guilabel>Timing</guilabel> tab and
+you will see a <guilabel>Length</guilabel> setting, as shown in <xref
+linkend="fig-timing-tab"/>.
+</para>
+
+<figure id="fig-timing-tab">
+ <title>The timing tab</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/timing-tab&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+This length is a ‘timecode’: it consists of four numbers.
+The first is hours, the second minutes, the third seconds, and the
+fourth frames. Enter the duration that you want and then click <guilabel>Set</guilabel>.
+</para>
+
+<para>
+Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
+from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
+be much quicker than creating a video DCP, as DCP-o-matic only needs
+to encode a single frame which it can then repeat.
+</para>
+
+</chapter>
+
+<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
+<title>Content settings</title>
+
+<para>
+The previous chapters showed DCP generation using the default
+settings. DCP-o-matic offers a range of features to adjust the
+content that goes into your DCP, and this chapter describes those features in
+detail.
+</para>
+
+<section>
+<title>Adding and removing content</title>
+
+<para>
+At the top of the <guilabel>Content</guilabel> tab is a list of the
+content that will go into our DCP. There can be as many pieces of
+content as you like, and they can be of the following types:
+</para>
+
+<itemizedlist>
+<listitem>Movie — a file containing some video, probably some
+audio and possibly some subtitles; for example, a MOV, MP4 or VOB.
+</listitem>
+
+<listitem>Sound — a file containing one or more channels of
+audio; for example, a WAV or AIFF file.
+</listitem>
+
+<listitem>Still image — a file containing a single still image; for
+example, a JPEG, PNG or TIFF file.
+</listitem>
+
+<listitem>Moving image — a directory containing many still
+images which should be treated as the frames of a video.
+</listitem>
+</itemizedlist>
+
+<para>
+To add one or more movie, sound or still-image files, select
+<guilabel>Add file(s)...</guilabel> and choose them from the selector.
+To add a directory of images, choose <guilabel>Add
+directory...</guilabel> and do similar.
+</para>
+
+<para>
+You can remove a piece of content by clicking on its name and then
+clicking the <guilabel>Remove</guilabel> button.
+</para>
+
+</section>
+<section>
+<title>Content Properties</title>
+
+<para>
+Below the content list are the controls to set content properties. To
+adjust the properties for a piece of content, click its name in the
+content list. The content property controls will then become active
+for that piece of content.
+</para>
<para>
-Now there are a few things to set up to describe how the content you just added should be used.
-created. The settings are divided into four tabs: video, audio, subtitles and timing.
+The content properties are split up into four sections:
+<guilabel>Video</guilabel>, <guilabel>Audio</guilabel>,
+<guilabel>Subtitles</guilabel> and <guilabel>Timing</guilabel>. Not
+all of these sections will be active for all content types. The controls
+in each section are described below.
</para>
+</section>
+
<section>
-<title>Video content tab</title>
+<title>Video</title>
<para>
-This tab contains settings related to the video (i.e. the picture) of your content, as shown in <xref linkend="fig-video-tab"/>.
+The <guilabel>Video</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-video-tab"/>.
</para>
<figure id="fig-video-tab">
<title>Video settings tab</title>
<mediaobject>
<imageobject>
- <!-- XXX: content video tab -->
+ <imagedata fileref="screenshots/video-tab&scs;"/>
</imageobject>
</mediaobject>
</figure>
-<para>The default values in this tab are fine for our example, but the
-options are described here anyway.</para>
+<section>
+<title>Image type</title>
<para>
The first option on this tab is the ‘type’ of the video.
This specifies how DCP-o-matic should interpret the video's image.
<guilabel>2D</guilabel> is the default; this just takes the video
-image as a standard 2D frame. The other options allow the video to be
-interpreted as 3D; this is described later in the manual.
-<!-- XXX: link -->
+image as a standard 2D frame. The other option <guilabel>3D
+left/right</guilabel> tells DCP-o-matic to interpret the frame as a
+left-right pair, as shown in <xref linkend="fig-3d-left-right"/>.
+</para>
+
+<figure id="fig-3d-left-right">
+ <title>3D left/right image type</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata scale="100" fileref="diagrams/3d-left-right&dia;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+This option can be used to generate a 3D DCP. Other means of creating
+3D will be added in the future.
+</para>
+
+</section>
+
+
+<!-- ============================================================== -->
+<section>
+<title>Filtering</title>
+
+<para>
+The ‘filters’ settings allow you to apply various video
+filters to the image. These may be useful to try to improve
+poor-quality sources like DVDs. You can set up the filters by clicking the
+<guilabel>Edit</guilabel> button next to the filters entry in the
+setup area of the DCP-o-matic window; this opens the filters selector
+as shown in <xref linkend="fig-filters"/>.
+</para>
+
+<figure id="fig-filters">
+ <title>Filters selector</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/filters&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+After changing the filters setup, you will need to regenerate the DCP
+to see the effect on the cinema screen. The preview in DCP-o-matic
+will update itself whenever filters are changed, though of course this
+image is much smaller and of lower resolution than a projected image!
</para>
+</section>
+
+
+<!-- ============================================================== -->
+<section>
+<title>Other settings</title>
<para>
The ‘crop’ settings can be used to crop your content,
ratio that your content should be presented in.
</para>
+</section>
+<section>
+<title>Video description</title>
+
<para>
-The ‘filters’ settings allow you to apply various video
-filters to the image. These may be useful to try to improve
-poor-quality sources like DVDs. We will discuss filtering later in the manual.
-<!-- XXX: link -->
+At the bottom of the video tab is a short description of what will
+happen to your video with the current settings. In the example of
+<xref linkend="fig-video-tab"/>, DCP-o-matic is telling you that the
+video file is 1920x1080 pixels (which is a ratio of 1.78:1). Since
+the controls specify ‘Flat’ for the ratio, DCP-o-matic
+scales the content image to 1998x1080, which is the DCI flat
+resolution at 2K.
</para>
+
+<para>
+This description also gives the frame rate of the content and what
+will happen to it when it is played at the DCP's frame rate.
+<!-- XXX: link to more detailed discussion of this -->
+</para>
+
+</section>
+
</section>
<section>
-<title>Audio tab</title>
+<title>Audio</title>
<para>
-This tab contains settings related to the sound in your content, as shown in <xref linkend="fig-audio-tab"/>.
+The <guilabel>Audio</guilabel> tab controls properties of the image, as shown in <xref linkend="fig-audio-tab"/>.
</para>
<figure id="fig-audio-tab">
<title>Audio settings tab</title>
<mediaobject>
<imageobject>
- <!-- XXX: content audio tab -->
+ <imagedata fileref="screenshots/audio-tab&scs;"/>
</imageobject>
</mediaobject>
</figure>
-<para>
-Once again, these settings can be left at their defaults for our Sintel example.
-</para>
+<section>
+<title>Show audio</title>
<para>
The <guilabel>Show Audio</guilabel> button will instruct DCP-o-matic
to examine the audio in your content and plot a graph of its level
over time. This can be useful for getting a rough idea of how loud
-the sound will be in the cinema auditorium. The audio graphic is
-discussed in more detail later in the manual.
-<!-- XXX: link -->
+the sound will be in the cinema auditorium. A typical plot is shown
+in <xref linkend="fig-audio-plot"/>
+</para>
+
+<figure id="fig-audio-plot">
+ <title>Audio plot</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/audio-plot&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+The plot gives the audio level (vertical axis, in dB) with time
+(horizontal axis). 0dB represents full scale, so if there is anything
+near this you are in danger of clipping the projector's audio outputs.
+</para>
+
+<para>
+There are two plot types: the peak level and the RMS, which can be
+shown or hidden using the check-boxes on the right hand side of the
+window.
+</para>
+
+<para>
+The channel check-boxes will show or hide the plot(s) for
+the corresponding channels in the DCP.
+</para>
+
+<para>
+The smoothing slider applies a variable degree of temporal smoothing
+to the plots, which can make them easier to read in some cases.
</para>
+<para>
+Obviously the audio plot is no substitute for listening in an
+auditorium, but it can be useful to get levels in the right rough area.
+</para>
+
+</section>
+
+<section>
+<title>The audio map</title>
+
+<para>
+The section at the bottom of the audio tab is the ‘audio
+map’. This governs how sound from the content will be arranged
+in the DCP.
+</para>
+
+<para>
+Down the left-hand side of the map is the list of audio channels in
+the currently-selected piece of content. Along the top is each
+channel in the DCP. A checked box means that the corresponding
+content channel will be copied into the corresponding DCP channel.
+</para>
+
+<para>
+Consider, for example, the case in <xref linkend="fig-audio-map-eg1"/>.
+</para>
+
+<figure id="fig-audio-map-eg1">
+ <title>Audio map example 1</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/audio-map-eg1&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+Here, we have two channels in the source which are mapped to left and
+right, respectively, in the DCP. If we modify that as in <xref
+linkend="fig-audio-map-eg2"/>
+</para>
+
+<figure id="fig-audio-map-eg2">
+ <title>Audio map example 2</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/audio-map-eg2&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+we now have the content's streams mapped to left and right and also
+mixed together and placed in the DCP's centre channel.
+</para>
+
+<figure id="fig-audio-map-eg3">
+ <title>Audio map example 3</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/audio-map-eg3&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+As a final example, the map in <xref linkend="fig-audio-map-eg3"/>
+shows the mapping of a 5.1 source into a 5.1 DCP.
+</para>
+
+</section>
+
+<section>
+<title>Other controls</title>
+
<para>
‘Audio Gain’ is used to alter the volume of the
soundtrack. The specified gain (in dB) will be applied to each sound
</para>
<para>
-Current versions of DCP-o-matic only know about the Dolby CP750. If
-you use a different sound processor, and know the gain curve of its
-volume control, <ulink url="mailto:cth@carlh.net">get in
+Current versions of DCP-o-matic only know about the Dolby CP650 and
+CP750. If you use a different sound processor, and know the gain
+curve of its volume control, <ulink url="mailto:carl@dcpomatic.com">get in
touch</ulink>.
</para>
might be different soundtrack languages, for example.
</para>
-<para>
-The final section in the audio tab is the ‘audio map’.
-This governs how sound from the content will be arranged in the DCP.
-Our Sintel clip is in 5.1, so DCP-o-matic will default to assigning
-each channel from the content to the appropriate DCP channel. This
-audio mapping is described in more detail later in the manual.
-<!-- XXX: link -->
-</para>
-
+</section>
</section>
+
<section>
-<title>Subtitles tab</title>
+<title>Subtitles</title>
<para>
-This tab contains settings related to subtitles in your content, as shown in <xref linkend="fig-subtitles-tab"/>.
+The subtitles tab contains settings related to subtitles in your
+content, as shown in <xref linkend="fig-subtitles-tab"/>.
</para>
<figure id="fig-subtitles-tab">
<title>Subtitle settings tab</title>
<mediaobject>
<imageobject>
- <!-- XXX: subtitles tab -->
+ <imagedata fileref="screenshots/subtitles-tab&scs;"/>
</imageobject>
</mediaobject>
</figure>
included in the image and not overlaid by the projector). Note that
DVD and Blu-Ray subtitles are stored as bitmaps, so it is not possible
(automatically) to use non-burnt-in subtitles with these sources.
-Select the <guilabel>With Subtitles</guilabel> checkbox to enable
+Select the <guilabel>With Subtitles</guilabel> check-box to enable
subtitles. The <guilabel>offset</guilabel> control moves the
subtitles up and down the image, and the <guilabel>scale</guilabel>
control changes their size.
DCPs).
</para>
-</section>
</section>
-<section>
-<title>Setting up the DCP</title>
+<!-- XXX: timing tab -->
+
+</chapter>
+
+<chapter xml:id="ch-dcp" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
+<title>DCP settings</title>
<para>
-Now that we have set up the content that will go into our DCP, we can
-set things up for the DCP itself. This is done from the
-<guilabel>DCP</guilabel> tab which can be found at the top of the
-DCP-o-matic window (next to the <guilabel>Content</guilabel> tab).
-The DCP tab is shown in foo.
+This chapter describes the settings that apply to the whole DCP. The
+controls for these settings are in the <guilabel>DCP</guilabel> tab of
+the main window, as shown in <xref linkend="fig-dcp-tab"/>.
</para>
-<!-- XXX: DCP tab -->
+<figure id="fig-dcp-tab">
+ <title>DCP settings tab</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/dcp-tab&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
<para>
The first thing here is the name. This is generally set to the title
name</guilabel> is not ticked, the name that you specify will be used
as-is for the name of the DCP. If <guilabel>Use DCI name</guilabel>
is ticked, the name that you enter will be used as part of a
-DCI-compliant name. Set the name to something useful, like
-‘Sintel’.
+DCI-compliant name.
</para>
<para>
Underneath the name field is a preview of the name that the DCP will
get. To use a DCI-compliant name, tick the <guilabel>Use DCI
-name</guilabel> checkbox. The DCI name will be composed using details
+name</guilabel> check-box. The DCI name will be composed using details
of your content's soundtrack, the current date and other things that
can be specified in the DCI name details dialogue box, which you can
open by clicking on the <guilabel>Details</guilabel> button.
your DCP. This can be a little tricky to get right. Ideally, you
want it to be the same as the video content that you are using. If it
is not the same, DCP-o-matic must resort to some tricks to alter your
-content to fit the specified frame rate. Frame rates are discussed in more detail later.
-<!-- XXX: link -->
+content to fit the specified frame rate. Frame rates are discussed in
+more detail in <xref linkend="ch-frame-rates"/>.
+</para>
+
+<para>
+The <guilabel>Encrypted</guilabel> check-box will set whether the DCP
+should be encrypted or not. If this is ticked, the DCP will require a
+KDM to play back. Encryption is discussed in <xref
+linkend="ch-encryption"/>.
</para>
<para>
<para>
The <guilabel>3D</guilabel> button will set your DCP to 3D mode if it
-is checked. This is discussed later.
-<!-- XXX: link -->
+is checked. A 3D DCP will then be created, and any 2D content will be
+made 3D compatible by repeating the same frame for both left and right
+eyes. A 3D DCP can be played back on many 3D systems (e.g. Dolby 3D,
+Real-D etc.) but not on a 2D system.
</para>
<para>
between 50 and 250 megabits per second (MBps).
</para>
+<para>
+The <guilabel>Standard</guilabel> option specifies which of the two
+DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the
+more modern of the two).
+</para>
+
<para>
Finally, the <guilabel>scaler</guilabel> is the method that will be used to scale up
-your content to the required size for the DCP, if required. We will
-discuss the options in more detail later; Bicubic is a fine choice in
+your content to the required size for the DCP, if required. Bicubic is a fine choice in
most situations.
-<!-- XXX: link -->
</para>
-</section>
+</chapter>
+
+<chapter xml:id="ch-encryption" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
+<title>Encryption</title>
+<para>
+It is not required that DCPs be encrypted, but they can be. This
+chapter discusses the basic principles of DCP encryption, and how
+DCP-o-matic can create encrypted DCPs and KDMs for them.
+</para>
<section>
-<title>Making the DCP</title>
+<title>Basics</title>
<para>
-Now that we have set everything up, choose <guilabel>Make
-DCP</guilabel> from the <guilabel>Jobs</guilabel> menu. DCP-o-matic
-will encode your DCP. This may take some time (many hours in some
-cases). While the job is in progress, DCP-o-matic will update you on
-how it is getting on with the progress bar in the bottom of its window, as shown in <xref linkend="fig-making-dcp"/>.
+DCPs can be encrypted. This means that the picture and sound data are
+encoded in such a way that only cinemas ‘approved’ by the
+DCP's creators can read them. In particular, this means copies of the
+DCP can be distributed by insecure means: if an ne'er-do-well called
+Mallory obtains a hard drive containing an encrypted DCP, there is no
+way that he can play it. Only those cinemas who receive a key
+delivery message (KDM) can play the DCP.
</para>
-<figure id="fig-making-dcp">
- <title>Making the DCP</title>
- <mediaobject>
- <imageobject>
- <imagedata fileref="screenshots/making-dcp&scs;"/>
- </imageobject>
- </mediaobject>
-</figure>
+<section>
+<title>How it works (in a nutshell)</title>
<para>
-When it has finished, the DCP will end up on your disk inside the
-film's folder. You can then copy this to a projector via a USB
-stick, hard-drive or network connection. See <xref
-linkend="ch-files"/> for details about the files that DVD-o-matic creates.
+This section attempts to summarise how DCP encryption works. You can
+skip it if you like. You may need some knowledge of encryption
+methods to understand it.
</para>
<para>
-Alternatively, if you have a projector or TMS that is accessible via
-SCP across your network, you can upload the content directly from
-DCP-o-matic. See <xref linkend="sec-tms-upload"/>.
+We suppose that we are trying to distribute a DCP to
+Alice's cinema, without a troublemaker called Mallory being able to
+watch it himself.
</para>
-</section>
-</chapter>
+<para>
+There are two main families of encryption techniques. The first,
+symmetric-key encryption, allows us to encode some data using some
+numeric key. After encoding, no-one can decode the data unless they
+know the key.
+</para>
+<para>
+The first step in a DCP encryption is to encode its data with some key
+using symmetric-key encryption. The encrypted DCP can then be sent
+anywhere, safe in the knowledge that even if Mallory got hold of a
+copy, he could not decrypt it.
+</para>
-<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
-<title>Creating a still-image DCP</title>
+<para>
+Alice, however, needs to know the key so she can play the DCP in her
+cinema. A simple approach might be for us to send Alice the key.
+However, if Mallory can intercept the DCP, he might also be able to
+intercept our communication of the key to Alice. Furthermore, if Alice
+happened to know Mallory, she could just send him a copy of the key.
+</para>
<para>
-DCP-o-matic can also be used to create DCPs of one or more still images, perhaps
-for an advertisement or an on-screen announcement. This chapter shows you
-how to do it.
+The clever bit in DCP encryption requires the use of public-key
+encryption. With this technique we can encrypt a block of data using
+some ‘public’ key. That data can then only be decrypted
+using a <emphasis>different</emphasis> ‘private’ key. The
+private and public keys are related mathematically, but it is
+extremely hard (or rather, virtually impossible) to derive the private
+key from the public key.
</para>
<para>
-As with video DCPs, the first step is to create a new
-‘Film’; select <guilabel>New</guilabel> from the
-<guilabel>File</guilabel> menu and the new film dialogue will open as
-shown in <xref linkend="fig-still-new-film"/>.
+Public-key encryption allows us to distribute the DCP's key to Alice
+securely. The manufacturer of Alice's projector generates a public
+and private key. They hide the private key deep inside the bowels of
+the projector (inside an integrated circuit) where no-one can read it.
+They then make the public key available to anyone who is interested.
</para>
-<figure id="fig-still-new-film">
- <title>Dialogue box for creating a new film</title>
- <mediaobject>
- <imageobject>
- <imagedata fileref="screenshots/still-new-film&scs;"/>
- </imageobject>
- </mediaobject>
-</figure>
+<para>
+We take our DCP's symmetric key and encrypt it using the public key of
+Alice's projector. We send the result to Alice over email (using a
+format called a Key Delivery Message, or KDM). Her projector then
+decrypts our message using its private key, yielding the magic
+symmetric key which can decrypt the DCP.
+</para>
+
+<para>
+If is fine if Mallory intercepts our email to Alice, since the only
+key which can decrypt the message is the private key buried inside
+Alice's projector. The projector manufacturer is very careful that
+no-one ever finds out what this key is. Our DCP is secure: only Alice
+can play it back, since only her projector knows the key (even Alice
+does not).
+</para>
+
+</section>
+</section>
-<!-- got to here -->
+<section>
+<title>Encryption using DCP-o-matic</title>
<para>
-Enter a name and click <guilabel>OK</guilabel>. Then we set up the
-content; click the content selector as before, and this time we will
-choose an image file, as shown in <xref
-linkend="fig-still-select-content-file"/>.
+There are two steps to distributing an encrypted DCP. First, the
+DCP's data must be encrypted, and secondly KDMs must be generated for
+those cinemas that are allowed to play the DCP.
</para>
-<figure id="fig-still-select-content-file">
- <title>Selecting a still content file</title>
+<para>
+The first part is simple: ticking the <guilabel>Encrypted</guilabel>
+box in the <guilabel>DCP</guilabel> tab of DCP-o-matic will encrypt
+the DCP using a random key that DCP-o-matic generates. The key will
+be written to the film's metadata file, so that should be kept
+secure.
+</para>
+
+<para>
+A DCP that is generated with the <guilabel>Encrypted</guilabel> box
+ticked will not play on any projector as-is (it will be marked as
+‘locked’, or whatever the projector manufacturer's term
+is).
+</para>
+
+<para>
+The second part is to generate KDMs for the cinemas that you wish to
+allow to play your DCP. This is done using the <guilabel>Make
+KDMs</guilabel> option on the <guilabel>Jobs</guilabel> menu. This
+will open the KDM dialogue box, as shown in <xref linkend="fig-kdm"/>.
+</para>
+
+<figure id="fig-kdm">
+ <title>KDM dialog</title>
<mediaobject>
<imageobject>
- <imagedata fileref="screenshots/still-select-content-file&scs;"/>
+ <imagedata fileref="screenshots/kdm&scs;"/>
</imageobject>
</mediaobject>
</figure>
<para>
-Setting up for a still image DCP is somewhat simpler than for a video;
-the tabs are all the same, but many options are removed and a few are added.
+In order to generate KDMs for a particular projector, you need to know
+its <emphasis>certificate</emphasis>. These are usually made
+available by the projector manufacturers as text files with a
+<code>.pem</code> extension.
</para>
<para>
-As with video, you can select a content type and the format (ratio)
-that your image should be presented in. It will be scaled and padded
-to fit the selected ratio, but in such a way that the pixel aspect
-ratio is preserved. In other words, the image will not be stretched,
-merely scaled; if you want to stretch your image, you will need to do
-so in a separate program before importing it into DCP-o-matic. You
-can also crop your image, if you so choose, and then set a duration
-(in seconds) that the image should appear on screen.
+DCP-o-matic can store these certificates to make life easier. It
+stores details of cinemas and screens within those cinemas. Each
+screen has a certificate for its projector. DCP-o-matic can generate
+KDMs for any screens that it knows about.
</para>
<para>
-Still-image DCPs can include sound; this can be added from the
-<guilabel>Audio</guilabel> tab. If your specified duration is shorter
-than the audio, the audio will be cut off at the duration; if it is
-longer, silence will be added after your audio.
+To add a cinema, click <guilabel>Add Cinema...</guilabel>. This opens
+a dialogue box into which you can enter the cinema's name, and
+optionally an email address. This email address can be used to
+get DCP-o-matic to deliver KDMs via email, but it is optional.
</para>
<para>
-Finally, as with video, you can choose <guilabel>Make DCP</guilabel>
-from the <guilabel>Jobs</guilabel> menu to create your DCP. This will
-be much quicker than creating a video DCP, as DCP-o-matic only needs
-to encode a single frame which it can then repeat.
+Once you have added a cinema, select it by clicking on its name, then
+click <guilabel>Add Screen...</guilabel>. The resulting dialogue
+allows you to enter a name for the screen and load in its certificate
+from a file. The certificate should be in SHA256 PEM format.
</para>
+<para>
+Once you have set up all the screens that you need KDMs for,
+DCP-o-matic can generate KDMs for the last DCP that you generated for
+the currently-loaded film. Select the cinemas and/or screens that you
+want KDMs for and fill in the start and end dates and times.
+</para>
+
+<para>
+Finally, choose what you want to do with the KDMs. They can be
+written to disk, to a location that you can specify by clicking
+<guilabel>Browse</guilabel>. Alternatively, if you choose
+<guilabel>Send by email</guilabel> the KDMs will be zipped up and
+emailed to the appropriate cinema email addresses. Click OK to
+generate the KDMs.
+</para>
+
+</section>
+
</chapter>
<para>
The preferences dialogue is opened by choosing
<guilabel>Preferences...</guilabel> from the <guilabel>Edit</guilabel>
-menu. The dialogue is shown in <xref linkend="fig-prefs"/>.
+menu. The dialogue is split into five tabs.
</para>
-<figure id="fig-prefs">
- <title>Preferences</title>
+<section>
+<title>Miscellaneous</title>
+
+<para>
+The miscellaneous tab is shown in <xref linkend="fig-prefs-misc"/>.
+</para>
+
+<figure id="fig-prefs-misc">
+ <title>Miscellaneous preferences</title>
<mediaobject>
<imageobject>
- <imagedata fileref="screenshots/prefs&scs;"/>
+ <imagedata fileref="screenshots/prefs-misc&scs;"/>
</imageobject>
</mediaobject>
</figure>
<section>
-<title>TMS setup</title>
+<title>Language</title>
<para>
-The first part of the dialogue gives some options for specifying
-details about your TMS. If you do this, and your TMS accepts SSH
-connections, you can upload DCPs directly from DCP-o-matic to the TMS.
-This is discussed in <xref linkend="sec-tms-upload"/>.
+If you tick the <guilabel>Set Language</guilabel> checkbox and choose
+a language from the list, that language will be used for DCP-o-matic.
+You will need to restart DCP-o-matic to see the new language.
</para>
<para>
-<guilabel>TMS IP address</guilabel> should be set to the IP address of
-your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
-should be uploaded to (which will be relative to the home directory of
-the SSH user). Finally, the user name and password are the
-credentials required to log into the TMS via SSH.
+The translations for DCP-o-matic have been contributed by helpful
+users. If your language is not on the last, head to <ulink
+url="http://dcpomatic.com/i18n.php">the DCP-o-matic website</ulink> to
+read about how to contribute a translation.
</para>
</section>
<para>
When DCP-o-matic is encoding DCPs it can use multiple parallel threads
to speed things up. Set this value to the number of threads
-DCP-o-matic should use. This would typically be set to the number of
-processors (or processor cores) in your machine.
+DCP-o-matic should use. This should normally be the number of
+processors (or processor cores) in your machine. DCP-o-matic will try
+to set this up correctly when you run it for the first time.
</para>
</section>
<section>
-<title>Default directory for new films</title>
+<title>KDM emails</title>
<para>
-This is the directory (folder) which DCP-o-matic will suggest initially as a place to put new films.
+DCP-o-matic can send KDMs (see <xref linkend="ch-encryption"/>) to
+cinemas (or anywhere else) via email. To make this work, enter a
+suitable outgoing mail (SMTP) server and ‘from’ address
+for these emails.
</para>
</section>
<section>
-<title>A/B options</title>
+<title>Defaults</title>
<para>
-These options are for DCP-o-matic's special mode of making A/B
-comparison DCPs for checking the performance of video filters. Their
-use is described in <xref linkend="sec-ab"/>.
+The next few options allow you to set up default values for several
+properties of new films that you create.
</para>
+</section>
</section>
<section>
-<title>Encoding servers</title>
+<title>Colour conversions</title>
<para>
-If you have spare machines sitting around on your network not doing
-much, they can be pressed into service to speed up DCP encodes. This
-is done by running a small server program on the machine, which will
-encode video sent to it by the ‘master’ DCP-o-matic. This
-option is described in more detail in <xref linkend="sec-servers"/>.
-Use these preferences to specify the encoding servers that should be
-used.
+The colour conversions tab is shown in <xref linkend="fig-prefs-colour-conversions"/>.
+</para>
+
+<figure id="fig-prefs-colour-conversions">
+ <title>Colour conversions preferences</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/prefs-colour-conversions&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+As part of the encoding process, DCP-o-matic has to convert the colour
+space of the source files that you use into XYZ, the colour space used
+by the DCI standard.
+</para>
+
+<para>
+Colour conversion is discussed in more detail in a separate document
+<ulink url="http://dcpomatic.com/manual/colour.pdf">colour.pdf</a>.
+</para>
+
+<para>
+These preferences control a list of presets which are suitable for
+converting from common input colour spaces to XYZ.
</para>
</section>
+<section>
+<title>Metadata</title>
+
+<para>
+The metadata tab is shown in <xref linkend="fig-prefs-metadata"/>.
+</para>
+
+<figure id="fig-prefs-metadata">
+ <title>Metadata preferences</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/prefs-metadata&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+This allows you to set up a couple of identifiers that are written
+into the DCP. The default values should cause no problems.
+</para>
+
</section>
-</chapter>
-<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
-<title>Advanced topics</title>
+<section xml:id="sec-prefs-tms">
+<title>TMS</title>
-<para>This chapter describes some parts of DCP-o-matic that are
-probably not essential, but which you might find useful in some
-circumstances.
+<para>
+The TMS tab (shown in <xref linkend="fig-prefs-tms"/>) gives some
+options for specifying details about your theatre management system
+(TMS). If you do this, and your TMS accepts SSH connections, you can
+upload DCPs directly from DCP-o-matic to the TMS using the
+<guilabel>Send DCP to TMS</guilabel> option in the
+<guilabel>Jobs</guilabel> menu.
</para>
+<figure id="fig-prefs-tms">
+ <title>TMS preferences</title>
+ <mediaobject>
+ <imageobject>
+ <imagedata fileref="screenshots/prefs-tms&scs;"/>
+ </imageobject>
+ </mediaobject>
+</figure>
+
+<para>
+<guilabel>TMS IP address</guilabel> should be set to the IP address of
+your TMS, <guilabel>TMS target path</guilabel> to the place that DCPs
+should be uploaded to (which will be relative to the home directory of
+the SSH user). Finally, the user name and password are the
+credentials required to log into the TMS via SSH.
+</para>
+</section>
+
<section>
-<title>Filtering</title>
+<title>KDM email</title>
<para>
-DCP-o-matic offers a variety of filters that can be applied to your
-video content. You can set up the filters by clicking the
-<guilabel>Edit</guilabel> button next to the filters entry in the
-setup area of the DCP-o-matic window; this opens the filters selector
-as shown in <xref linkend="fig-filters"/>.
+The KDM email is shown in <xref linkend="fig-prefs-kdm-email"/>.
</para>
-<figure id="fig-filters">
- <title>Filters selector</title>
+<figure id="fig-prefs-kdm-email">
+ <title>KDM email preferences</title>
<mediaobject>
<imageobject>
- <imagedata fileref="screenshots/filters&scs;"/>
+ <imagedata fileref="screenshots/prefs-kdm-email&scs;"/>
</imageobject>
</mediaobject>
</figure>
<para>
-After changing the filters setup, you will need to regenerate the DCP
-to see the effect on the cinema screen. The preview in DCP-o-matic
-will update itself whenever filters are changed, though of course this
-image is much smaller and of lower resolution than a projected image!
+This is a template for the email that is used to send KDMs out to
+cinemas. You can change it to say whatever you like. The
+‘magic’ string <code>$CPL_NAME</code> will be replaced by
+DCP's title.
</para>
</section>
+</section>
+
+</chapter>
+
+<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-frame-rates">
+<title>Frame rates</title>
+
+<para>
+In an ideal world, a DCP would be created using content at the same
+video frame and audio sampling rates as the DCP. This is not,
+however, always possible.
+</para>
<section>
-<title>Scaling</title>
+<title>DCP rate limitations</title>
<para>
-If your source material is not of the DCI-specified size, or if it
-uses non-square pixels, DCP-o-matic will need to scale it. The
-algorithm used to scale is set up by the <guilabel>Scaler</guilabel>
-entry in the film setup area. We think ‘Bicubic’ is the
-best all-round option, but tests are ongoing.
+There are some limitations to video and audio rates in DCPs. This is
+complicated by the fact that not all projectors will play DCPs at the
+same rates. It is possible to create a DCP which one projector will
+play fine, but another (of a different type) will refuse to play, or
+even refuse to ingest.
</para>
+<section>
+<title>Guaranteed rates</title>
+
+<para>
+The only rates that are (pretty much) guaranteed to work on all DCI
+projectors is 24 frames per second (fps) for video and 48kHz or 96kHz
+for audio. If you are sending your DCPs to unknown places it wise to
+consider using these rates if at all possible.
+</para>
+
+</section>
+
+<section>
+<title>Other often-supported rates</title>
+<para>
+Many projectors now in the wild support additional video frame rates:
+25, 30 and 48 fps.
+</para>
</section>
-<section xml:id="sec-tms-upload">
-<title>TMS upload</title>
+<section>
+<title>Adapting content to fit the DCP rate</title>
<para>
-If you have configured details of a TMS in the preferences dialogue
-(<xref linkend="ch-preferences"/>) you can upload a completed DCP
-straight to your TMS buy choosing <guilabel>Send DCP to TMS</guilabel>
-from the <guilabel>Jobs</guilabel> menu.
+DCP-o-matic has a few tricks to allow you to use content that is not
+in one of the ‘approved’ rates.
</para>
-</section>
+<para>
+Audio is easy: DCP-o-matic can resample to 48kHz from any source rate
+with minimal loss in quality.
+</para>
+<para>
+Video rate conversion is harder. DCP-o-matic's basic strategy to deal
+with a non-supported content rate is to run it at the wrong speed, and
+to adjust the audio to keep it in sync.
+</para>
-<section xml:id="sec-ab">
-<title>A/B comparison</title>
+<para>Let us consider the example of a 25fps source for which you want
+to create a 24fps DCP. DCP-o-matic will put the frames from the
+source directly into the DCP without modification, but will tell the
+projector to play them back at 24fps. This means that the DCP's video
+will run slightly slower than the original.
+</para>
<para>
-When evaluating the effects of different filters or scalers on the
-image quality, A/B mode might be useful. In this mode, DCP-o-matic
-will generate a DCP where the left half of the image uses some
-‘reference’ filtering and scaling, and the right half of
-the image uses a different set of filters and a different scaler.
-This DCP can then be played back on a projector and the image quality
-evaluated.
+If DCP-o-matic did nothing else, the result of this would be that the
+audio would be running at the original speed with the video running
+slowly. Hence the audio would drift slowly out of sync. To avoid
+this, DCP-o-matic also resamples the audio such that the projector
+will play it too fast by the same amount. Hence it will sound
+slightly different but will remain in sync with the video.
</para>
<para>
-To enable A/B mode, click the A/B checkbox in the setup area of the
-DCP-o-matic window. When you generate your DCP, the left half of the
-screen will use the filters and scaler specified in the <xref
-linkend="ch-preferences">preferences</xref> dialogue, and the right
-half will use the filters and scaler specified in the film setup.
+For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
</para>
+</section>
</section>
-<section xml:id="sec-servers">
+<section>
+<title>Setting up</title>
+
+<para>
+The <guilabel>Frame Rate</guilabel> control in the
+<guilabel>DCP</guilabel> tab sets the video frame rate that the DCP
+will use. Clicking <guilabel>Use best</guilabel> sets the rate to
+what DVD-o-matic thinks is the best for your content. With this
+button, DCP-o-matic assumes that the whole range of frame rates (24,
+25, 30 and 48fps) are allowable.
+</para>
+
+<para>
+After this, the <guilabel>Video</guilabel> tab for each piece of
+content will give a summary of what DCP-o-matic is doing with that
+content.
+</para>
+
+</section>
+
+</chapter>
+
+
+<chapter xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en" xml:id="ch-servers">
<title>Encoding servers</title>
<para>
offload some of the time-consuming JPEG2000 encoding to any number of
other machines on a network. To do this, one ‘master’
machine runs DCP-o-matic, and the ‘server’ machines run
-a small program called ‘servomatic’.
+a small program called <code>dcpomatic_server</code>.
+</para>
+
+<para>
+The master and server machines do not need to be the same type, so you
+can mix Windows PCs, Macs and Linux machines as you wish.
</para>
<section>
<para>
There are two options for the encoding server;
-<code>servomatic_cli</code>, which runs on the command line, and
-<code>servomatic_gui</code>, which has a simple GUI. The command line
+<code>dcpomatic_server_cli</code>, which runs on the command line, and
+<code>dcpomatic_server</code>, which has a simple GUI. The command line
version is well-suited to headless servers, especially on Linux, and
the GUI version works best on Windows where it will put an icon in the
system tray.
</para>
<programlisting>
-servomatic_cli
+dcpomatic_server_cli
</programlisting>
<para>
</para>
<programlisting>
-servomatic_cli -t 4
+dcpomatic_server_cli -t 4
</programlisting>
<para>
server or open a window to show its status.
</para>
+<para>If you would rather not bother installing DCP-o-matic on your
+server computers, the other option is to use the live-CD
+image that you can download from the <ulink
+url="http://dcpomatic.com/">DCP-o-matic web site.</ulink></para>
+
+<para>Either burn the image to CD, or write it to a USB stick (using
+something like <ulink
+url="http://unetbootin.sourceforge.net/">unetbootin</ulink>). Boot a
+PC from the CD or USB stick and it becomes a DCP-o-matic server
+without touching your standard operating system install.
+</para>
+
</section>
<section>
<title>Setting up DCP-o-matic</title>
<para>
-Once your servers are running, you need to tell your master
-DCP-o-matic instance about them. Start DCP-o-matic and open the
-<guilabel>Preferences</guilabel> dialog from the
-<guilabel>Edit</guilabel> menu. At the bottom of this dialog is a
-section where you can add, edit and remove encoding servers. For each
-encoding server you need only specify its IP address and the number of
-threads that it is running, so that DCP-o-matic knows how many
-parallel encode jobs to send to the server.
-</para>
-
-<para>
-Once this is done, any encodes that you start will split the workload
-up between the master machine and the servers.
+DCP-o-matic periodically looks on the local network for servers. Any
+that it finds are given work to do during encodes. Selecting
+<guilabel>Encoding Servers</guilabel> from the
+<guilabel>Tools</guilabel> menu brings up a window which shows that
+servers that DCP-o-matic has found.
</para>
</section>
provide a significant speed-up compared to a 100Mb/s network.
</para>
+</section>
+
+</chapter>
+
+<chapter xml:id="ch-colour-conversions" xmlns="http://docbook.org/ns/docbook" version="5.0" xml:lang="en">
+<title>Colour conversions</title>
+
<para>
-Making changes to the server configuration in the master DCP-o-matic
-will have no effect while an encode is running; the changes will only
-be noticed when a new encode is started.
+As part of the encoding process, DCP-o-matic has to convert the colour
+space of the source files that you use into XYZ, the colour space used
+by the DCI standard.
</para>
-</section>
-</section>
+<para>
+In order to do this, source colour is converted in three steps:
+</para>
+
+<itemizedlist>
+<listitem>Input gamma correction.</listitem>
+<listitem>Multiplication by a conversion matrix.</listitem>
+<listitem>Output gamma correction.</listitem>
+</itemizedlist>
</chapter>
</chapter>
+<chapter>
+<title>Loose ends</title>
+
+<para>
+This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual.
+</para>
+
+<section>
+<title>Resuming encodes</title>
+
+<para>
+If you cancel a DCP encoding run half-way through, or your computer
+crashes... fear not. DCP-o-matic takes care to ensure that, in most
+cases, it can resume encoding from where it left off. When you
+re-start a DCP creation, using the same settings are a previous run,
+DCP-o-matic will first check that the existing picture frames are
+correct, and then resume from where it left off. The checking of
+existing frames does take some time, but it is much faster than
+running a full re-encode.
+</para>
+
+<para>
+This resumption is achieved by writing a digest (hash) to disk for
+every image frame that is written. On resumption, the existing MXF
+file for image data is read and its contents checked against the
+hashes.
+</para>
+
+</section>
+
+</chapter>
</book>
projects / dcpomatic.git / blobdiff