X-Git-Url: https://git.carlh.net/gitweb/?p=dcpomatic.git;a=blobdiff_plain;f=doc%2Fmanual%2Fdcpomatic.xml;h=1a71bb6d1680050a852ace7811f48c9306d4680a;hp=39bc0987c7bba9cb6142a888ae2057ef9ff55974;hb=35636d18928f801c1de3c8d1969e349a11d5463d;hpb=684d10c4eee5462b3bcdddead74fdba26d40a123 diff --git a/doc/manual/dcpomatic.xml b/doc/manual/dcpomatic.xml index 39bc0987c..1a71bb6d1 100644 --- a/doc/manual/dcpomatic.xml +++ b/doc/manual/dcpomatic.xml @@ -10,13 +10,8 @@ ]> - - -DCP-o-matic +DCP-o-matic users' manual CarlHetherington @@ -27,34 +22,35 @@ Hello, and welcome to DCP-o-matic! +
What is DCP-o-matic? DCP-o-matic is a program to generate Digital -Cinema Packages (DCPs) from DVDs, Blu-Rays, video files such as MP4 -and AVI, or still images. The resulting DCPs will play on modern digital +Cinema Packages (DCPs) from almost any video, audio and/or +subtitle source files. The resulting DCPs will play on modern digital cinema projectors. - -You might find it useful to make DVDs easier to present, to encode -independently-shot feature films, or to generate local advertising for -your cinema. - -
+ +
Licence -DCP-o-matic is licensed under the GNU GPL. +DCP-o-matic is free and open-source and is licensed under the GNU +GPL.
+ +
Acknowledgements @@ -65,9 +61,13 @@ This manual uses icons from the Tango
+ + Installation + +
Windows @@ -89,51 +89,77 @@ version.
+ +
Mac OS X DCP-o-matic will run on Mac OS X version 10.6 (Snow Leopard) and -higher. To install it, download the DMG from .dmg from http://dcpomatic.com/ and double -click to open it. Then drag the DCP-o-matic icon to your +click to open it. Then drag the DCP-o-matics icon to your Applications folder or wherever else you would like to install it. + +You do not have to install all the applications, but you must always +install DCP-o-matic 2.app as the other applications +depend on it. + +
+
-Ubuntu Linux +Debian or Ubuntu Linux -You can install DCP-o-matic on Ubuntu 12.04 (‘Precise -Pangolin’), 12.10 (‘Quantal Quetzal’), 13.10 (‘Saucy -Salamander’) or 14.04 (‘Trusty Tahr’) using .deb packages: download the -appropriate package from http://dcpomatic.com/ and -double-click it. Ubuntu will install the necessary bits and pieces -and set DCP-o-matic up for you. + You can install DCP-o-matic on: -
+ + Debian 7 (‘wheezy’) + Debian 8 (‘jessie’) + Debian unstable (‘sid’) + Ubuntu 12.04 (‘Precise Pangolin’) + Ubuntu 14.04 (‘Trusty Tahr’) + Ubuntu 15.10 (‘Wily Werewolf’) + -
-Debian Linux -Packages are available for Debian 7 (squeeze) from http://dcpomatic.com/. +using .deb packages: download the appropriate package +from http://dcpomatic.com/ +and double-click it. Debian or Ubuntu will install the necessary bits and +pieces and set DCP-o-matic up for you.
+ + +
-Centos Linux - -Packages are available for Centos 6.5 from http://dcpomatic.com/. - + Fedora Linux + + There are .rpm packages for Fedora 22 and 23 on + http://dcpomatic.com/ +
+ + + +
+ Centos Linux + There are .rpm packages for Centos 6.5 and 7 on + http://dcpomatic.com/ + +
+ + + +
Arch Linux @@ -143,15 +169,17 @@ thanks to Stefan Karner.
+ +
Other Linux distributions -Installation on non-Ubuntu Linux is currently a little involved, as -there are no packages available (yet); you will have to compile it -from source. If you are using a non-Ubuntu distribution, do let me -know via the mailing -list and I will see about building some packages. +Installation on other Linux systems (for which no packages are +available) is quite hard as it must be compiled from source. If you +can't download packages for your distribution, do let me know by +email and I will look +into providing packages on the website. @@ -159,6 +187,7 @@ The following dependencies are required: FFmpeg libsndfile +libsamplerate OpenSSL libopenjpeg ImageMagick @@ -166,13 +195,14 @@ The following dependencies are required: libssh GTK (on Linux) wxWidgets -libquickmail libxml++ xmlsec curl libzip -libdcp -libcxml +libdcp +libsub +libcxml +libicu @@ -195,7 +225,7 @@ With any luck, this will build and install DCP-o-matic on your system. To run i -dcpomatic +dcpomatic2 @@ -205,11 +235,13 @@ in a shell.
+ + -Creating a video DCP +Creating a DCP from a video -In this chapter we will see how to create a video DCP using +In this chapter we will see how to create a DCP from a video file using DCP-o-matic. We will gloss over the details and look at the basics. @@ -221,7 +253,7 @@ Let's make a very simple DCP to see how DCP-o-matic works. First, we need some content. Download the low-resolution trailer for the open movie Sintel from their -website. Generally, of course, one would want to use the +website. Generally one would want to use the highest-resolution material available, but for this test we will use the low-resolution version to save everyone's bandwidth bills. @@ -237,11 +269,11 @@ shown in .
- Creating a new film + Creating a new film - + - +
@@ -251,11 +283,11 @@ linkend="fig-video-new-film"/>.
- Dialogue box for creating a new film + Dialogue box for creating a new film - + - +
@@ -270,6 +302,8 @@ will write its working files. + +
Adding content @@ -283,21 +317,21 @@ select the content file to use, as shown in . -
- Adding content files +
+ Adding content files - + - +
-
- Selecting a video content file +
+ Selecting a video content file - + - +
@@ -313,19 +347,19 @@ has finished), you can look through your content using the slider to the right of the window, as shown in . -
+
Examining the content - + - +
Dragging the slider will move through your video. You can also click -the Play button to play the content back. Note -that there will be no sound, and playback might not be entirely +the Play button to play the content back. Note +that there will be no sound, and playback might not be entirely accurate (it may be slightly slower or faster than it should be, for example). This player is really only intended for brief inspection of content; if you need to check it more thoroughly, use another player @@ -339,6 +373,8 @@ url="http://www.mplayerhq.hu/design7/news.html">mplayer or + +
Making the DCP @@ -359,9 +395,9 @@ linkend="fig-making-dcp"/>.
Making the DCP - - - + + +
@@ -373,16 +409,19 @@ linkend="ch-files"/> for details about the files that DCP-o-matic creates. -Alternatively, if you have a projector or TMS that is accessible via -SCP across your network, you can upload the content directly from -DCP-o-matic. See the . +Alternatively, if you have a projector or Theatre Management System +(TMS) that is accessible via SCP or FTP across your network, you can upload +the content directly from DCP-o-matic. See the in .
+ + -Creating a still-image DCP +Creating a DCP from a still image DCP-o-matic can also be used to create DCPs of one or more still images, perhaps @@ -391,18 +430,18 @@ how to do it. -As with video DCPs, the first step is to create a new +As with DCPs made from video files, the first step is to create a new ‘Film’; select New from the File menu and the new film dialogue will open as shown in . -
- Dialogue box for creating a new film +
+ Dialogue box for creating a new film - + - +
@@ -413,29 +452,29 @@ For our example, we will add a single image file, as shown in . -
- Selecting a still content file +
+ Selecting a still content file - + - +
-As with video DCPs, most of the default settings will be fine for a -simple test. The one thing that you might wish to change is the -length of the still. Select the Timing tab and -you will see a Length setting, as shown in Timing tab and you will see a +Play length setting, as shown in . -
+
The timing tab - + - +
@@ -448,20 +487,191 @@ fourth frames. Enter the duration that you want and then click Set Finally, as with video, you can choose Make DCP from the Jobs menu to create your DCP. This will -be much quicker than creating a video DCP, as DCP-o-matic only needs +be much quicker than creating a DCP from a video file, as DCP-o-matic only needs to encode a single frame which it can then repeat. + + + +Manipulating existing DCPs + + +Frequently DCP-o-matic is used to take content in formats such as MP4 +and convert it to JPEG2000 for a DCP. It can also be used +to take existing DCPs and modify them in various ways. + + +
+Importing a DCP into DCP-o-matic + + +If you want to do something to an existing DCP the first step is to +import it. Click Add folder... and select your +DCP's folder. It will be added to the DCP-o-matic project. If the +DCP is unencrypted you can preview it in the normal way, though +playback will be very slow as decoding of DCPs is almost as +computationally intensive as encoding them. + + +
+ + +
+Decrypting encrypted DCPs + + +DCPs can be encrypted (see for +details). If you import an encrypted DCP you will need a key, in the +form of a Key Delivery Message (KDM), to decrypt it. + + + +KDMs must be prepared by the organisation which created the DCP. They +contain the keys to decrypt the DCP wrapped up in such a way that only +the intended recipient can read them. You will need to provide the +organisation with a certificate which identifies your copy of +DCP-o-matic and allows them to create a KDM for you. + + + +To get DCP-o-matic's decryption certificate, open the Preferences +dialogue (see ) and go to the +Keys tab. Click the Export DCP +decryption certificate... button at the bottom of this tab +and save the certificate. Send this certificate to the DCP creators +and they can create a KDM to allow DCP-o-matic to decrypt their DCP. + + + +Once you have your KDM, right-click the DCP's name in DCP-o-matic and +choose Add KDM.... Specify your KDM and (all +being well) the DCP will be decrypted and become available for preview. + + +
+ + +
+Making a DCP from a DCP + + +In many ways, using DCPs as content in +DCP-o-matic is the same as using any other content. There are a few +things to note, though. + + + +
+Re-use of existing data + + +Where possible DCP-o-matic will re-use existing JPEG2000-compressed +data from DCP content without modification. This has the advantage +that creation of the new DCP will be quick, as the time-consuming +JPEG2000 encoding is not necessary. + + + +DCP-o-matic can do this if you avoid changes to +the following content settings: + + + +Crop +Scaling +Subtitle burn-in +Fades +Colour conversion + + + +If you do change any of these settings on a piece of DCP content +DCP-o-matic will decode and then re-encode the JPEG2000 data. + + +
+ + +
+Making overlay files + + +With its default settings, DCP-o-matic will take any data from DCP +content and copy it into the DCP that it creates. See . + + +
+Creating a new DCP by copying an existing one + +
+ + +This can be inefficient in some cases. Consider, for example, a film +which has ten different translations for which the subtitles are +different but video and audio are the same. If the video and audio +content takes up, say, 100Gb this means that the set of DCPs for every +translation would be about 1Tb with a lot of duplicated data. + + + +The DCP format has a solution to this problem. One DCP can refer to +the ‘assets’ (picture, sound or subtitle) of another DCP. +For our translation example this means that we could have a +‘base’ DCP (often called the OV or Original Version) +containing video, audio and one set of subtitles and then any number +of overlay DCPs (often called VF or Version Files) which refer to the +base version and replace the original subtitles with their own. shows this principle for one of our +translations. The DCP that we make refers to the original content +DCP's video and audio rather than containing a copy. + + +
+Creating a new DCP by referring to an existing one + +
+ + +To play back the subtitled DCP the projectionist ingests both the base +(OV) DCP and the overlay (VF) DCP, then plays the VF one. + + + +To make a DCP like this: + + + +Import your ‘Content DCP’ to a DCP-o-matic project. +Add whatever replacement you want in your new DCP (replacement subtitles or audio files, for example). +Select the DCP in the content list +Tick the Refer to existing DCP checkbox +in the tabs for the parts of the DCP that you want to refer to in your +new DCP. For example, to refer to the Content DCP's video and audio you would select the Video tab, click Refer to existing DCP then select the Audio tab and do the same. +Do Make DCP as usual and your VF DCP will be created. + + +
+ +
+ + + + + + + + Content settings The previous chapters showed DCP generation using the default settings. DCP-o-matic offers a range of features to adjust the -content that goes into your DCP, and this chapter describes those features in -detail. +content that goes into your DCP, and this chapter describes those +features in detail.
@@ -475,7 +685,7 @@ content as you like, and they can be of the following types: Movie — a file containing some video, probably some -audio and possibly some subtitles; for example, a MOV, MP4 or VOB. +audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB. Sound — a file containing one or more channels of @@ -489,13 +699,26 @@ example, a JPEG, PNG or TIFF file. Moving image — a directory containing many still images which should be treated as the frames of a video. + +Subtitle — a file containing subtitle which will be +superimposed on the image of the DCP. These can be +.srt, .ssa or .xml +files. + +DCP — an existing DCP. -To add one or more movie, sound or still-image files, select +To add one or more movie, sound, still-image or subtitle files, select Add file(s)... and choose them from the selector. -To add a directory of images, choose Add -directory... and do similar. + + + +To add a directory (folder) of images or a DCP, choose Add +folder... and choose the directory from the selector. If +you select a folder of images DCP-o-matic will open a small dialogue +box where you can enter the frame rate that the image sequence should +be run at. @@ -504,6 +727,33 @@ clicking the Remove button.
+ + +
+Adding existing DCPs + +Adding existing DCPs to a DCP-o-matic film is a little different +to adding other types of content. Most content has to be converted to +JPEG2000, the compression scheme used by DCPs, which is a very +time-consuming process. Existing DCPs are already in JPEG2000 format +so do not require conversion. This means that, provided no settings +such as crop are used on the DCP content, picture and sound data will +be passed from existing to new DCP unaltered. + + +Encrypted DCPs that are added as content will require a KDM +targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You +should ask the creator of the imported DCP to provide a KDM for +DCP-o-matic's decryption certificate, which can be obtained by +clicking Export DCP decryption certificate... +from the Keys tab of the +Preferences dialog (see ). + + +
+ +
Content Properties @@ -514,6 +764,13 @@ content list. The content property controls will then become active for that piece of content. + +If you want to change the properties for multiple pieces of content at +the same time, select the content in the list by clicking the first +piece then clicking the other pieces with shift key +held down. Note that not all settings can be changed in this way. + + The content properties are split up into four sections: Video, Audio, @@ -524,6 +781,8 @@ in each section are described below.
+ +
Video @@ -531,15 +790,17 @@ in each section are described below. The Video tab controls properties of the image, as shown in . -
+
Video settings tab - + - +
+ +
Image type @@ -552,12 +813,12 @@ left/right option tells DCP-o-matic to interpret the frame as a left-right pair, as shown in . -
+
3D left/right image type - + - +
@@ -567,15 +828,27 @@ DCP-o-matic to see the frame as a top-bottom pair, as shown in . -
+
3D top/bottom image type - + - +
+ +Another option is 3D alternate which takes the +first frame of the content as for the left eye, the second for the +right eye, the third for the left, and so on. Finally, you can +specify 3D left only or 3D right +only if this content contains only the the left or right +eye images. This is useful when you have the left and right eye image +sets in different files; you can specify one content as 3D +left only and another as 3D right only +and DCP-o-matic will pick up the appropriate frames from each. + +
@@ -592,12 +865,12 @@ setup area of the DCP-o-matic window; this opens the filters selector as shown in . -
- Filters selector +
+ Filters selector - + - +
@@ -610,18 +883,94 @@ image is much smaller and of lower resolution than a projected image!
+ + +
+Colour conversion + + +The Colour conversion setting specifies what +colour transforms and gamma correction DCP-o-matic will use when +converting the selected content into the XYZ colourspace for the DCP. + + + +The easiest way to select the required conversion is to choose one of +DCP-o-matic's presets. DCP-o-matic knows how to convert from four +common colourspaces: sRGB, Rec. 601, Rec. 709 and P3. If you do not +know which preset you should use, refer to the suggestions in . + + + +Suggested colour conversion settings + + + + + +sRGBStill images in RGB, e.g. photographs. + + +Rec. 601Standard-definition content (fewer than about 1000 pixels across) including DVD rips. + + +Rec. 709High-definition content including Blu-Ray rips. + + +P3Content explicitly graded to P3. + + + +
+ + +For other required colour conversions, and if you know what you are +doing, you can choose Custom which will open the full +colour conversion editing dialogue box: + + +
+ Dialogue box for custom colour conversion + + + + + +
+ + +Alternatively, choose None if your source files +are already in the XYZ colour space and require no conversion. + + + +DCP-o-matic's colour conversion processes are discussed in much more +detail in a separate document colour.pdf. + + +
+
Other settings -The ‘crop’ settings can be used to crop your content, +The crop settings can be used to crop your content, which can be used to remove black borders from round the edges of DVD images, for example. The specified number of pixels will be trimmed from each edge, and the content image in the right of the window will be updated to show the effect of the crop. + +The fade in and fade out +settings can be used to apply linear fades into and out of a piece of +content. Specify the time for each, clicking Set +after making any changes. + + The Scale to option governs the shape that DCP-o-matic will scale the content's image into. Select the aspect @@ -629,6 +978,8 @@ ratio that your content should be presented in.
+ +
Video description @@ -636,22 +987,26 @@ ratio that your content should be presented in. At the bottom of the video tab is a short description of what will happen to your video with the current settings. In the example of , DCP-o-matic is telling you that the -video file is 1920x1080 pixels (which is a ratio of 1.78:1). Since -the controls specify ‘Flat’ for the ratio, DCP-o-matic -scales the content image to 1998x1080, which is the DCI flat -resolution at 2K. +video file is 1920x1080 pixels and it has square pixels (a pixel +aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since +the controls specify ‘16.9’ for the ratio, DCP-o-matic +does not scale the image but pads it to the DCP's container ratio of +1.85:1. For a 2K DCP this is 1998x1080 pixels. This description also gives the frame rate of the content and what -will happen to it when it is played at the DCP's frame rate. - +will happen to it when it is played at the DCP's frame rate. See + for details of DCP-o-matic's +frame-rate conversion.
+ +
Audio @@ -659,78 +1014,60 @@ will happen to it when it is played at the DCP's frame rate. The Audio tab controls properties of the image, as shown in . -
+
Audio settings tab - + - +
-
-Show audio - -The Show Audio button will instruct DCP-o-matic -to examine the audio in your content and plot a graph of its level -over time. This can be useful for getting a rough idea of how loud -the sound will be in the cinema auditorium. A typical plot is shown -in - - -
- Audio plot - - - - - -
- - -The plot gives the audio level (vertical axis, in dB) with time -(horizontal axis). 0dB represents full scale, so if there is anything -near this you are in danger of clipping the projector's audio outputs. - - - -There are two plot types: the peak level and the RMS, which can be -shown or hidden using the check-boxes on the right hand side of the -window. - + +
+The audio map -The channel check-boxes will show or hide the plot(s) for -the corresponding channels in the DCP. +The section at the bottom of the audio tab is the ‘audio +map’. This governs how sound from the content will be arranged +in the DCP. -The smoothing slider applies a variable degree of temporal smoothing -to the plots, which can make them easier to read in some cases. +Down the left-hand side of the map is the list of audio channels in +the currently-selected piece of content. These are labelled with two +numbers; the first is the stream index within the content and the +second is the channel number within that stream. Some content will +have different streams for different languages or audio mixes. Along +the top is each channel in the DCP. A green box means that the +corresponding content channel will be copied into the corresponding +DCP channel. -Obviously the audio plot is no substitute for listening in an -auditorium, but it can be useful to get levels in the right rough area. +When content channels are copied into DCP channels they can be done +with variable gain. If, for example, you want to copy a channel +as-is, you can set a gain of 0dB. Alternatively, if you want to mix +two channels into one, you may want to use a gain of -6dB on each one +to prevent clipping when the two channels are added. -
- -
-The audio map - -The section at the bottom of the audio tab is the ‘audio -map’. This governs how sound from the content will be arranged -in the DCP. +The green boxes of the audio mapping view tell you (very roughly) how +much gain is applied to each channel. A full-height box means 0dB +(i.e. unity) gain. Any less height indicates lower gain. -Down the left-hand side of the map is the list of audio channels in -the currently-selected piece of content. Along the top is each -channel in the DCP. A checked box means that the corresponding -content channel will be copied into the corresponding DCP channel. +To map one channel to another with 0dB gain, click in the empty box +and it will turn green to reflect the mapping. A second click will +turn the mapping back off. To set some other gain, right-click on the +box to open the gain menu. This allows you to set +Off (no mapping or negative infinity gain), +Full (0dB gain), -6dB gain or +Edit which allows you to set the required gain +precisely. @@ -740,38 +1077,44 @@ Consider, for example, the case in .
Audio map example 1 - + - +
Here, we have two channels in the source which are mapped to left and -right, respectively, in the DCP. If we modify that as in +right, respectively, in the DCP. The full green boxes show that the +mapping is at unity gain (0dB) in each case. Imagine that we modify +the settings to those shown in
Audio map example 2 - + - +
-we now have the content's streams mapped to left and right and also -mixed together and placed in the DCP's centre channel. +We now have the content's streams mapped to left and right and also +mixed together and placed in the DCP's centre channel. The smaller +green boxes on the centre mappings show that those channels are added +with some non-unity gain; you can see by hovering the mouse pointer +over those boxes that the gain for content channels 1 and 2 is -6dB +when being sent to the centre channel and 0dB when being sent to left +and right.
Audio map example 3 - + - +
@@ -782,6 +1125,8 @@ shows the mapping of a 5.1 source into a 5.1 DCP.
+ +
Other controls @@ -801,12 +1146,12 @@ button next to the audio gain entry, and the dialogue box in will open. -
+
Calculating audio gain - + - +
@@ -832,16 +1177,11 @@ between audio and video. A positive delay will move the audio later with respect to the video, and a negative delay will move it earlier. - -The Audio Stream option allows you to select the -audio stream to use, if the content contains more than one. There -might be different soundtrack languages, for example. - -
+
Subtitles @@ -850,35 +1190,125 @@ The subtitles tab contains settings related to subtitles in your content, as shown in . -
+
Subtitle settings tab - + - + + +
+ + +DCP-o-matic can either: + + + + Extract subtitles that are embedded in video files, or + Use subtitles from SubRip (.srt), SubStation + Alpha (.ssa) or DCP XML files. You may find the great + free program Subtitle Edit useful + for creating such files. + + + +Embedded subtitles are usually represented using a set of bitmaps, +especially on files that have come from DVD or BluRay. Such subtitles +can (currently) only be ‘burnt’ into the DCP (that is, +they are included in the image and not overlaid by the projector). + + + +With SubRip, SubStation Alpha or DCP subtitles you have the choice to +either burn-in or include the subtitles as separate subtitle +‘asset’ within your DCP (in which case the projector +overlays them onto the image on playback). The difference between +burn-in and overlay is illustrated by +and . + + +
+ Burnt-in subtitles + + + + + +
+ +
+ Separate subtitles + + + +
-DCP-o-matic will extract subtitles from the content, if present, and -they can be ‘burnt into’ the DCP (that is, they are -included in the image and not overlaid by the projector). Note that -DVD and Blu-Ray subtitles are stored as bitmaps, so it is not possible -(automatically) to use non-burnt-in subtitles with these sources. -Select the With Subtitles check-box to enable -subtitles. The offset control moves the -subtitles up and down the image, and the scale -control changes their size. +The advantage of separate subtitles is that the same video content can +be used for DCPs in many different languages. This means that only a +small text file needs to be changed for each target language, rather +than a large video file. It also means that the time-consuming video +encoding need only be done once for the project rather than once for +every language. + + + +Select the Use Subtitles check-box to enable +the subtitles in the selected content. + + + +Select the Burn subtitles into image check-box to +burn these subtitles into the image; if this is not ticked the +subtitles will be included separately in the DCP to be rendered by the +projector. This check-box will always be ticked if you are using +embedded ‘image’ subtitles. + + + +The X Offset and Y Offset +controls move the subtitles around within the image. The offsets are +expressed as a percentage of the video frame size; 100% X offset is +the entire width of the frame, and 100% Y offset is the entire height. +Hence, to move the subtitles down by half the frame height you would +use a Y offset of 50%. + + + +The X Scale and Y Scale +controls scale the subtitles. Scale values of 1 make the subtitles +the same size (relative to the size of the image) as they are on the +original. Values lower than 1 make them smaller, and values higher +make them larger. You can stretch the subtitles in either direction +by specifying different values for X and Y scale. Subtitles from DVD +and Blu Ray sources are frequently larger (relative to the video +frame) than those typically used for DCP, so it is often useful to +scale such subtitles down using these controls. + + + +The Stream control changes the subtitle stream +that is used when the content has more than one. + + + +If you are using non-embedded (text) subtitles you can see the +subtitle text and timings by clicking the View... +button, or specify the fonts that should be used by clicking Fonts.... -All being well, future versions of DCP-o-matic will include the option to -use text subtitles (as is the norm with most professionally-mastered -DCPs). +With any subtitles you can click Appearance... to +change how the subtitles look.
+ +
Timing @@ -887,12 +1317,12 @@ The timing tab contains settings related to the timing of your content, as shown in . -
+
Timing settings tab - + - +
@@ -902,12 +1332,12 @@ These are expressed as four numbers, as shown in . -
+
Timecode - - - + + +
@@ -941,7 +1371,9 @@ to the full length minus trim-from-start and minus -Video frame rate specifies the frame rate for still-image content. +Video frame rate specifies the frame rate for +still-image content. It can also be used to override the detected +frame rate of other content if DCP-o-matic has got it wrong. @@ -953,6 +1385,8 @@ any changes to the corresponding timecode.
+ +
Video processing pipeline @@ -965,15 +1399,17 @@ video as it takes it from a source and puts it into a DCP. Consider, as a somewhat over-the-top example, that we have a 720 x 576 image which is letterboxed with 36 black pixels each at the top and bottom, and the video content within the letterbox should be presented -in the DCP at ratio of 2.39:1. Such an image is shown in . +in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might +happen with a trailer). The source image is shown in . -
+
Example image to demonstrate video processing - + - +
@@ -999,47 +1435,77 @@ bottom. This would give the new image shown in . -
+
Example image after cropping - + - +
The next step is to scale the image. Since this content should be -presented in a 2.39:1 aspect ratio, we would select +presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select Scope from the Scale to -option in the Video tab. This option should -always be set to the aspect ratio at which the content should be -presented. DCP-o-matic will work out how big the image should be to -fit into the configured DCP's container; in the case of 2K, a 'scope -container should be 2048x858 pixels, and so DCP-o-matic scales to that -size. This gives us a new version of the image as shown in . +option in the Video tab and +Flat from the Container +option in the DCP tab. + + +The Scale to option should always be set to +the aspect ratio at which the content should be seen. The +Container option should be set to the preset that +you want to use on the projector. Of course, these two settings will +often be the same. + + + +Given the scaling and container information, DCP-o-matic will look at +the DCP's container size, and then scale the source image up until one +or both of its dimensions (width, height or both) fits the size of the +container, all the while preserving the desired aspect ratio. + + + +In our example here, the DCP's container is specified as 1.85:1 (so +that the DCP will play back correctly using the projector's +‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080. +Scaling the source up whilst preserving its 1.85:1 aspect ratio will +result in the image hitting the sides of the container first, at a +size of 1998 x 836. This gives us a new version of the image as shown +in . -
+
Example image after cropping and scaling - + - +
The final step is to place the image into the DCP. In this case, -since we have a 2.39:1 image that should be presented as a 2.39:1 DCP, -we set the container in the -DCP tab to be 'scope. Since the content has been -scaled to 2.39:1, and the DCP is in 2.39:1, there is nothing -complicated to do here: DCP-o-matic can just place the image directly -into the DCP. +since we have a 2.39:1 image that should be presented as a 1.85:1 DCP, +we have set the container in the +DCP tab to be Scope. Since the content has been +scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will +be some black bars at the top and bottom of the image. DCP-o-matic +shares out this black equally, as shown in . +
+ Example image in the DCP + + + + + +
+
@@ -1053,120 +1519,312 @@ controls for these settings are in the DCP tab of the main window, as shown in . -
- DCP settings tab - - - - - -
+
+ DCP settings tab + + + + + +
+ + +The first thing here is the name. This is generally set to the title +of the film that is being encoded. If Use ISDCF +name is not ticked, the name that you specify will be used +as-is for the name of the DCP. If Use ISDCF name +is ticked, the name that you enter will be used as part of a +ISDCF-compliant name. + + + +Underneath the name field is a preview of the name that the DCP will +get. To use a ISDCF-compliant name, tick the Use ISDCF +name check-box. The ISDCF name will be composed using details +of your content's soundtrack, the current date and other things that +can be specified in the ISDCF name details dialogue box, which you can +open by clicking on the Details button. + + + +If you want to take the ISDCF-compliant name that DCP-o-matic +generates and modify it, click Copy as name and +the ISDCF name will be copied into the Name box. +You can then edit it as you wish. The DCP name should not matter (in +that it should not affect how the DCP ingests or plays) but +projectionists will appreciate it if you use the standard naming +scheme as it makes it easier to identify details of the content. + + + +The Content Type option can be +‘feature’, ‘trailer’ or whatever; select the +required type from the drop-down list. On some projection systems +this will affect where your content appears in the projector's server +user interface, so take care to select an appropriate type. + + + +The Signed check-box sets whether or not the DCP +is signed. This is rarely important; if in doubt, tick it. + + + +The Encrypted check-box will set whether the DCP +should be encrypted or not. If this is ticked, the DCP will require a +KDM to play back. Encryption is discussed in . + + + +If you use encryption DCP-o-matic will generate a random encryption +key for you. To specify your own key, click the +Edit.. button next to the key. + + + +The Reels and Reel length +controls specify how the DCP will be split up into +‘reels’. See below. + + + +The Standard option specifies which of the two +DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the +more modern of the two). + + + +Ticking the Upload DCP to TMS after it is made +will ask DCP-o-matic to copy the finished DCP to your configured TMS (see ). + + + +At the bottom of the DCP tab are a further two tabs, one each to +contain the settings for the DCP's video and audio parts. + + + +The Container option sets the ratio of the image +in the DCP. If this ratio is different to the ratio used for any +content, DCP-o-matic will pad the content with black. In simple cases +this should be set to the same ratio as that for the the primary piece +of video content. Alternatively, you might want to pillarbox a small +format into a Flat container: in this case, select the small format +for the content's ratio and ‘Flat’ for the DCP. + + + +The Frame Rate control sets the frame rate of +your DCP. This can be a little tricky to get right. Ideally, you +want it to be the same as the video content that you are using. If it +is not the same, DCP-o-matic must resort to some tricks to alter your +content to fit the specified frame rate. Frame rates are discussed in +more detail in . + + + +The Use best button sets the DCP video frame rate +to what DCP-o-matic thinks is the best given the content that you have +added. + + + +The 3D button will set your DCP to 3D mode if it +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. + + + +The Resolution tab allows you to choose the +resolution for your DCP. Use 2K unless you have content that is of +high enough resolution to be worth presenting in 4K. + + + +The JPEG2000 bandwidth; setting changes how big +the final image files used within the DCP will be. Larger numbers +will give better quality, but correspondingly larger DCPs. The +bandwidth can be between 50 and 250 megabits per second (Mbit/s). +Most commercial DCPs use bit rates between 75 and 125 MBit/s. + + + +The Audio Channels control sets the number of +audio channels that the DCP will have. If the DCP has any channels +for which there is no content audio they will be replaced by silence. +You can only set an even number of channels here, since that is +required by the DCI standard. If you want an odd number of channels, +set the DCP channel count to one greater than you need and the +unused channel will be filled with silence. + + + +The Processor control allows you to select a +process to apply to the audio before it goes into the DCP. Three processes are currently provided: + + +Mid-side decode — this will take a L/R +stereo input and extract the common part (corresponding to the +‘Mid’ in a mid-side signal) into the DCP's centre channel. +The remaining L/R parts will be kept in the L/R channels of the DCP. +This may be useful to make near-field L/R mixes more compatible with +cinema audio systems. +Stereo to 5.1 up-mixer A — this will take a stereo input and up-mix it to ‘fake’ 5.1. The input L/R are treated as follows: + +DCP L is input L bandpass-filtered between 1.9kHz and 4.8kHz. +DCP R is input R bandpass-filtered between 1.9kHz and 4.8kHz. +DCP C is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 150Hz and 1.9kHz. +DCP Lfe is input L mixed with input R, taken down by 3dB and then bandpass-filtered between 20Hz and 150Hz. +DCP Ls is input L bandpass-filtered between 4.8kHz and 20kHz. +DCP Rs is input R bandpass-filtered between 4.8kHz and 20kHz. + -The first thing here is the name. This is generally set to the title -of the film that is being encoded. If Use ISDCF -name is not ticked, the name that you specify will be used -as-is for the name of the DCP. If Use ISDCF name -is ticked, the name that you enter will be used as part of a -ISDCF-compliant name. +This upmixing algorithm is due to Gérald Maruccia. + +Stereo to 5.1 up-mixer B — this uses a different approach: + + DCP L is input L. + DCP R is input R. + DCP C is input L + input R taken down by 3dB. + DCP Lfe is DCP C bandpass filtered between 20Hz and 150Hz. + DCP Ls and Rs are input L - input R with a 20ms delay. + + + + + +
+Reels -Underneath the name field is a preview of the name that the DCP will -get. To use a ISDCF-compliant name, tick the Use ISDCF -name check-box. The ISDCF name will be composed using details -of your content's soundtrack, the current date and other things that -can be specified in the ISDCF name details dialogue box, which you can -open by clicking on the Details button. +A ‘reel’ in a DCP is a subsection of the DCP, in the same +way as a 35mm reel is a section of a film. A DCP can be split up into +any number of reels and the joins (the equivalent to 35mm splices) +between the reels are seamless. -If the DCP name is long, it may not all be visible. You can see the -full name by hovering the mouse pointer over the partial name. +There is no reason why you can't just use a single reel for the whole +of your DCP, as there is no limit on their length. Many people choose +to do this. -The Container option sets the ratio of the image -in the DCP. If this ratio is different to the ratio used for any -content, DCP-o-matic will pad the content with black. In simple cases -this should be set to the same ratio as that for the the primary piece -of video content. Alternatively, you might want to pillarbox a small -format into a Flat container: in this case, select the small format -for the content's ratio and ‘Flat’ for the DCP. +There are, however, some possible advantages of splitting things up +into reels: + + +The picture, sound and subtitle data of the DCP will be +split up into more smaller files on disk, rather than fewer larger +files. This can be useful if the DCP is to be transferred on storage +that have file size limits. The FAT32 filesystem, for example, can +only hold files smaller than 4Gb. A 6Gb DCP with a single reel could +not be transferred using a FAT32-formatted disk. If that DCP were +split up into two 3Gb reels it could be transferred. + + +It is easier to re-use DCP components if they are in reels. Consider, +for example, a film company who wants to put a 5 second ident onto the +beginning of DCPs that they distribute. If they receive a feature +film DCP they can modify it to add their ident as a separate reel. +This is easier than attaching the picture data in the DCP. + + + -Next up is the content type. This can be -‘feature’, ‘trailer’ or whatever; select the -required type from the drop-down list. +DCP-o-matic offers three options for setting up the reels in your DCP: +single reel, split by video content or custom. -The Frame Rate control sets the frame rate of -your DCP. This can be a little tricky to get right. Ideally, you -want it to be the same as the video content that you are using. If it -is not the same, DCP-o-matic must resort to some tricks to alter your -content to fit the specified frame rate. Frame rates are discussed in -more detail in . +Single reel, as its name suggests, keeps the whole DCP as one reel. +This is a perfectly good option if you have no particular reason to +need reels. -The Signed check-box sets whether or not the DCP -is signed. This is rarely important; if in doubt, tick it. +Split by video content puts each piece of source +video content in its own reel, as shown in . +
+Making reels using split by video content + +
+ -The Encrypted check-box will set whether the DCP -should be encrypted or not. If this is ticked, the DCP will require a -KDM to play back. Encryption is discussed in . +Here we have three video files (ident.mp4, +feature.ts and cred.mov). With +split by video content DCP-o-matic makes a new +reel to hold each video file. -The Use best button sets the DCP video frame rate -to what DCP-o-matic thinks is the best given the content that you have -added. +Custom splits reels by the size of the files that +will make up their video content. With Custom +you must specify a reel length in Gb. Then no file in the DCP will be larger than this reel length. +
+ + + +
+Show audio + -The Audio Channels control sets the number of -audio channels that the DCP will have. If the DCP has any channels -for which there is no content audio they will be replaced by silence. +The Show Audio button will instruct DCP-o-matic +to examine the audio in your content and plot a graph of its level +over time. This can be useful for getting a rough idea of how loud +the sound will be in the cinema auditorium. A typical plot is shown +in +
+ Audio plot + + + + + +
+ -The 3D button will set your DCP to 3D mode if it -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. +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. -The Resolution tab allows you to choose the -resolution for your DCP. Use 2K unless you have content that is of -high enough resolution to be worth presenting in 4K. +There are two plot types: the peak level and the RMS, which can be +shown or hidden using the check-boxes on the right hand side of the +window. -The JPEG2000 bandwidth; setting changes how big the final -image files used within the DCP will be. Larger numbers will give -better quality, but correspondingly larger DCPs. The bandwidth can be -between 50 and 250 megabits per second (Mbit/s). +The channel check-boxes will show or hide the plot(s) for +the corresponding channels in the DCP. -The Standard option specifies which of the two -DCP standards DCP-o-matic should use. If in doubt, use SMPTE (the -more modern of the two). +The smoothing slider applies a variable degree of temporal smoothing +to the plots, which can make them easier to read in some cases. -Finally, the Scaler is the method that will be used to scale up -your content to the required size for the DCP, if required. Bicubic is a fine choice in -most situations. +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. +
+ @@ -1178,6 +1836,8 @@ chapter discusses the basic principles of DCP encryption, and how DCP-o-matic can create encrypted DCPs and KDMs for them. + +
Basics @@ -1191,6 +1851,8 @@ way that he can play it. Only those cinemas who receive a correct key delivery message (KDM) can play the DCP. + +
How it works (in a nutshell) @@ -1201,8 +1863,8 @@ methods to understand it. -We suppose that we are trying to distribute a DCP to -Alice's cinema, without a troublemaker called Mallory being able to +We suppose that we are trying to send a DCP to +Alice's cinema without a troublemaker called Mallory being able to watch it himself. @@ -1229,11 +1891,12 @@ happened to know Mallory, she could just send him a copy of the key. -The clever bit in DCP encryption requires the use of public-key +The clever bit in the process requires the use of public-key encryption. With this technique we can encrypt a block of data using some ‘public’ key. That data can then only be decrypted -using a different ‘private’ key. The -private and public keys are related mathematically, but it is +using a corresponding private key which is +different to the public key. The private and +public keys form a pair which are related mathematically, but it is extremely hard (or rather, virtually impossible) to derive the private key from the public key. @@ -1266,6 +1929,8 @@ does not).
+ +
Encryption using DCP-o-matic @@ -1277,10 +1942,10 @@ those cinemas that are allowed to play the DCP. The first part is simple: ticking the Encrypted -box in the DCP tab of DCP-o-matic will encrypt -the DCP using a random key that DCP-o-matic generates. The key will -be written to the film's metadata file, which should be kept -secure. +box in the DCP tab will instruct DCP-o-matic to +encrypt the DCP that it makes using a random key that DCP-o-matic +generates. The key will be written to the film's metadata file, which +should be kept secure. @@ -1291,18 +1956,28 @@ is). -The second part is to generate KDMs for the cinemas that you wish to -allow to play your DCP. This is done using the Make -KDMs option on the Jobs menu. This -will open the KDM dialogue box, as shown in . +The second part of distributions is to generate KDMs for the cinemas +that you wish to allow to play your DCP. There are two approaches to +this within DCP-o-matic: using the project, or using a DKDM. These +approaches are now described in turn. + + +
+Creating KDMs from a DCP-o-matic project + + +You can create KDMs from inside a DCP-o-matic project using the +Make KDMs option on the Jobs +menu. This will open the KDM dialogue box, as shown in .
- KDM dialog + KDM dialog - + - +
@@ -1314,17 +1989,18 @@ available by the projector manufacturers as text files with a -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. +DCP-o-matic can store these certificates along with details of their +cinemas and screens within those cinemas. Each screen has a +certificate for its projector (and optionally certificates for other +trusted devices, such as the sound processor). DCP-o-matic can +generate KDMs for any screens that it knows about. To add a cinema, click Add Cinema.... This opens a dialogue box into which you can enter the cinema's name, and optionally an email address. This email address can be used to -get DCP-o-matic to deliver KDMs via email, but it is optional. +get DCP-o-matic to deliver KDMs via email. @@ -1335,10 +2011,40 @@ from a file. The certificate should be in SHA256 PEM format. -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. +Alternatively, certificates for projection systems made by some +manufacturers can be downloaded from databases provided by the +manufacturer. Currently this is supported for Doremi and Dolby +equipment. If you are targeting a screen with equipment by one of +these manufacturers you can click Download then +enter the serial number of the server in the screen and click +Download again and, all being well, the certificate +will be fetched. + + + +Using the download system you will need to know the serial number of +the media server in use in the screen. Most cinema projection or +technical departments will know these serial numbers. + + + +Note that the reliability of the manufacturers' certificate databases +cannot be guaranteed. It is vital that KDMs are tested by the +destination cinema will in advance of show time to identify any +problems. + + + +Once you have set up all the screens that you need KDMs for, select +the CPL that you want to create the KDM for. You can use the +drop-down list to select the CPLs in the current film project, or load +a CPL from somewhere else. Select the cinemas and/or screens that you +want KDMs for and fill in the start and end dates and times. + + + +You must also select the type of KDM that you want to generate. If in +doubt, use Modified Transitional 1. @@ -1352,9 +2058,98 @@ generate the KDMs.
+
+Creating KDMs using a DKDM +
+ + +It can be inconvenient to need a whole DCP-o-matic project just to +create KDMs for its film. Perhaps you want to archive the project to +save space, or create KDMs on a different machine. In such situations +it is easier to use a DKDM. This is a normal KDM, but instead of +being targeted at a projection system (to allow it to decrypt the +content) it is targeted at a particular users's certificate. This +means that the certificate owner can create new KDMs for other users. +The DKDM holds everything that is required to create further KDMs. + + + +Sometimes it is useful to create DKDMs that can be used by +DCP-o-matic. If you create such a DKDM you can keep it and then, at +any point in the future, use DCP-o-matic's standalone KDM creator to +make KDMs for the DKDM's film for any cinema. + + + +In other cases a DKDM is sent to a 3rd party so that they can create +KDMs for your films. This can be useful if, for example, you have a +distributor who provides 24-hour KDM support to cinemas and can create +KDMs for anybody that requires them at short notice. + + + +To create a DKDM for DCP-o-matic, open your encrypted project and +select Make DKDM for DCP-o-matic... from the +Jobs menu. Select the CPL that you want to make +the DKDM for and click OK. This DKDM will then +be available in the KDM creator. This is a separate program which you +can start from the same place that you start the ‘Normal’ +DCP-o-matic. Its window is shown in . + + +
+ The KDM creator + + + + + +
+ + +To create KDMs, select the cinema(s) and/or screens that you want KDMs +to be created for, the date range, the DCP that the KDMs are for and +the destination for the KDMs and click Create +KDMs. + + + +By default the DKDM list will list any DCPs for +which you have clicked Make DKDM for +DCP-o-maticin the main DCP-o-matic program. If you have +other DKDMs you can add them by clicking Add... and +specifying the file containing the DKDM. + + + +If another organisation wants to send you a DKDM they will ask you for +a target certificate. You can get DCP-o-matic's target certificate by +opening Preferences and clicking Export +DCP decryption certificate... in the Keys +tab. + + + +
+ +
+Encryption overview + +
+ Overview of encryption + + + + + +
+ +
 + + Preferences @@ -1363,31 +2158,36 @@ DCP-o-matic provides a few preferences which can be used to modify its behaviour. This chapter explains those options. + +
The preferences dialogue The preferences dialogue is opened by choosing Preferences... from the Edit -menu. The dialogue is split into five tabs. +menu. The dialogue is split into seven tabs. +
-Miscellaneous +General -The miscellaneous tab is shown in . +The general tab is shown in . -
- Miscellaneous preferences +
+ General preferences - - - + + +
+ +
Language @@ -1405,6 +2205,8 @@ read about how to contribute a translation.
+ +
Threads @@ -1418,86 +2220,184 @@ to set this up correctly when you run it for the first time.
+
-KDM emails +Cinema and screen database file -DCP-o-matic can send KDMs (see ) to -cinemas (or anywhere else) via email. To make this work, enter a -suitable outgoing mail (SMTP) server and ‘from’ address -for these emails. +This option allows you to change the file that DCP-o-matic uses to +store details of the cinemas and screens used to make KDMs.
-Defaults +Integrated loudness -The next few options allow you to set up default values for several -properties of new films that you create. +If Find integrated loudness, true peak and loudness range +when analysing audio is ticked, DCP-o-matic will do extra +work when analysing audio. Leave this ticked if the extra parameters +are useful to you. If not, untick it and audio analysis will be +faster.
+ + +
+Updates + + +The Check for updates on startup option, if +enabled, will tell DCP-o-matic to check on dcpomatic.com to see if there any +newer versions of DCP-o-matic then the one you are running. If so, a +dialogue box will open with a link to download the new version. +available + + + +The Check for testing updates as well as stable +ones option will also check for test updates as well as +those that are formally ‘released’. This is useful if you +like to live on the bleeding edge! + +
+ + +
+Issuer and creator + + +With these controls you can set the issuer and creator strings that +will be put into the DCPs which you create. + +
+
+
-Colour conversions +Defaults -The colour conversions tab is shown in . +The defaults tab is shown in . -
- Colour conversions preferences +
+ Defaults preferences - - - + + +
-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. +The options in this tab simply allow you to set up default values for +various properties of new films. + + +
+ + +
+Servers + + +The servers tab is shown in . +
+ Servers preferences + + + + + +
+ -Colour conversion is discussed in more detail in a separate document -colour.pdf. +If Use all servers is ticked DCP-o-matic will +locate encoding servers automatically (see ). -These preferences control a list of presets which are suitable for -converting from common input colour spaces to XYZ. +Instead of this (or in addition) servers can be specified explicitly. +To add a server, click Add... and enter the host +name or IP address of the server to use.
-
-Metadata + + +
+Keys -The metadata tab is shown in . +The Keys tab (shown in ) holds options +related to the keys and certificates used in some parts of DCP +creation. -
- Metadata preferences +
+ Keys preferences - - - + + +
-This allows you to set up a couple of identifiers that are written -into the DCP. The default values should cause no problems. +At the top of the tab is the chain of certificates that will be used +to sign DCPs and KDMs. DCP-o-matic creates a random chain when you +first run it and if you are happy to use this chain you can ignore the +preferences. Otherwise, you can add or remove certificates from the +chain using the Add... and +Remove buttons. + + + +If you want DCP-o-matic to re-create the certificate chain (using new, +random certificates) click Re-make +certificates... and specify your organisation and common +names in the dialogue box that opens. + + + +Underneath the certificate chain is the private key that corresponds +to the leaf certificate in the chain. You can specify your own +private key by clicking Load.... You must do +this if you change the leaf certificate, so that the leaf private key +corresponds to the public key held in the leaf certificate. + + + +Underneath the details of the certificate chain and private key for +signing of DCPs and KDMs is a second chain and key which is used by +DCP-o-matic when you import an encrypted DCP as a piece of content. +The leaf certificate of this chain contains the public key that should +be used when targeting a KDM at DCP-o-matic. + + + +If you want to import an encrypted DCP you will need to give the +decryption certificate to the distributor of the DCP so that they can +generate a DKDM for you. You can save this certificate to disk by +clicking Export DCP decryption certificate.... As +with the signing chain, DCP-o-matic will create a certificate chain +and private key for you. You can also choose to load your own +certificates and key or re-make the chain and key with new, random +values.
+
TMS TMS preferences @@ -1505,30 +2405,47 @@ into the DCP. The default values should cause no problems. The TMS tab (shown in ) gives some options for specifying details about your theatre management system -(TMS). If you do this, and your TMS accepts SSH connections, you can -upload DCPs directly from DCP-o-matic to the TMS using the +(TMS). If you do this, and your TMS accepts SSH or FTP connections, +you can upload DCPs directly from DCP-o-matic to the TMS using the Send DCP to TMS option in the Jobs menu. -
- TMS preferences +
+ TMS preferences - + - +
+ +Protocol should be set to SCP or FTP as +appropriate for your TMS. We know that the Arts Alliance Media (AAM) +and the Doremi ranges uses SCP connections, and that Dolby's TMSs use +FTP. Do let us know if you use any other type of TMS with the +Send DCP to TMS feature. + + TMS IP address should be set to the IP address of your TMS, TMS target path to the place that DCPs should be uploaded to (which will be relative to the home directory of -the SSH user). Finally, the user name and password are the -credentials required to log into the TMS via SSH. +the SSH or FTP user). Finally, the user name and password are the +credentials required to log into the TMS via SSH or FTP. + + + +Note that for this to work on Doremi servers you will need to set the +PasswordAuthentication option in your server's +sshd_config to yes. +
+ +
KDM email @@ -1536,24 +2453,53 @@ credentials required to log into the TMS via SSH. The KDM email is shown in . -
- KDM email preferences +
+ KDM email preferences - + - +
This is a template for the email that is used to send KDMs out to -cinemas. You can change it to say whatever you like. The -‘magic’ string $CPL_NAME will be replaced by -DCP's title. +cinemas. You can change it to say whatever you like. A few +‘magic’ strings will be replaced by information from the +KDM that is being sent: + + + +‘Magic’ KDM strings + + + +$CPL_NAMEDCP title + + +$CINEMA_NAMECinema name + + +$SCREENSName of screen or screens that KDMs are being generated for + + +$START_TIMEThe time from which the KDMs are valid + + +$END_TIMEThe time until which the KDMs are valid + + + +
+ + +The Reset to default text will replace the current KDM email with DCP-o-matic's default.
+ +
Advanced Advanced preferences @@ -1562,12 +2508,12 @@ DCP's title. The advanced preferences are shown in . -
- Advanced preferences +
+ Advanced preferences - + - +
@@ -1585,6 +2531,12 @@ useful for experimentation. Again, you are strongly advised to leave this unticked for normal use. + +Only servers encode makes DCP-o-matic encode +JPEG2000 data only on encoding servers and not on the host. We +suggest you leave this un-ticked unless you have a good reason to do otherwise. + + The four checkboxes labelled Log control what sort of messages DCP-o-matic writes to its log file when creating a @@ -1614,6 +2566,8 @@ video frame and audio sampling rates as the DCP. This is not, however, always possible. + +
DCP frame rate limitations @@ -1625,18 +2579,22 @@ play fine, but another (of a different type) will refuse to play, or even refuse to ingest. + +
Guaranteed rates The only rates that are (pretty much) guaranteed to work on all DCI -projectors is 24 frames per second (fps) for video and 48kHz or 96kHz +projectors are 24 frames per second (fps) for video and 48kHz or 96kHz for audio. If you are sending your DCPs to unknown places it wise to consider using these rates if at all possible.
+ +
Other often-supported rates @@ -1645,6 +2603,8 @@ Many projectors now in the wild support additional video frame rates:
+ +
Adapting content to fit the DCP rate @@ -1687,6 +2647,8 @@ For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
+ +
Setting up @@ -1694,7 +2656,7 @@ For very low or high frame rates, DCP-o-matic can also skip or duplicate frames. The Frame Rate control in the DCP tab sets the video frame rate that the DCP will use. Clicking Use best sets the rate to -what DVD-o-matic thinks is the best for your content. With this +what DCP-o-matic thinks is the best for your content. With this button, DCP-o-matic assumes that the whole range of frame rates (24, 25, 30 and 48fps) are allowable. @@ -1736,6 +2698,8 @@ The master and server machines do not need to be the same type, so you can mix Windows PCs, Macs and Linux machines as you wish. + +
Running the servers @@ -1753,7 +2717,7 @@ To run the command line version, simply enter: -dcpomatic_server_cli +dcpomatic2_server_cli @@ -1763,7 +2727,7 @@ by doing something like: -dcpomatic_server_cli -t 4 +dcpomatic2_server_cli -t 4 @@ -1790,6 +2754,8 @@ without touching your standard operating system install.
+ +
Setting up DCP-o-matic @@ -1802,6 +2768,8 @@ servers that DCP-o-matic has found.
+ +
Some notes about encode servers @@ -1829,12 +2797,12 @@ linkend="fig-file-structure"/> shows the files that might be generated after you have created a DCP for a film called ‘DCP Test’. -
- Creating a new film +
+ Creating a new film - - - + + +
@@ -1884,6 +2852,8 @@ to the cinema which is showing your DCP. This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual. + +
Resuming encodes