X-Git-Url: https://git.carlh.net/gitweb/?p=dcpomatic.git;a=blobdiff_plain;f=doc%2Fmanual%2Fdcpomatic.xml;h=5b30bcf70b9ccda32103e9ef884bb0834a891267;hp=ee7b960837e2fef53707c013039321f4f550b8b9;hb=c5ab3bded4d8a523fe7f3ab3256e17ef3ab96615;hpb=147cca5876dfbdf56e21289c3a36bec4b4850191 diff --git a/doc/manual/dcpomatic.xml b/doc/manual/dcpomatic.xml index ee7b96083..5b30bcf70 100644 --- a/doc/manual/dcpomatic.xml +++ b/doc/manual/dcpomatic.xml @@ -8,10 +8,10 @@ %extensions; ]> - + -DCP-o-matic +DCP-o-matic users' manual CarlHetherington @@ -22,45 +22,72 @@ 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. +
+ + + +
+Licence + -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. +DCP-o-matic is free and open-source and is licensed under the GNU +GPL.
+ +
-Licence +Acknowledgements -DCP-o-matic is licensed under the GNU GPL. +This manual uses icons from the Tango Desktop Project, with thanks.
+ +
+This manual + + +This manual presents bits of DCP-o-matic's user interface (such as menu items or buttons) like this. + + + +Notes of an advanced nature are presented like this. Ignore them unless you want to know the gory details. + + +
+ + Installation + +
Windows -To install DCP-o-matic on Windows, simply download the installer from -http://carlh.net +To install DCP-o-matic on Windows, download the installer from +http://dcpomatic.com/ and double-click it. Click through the installer wizard, and DCP-o-matic will be installed onto your machine. @@ -76,30 +103,98 @@ 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 http://dcpomatic.com/ and double +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: + + + + Debian 7 (‘wheezy’) + Debian 8 (‘jessie’) + Debian unstable (‘sid’) + Ubuntu 12.04 (‘Precise Pangolin’) + Ubuntu 14.04 (‘Trusty Tahr’) + Ubuntu 15.10 (‘Wily Werewolf’) + Ubuntu 16.04 (‘Xenial Xerus’) + -You can install DCP-o-matic on Ubuntu 12.04 (‘Precise -Pangolin’) or 12.10 (‘Quantal Quetzal’) using -.deb packages: download the appropriate package from -http://carlh.net and -double-click it. Ubuntu will install the necessary bits and pieces -and set DCP-o-matic up for you. +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. +
+ + + + +
+ Fedora Linux + + There are .rpm packages for Fedora 22 and 23 on + http://dcpomatic.com/ + +
+ + + +
+ Centos Linux + There are .rpm packages for Centos 5, 6.5 and 7 on + http://dcpomatic.com/ + +
+ + + + +
+Arch Linux + +Packages for Arch Linux are available from https://aur.archlinux.org/packages/dcpomatic/, +thanks to Stefan Karner. +
+ +
Other Linux distributions -Installation on non-Ubuntu Linux is currently a little involved, as -there are no packages available (yet); you will have to compile it -from source. If you are using a non-Ubuntu distribution, do let me -know via the mailing -list and I will see about building some packages. +Installation on other Linux systems (for which no packages are +available) is quite hard 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. @@ -107,21 +202,29 @@ The following dependencies are required: FFmpeg libsndfile +libsamplerate OpenSSL libopenjpeg ImageMagick Boost libssh -GTK +GTK (on Linux) wxWidgets -libdcp +libxml++ +xmlsec +curl +libzip +libdcp +libsub +libcxml +libicu Once you have installed the development packages for the dependencies, download the source code from http://carlh.net, +url="http://dcpomatic.com/">http://dcpomatic.com/, unpack it and run the following commands from inside the source directory: @@ -137,7 +240,7 @@ With any luck, this will build and install DCP-o-matic on your system. To run i -dcpomatic +dcpomatic2 @@ -147,13 +250,14 @@ 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 -DCP-o-matic. We will gloss over some of the finer details, which are -explained in later chapters. +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.
@@ -164,7 +268,7 @@ 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. @@ -172,19 +276,19 @@ the low-resolution version to save everyone's bandwidth bills. Now, start DCP-o-matic and its window will open. First, we will create a new ‘film’. A ‘film’ is how DCP-o-matic refers to -a piece of content, along with some settings, which we will make into +some pieces of content, along with some settings, which we will make into a DCP. DCP-o-matic stores its data in a folder on your disk while it creates the DCP. You can create a new film by selecting New from the File menu, as shown in . -
- Creating a new film +
+ Creating a new film - + - +
@@ -193,12 +297,12 @@ This will open a dialogue box for the new film, as shown in . -
- Dialogue box for creating a new film +
+ Dialogue box for creating a new film - + - +
@@ -211,41 +315,38 @@ folder called ‘DCP Test’ inside my home folder (carl) into which it will write its working files. - -If you always create your DCPs in a particular folder, you can use -DCP-o-matic's Preferences to make life a little -easier by setting the default folder that DCP-o-matic will offer in this dialogue. -See . - -
+ +
-Selecting content +Adding content -The next step is to set the content that you want to use. Click the -content selector, as shown in , and a file chooser will -open for you to select the content file to use, as shown in Add +file(s)... button, as shown in , and a file chooser will open for you to +select the content file to use, as shown in . -
- Opening the content selector +
+ Adding content files - - - + + +
-
- Selecting a video content file +
+ Selecting a video content file - + - +
@@ -258,578 +359,2359 @@ case we are using the Sintel trailer that we downloaded earlier. 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 . +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 -such as Totem, mplayer or VLC. +such as Totem, mplayer or +VLC.
-
-Setting up - -Now there are a few things to set up to describe how the DCP should be -created. The settings are divided into four tabs: film, video, audio and subtitles. - + +
-Film tab +Making the DCP + +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. -The ‘film’ tab contains settings that pertain to the whole film, as shown in . +Choose Make DCP from the +Jobs 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 . -
- Film settings tab +
+ Making the DCP - - - + + +
-The first thing here is the name. This is generally set to the title -of the film that is being encoded. If Use DCI -name is not ticked, the name that you specify will be used -as-is for the name of the DCP. If Use DCI name -is ticked, the name that you enter will be used as part of a -DCI-compliant name. +When it has finished, the DCP will end up on your disk inside the +film's folder. You can then copy this to a projector via a USB +stick, hard-drive or network connection. See for details about the files that DCP-o-matic creates. -Underneath the name field is a preview of the name that the DCP will -get. To use a DCI-compliant name, tick the Use DCI -name checkbox. The DCI name will be composed using details -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 Details button. +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 . - -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. - +
+ - -The Trust content's header button starts off -checked, and this means that DCP-o-matic will use the content's header -information to determine its length. If, for some reason, this header -length is wrong, uncheck the Trust content's -header button and DCP-o-matic will run through the content -to find its exact length. This may take a while for large pieces of content. - + + + +Creating a DCP from a still image -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 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 trim frames settings allow you to trim frames -from the beginning and end of the content; any trimmed frames will not -be included in the DCP. +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 . -
- -
-Video tab +
+ Dialogue box for creating a new film + + + + + +
-This tab contains settings related to the picture in your DCP, as shown in . +Enter a name and click OK. Now we need to add +the content. As before, click Add file(s).... +For our example, we will add a single image file, as shown in . -
- Video settings tab +
+ Selecting a still content file - - - + + +
-The first option on this tab is the format. This will govern the -shape that DCP-o-matic will make your image into. Select the aspect -ratio that your content should be presented in. The ‘4:3 within -Flat’ and ‘16:9 within Flat’ settings will put the -image at the specified ratio within a Flat (1.85:1) frame, so that you -can project the DCP using your projector's Flat preset. +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 +Play length setting, as shown in . - -The remaining options can often be left alone, but may sometimes be -useful. 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 timing tab + + + + + +
-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. - +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 Set. -The ‘scaler’ is the method that will be used to scale up -your content to the required size for the DCP, if required. We will -discuss the options in more detail later; Bicubic is a fine choice in -most situations. - +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 DCP from a video file, as DCP-o-matic only needs +to encode a single frame which it can then repeat. - -The ‘colour look-up table’ specifies the colour space that -your input content will be expected to be in. If in doubt, leave it -set to ‘sRGB’. - + + + + + +Manipulating existing DCPs -Finally, the ‘JPEG2000 bandwidth’ setting changes how big the final -image files used within the DCP will be. Larger numbers will give -better quality, but correspondingly larger DCPs. The bandwidth can be -between 50 and 250 megabits per second (MBps). +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. -
-
-Audio tab +Importing a DCP into DCP-o-matic -This tab contains settings related to the sound in your DCP, as shown in . +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. -
- Audio settings tab - - - - - -
+
+ +
+Decrypting encrypted DCPs -‘Audio Gain’ is used to alter the volume of the -soundtrack. The specified gain (in dB) will be applied to each sound -channel before it is written to the DCP. +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. -If you use a sound processor that DCP-o-matic knows about, it can help -you calculate changes in gain that you should apply. Say, for -example, that you make a test DCP and find that you have to run it at -volume 5 instead of volume 7 to get a good sound level in the screen. -If this is the case, click the Calculate... -button next to the audio gain entry, and the dialogue box in will open. +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. -
- Calculating audio gain - - - - - -
- -For our example, put 5 in the first box and 7 in the second and click -OK. DCP-o-matic will calculate the audio gain -that it should apply to make this happen. Then you can re-make the -DCP (this will be reasonably fast, as the video data will already have -been done) and it should play back at the correct volume with 7 on -your sound-rack fader. +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. -Current versions of DCP-o-matic only know about the Dolby CP750. If -you use a different sound processor, and know the gain curve of its -volume control, get in -touch. +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 + -‘Audio Delay’ is used to adjust the synchronisation -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. +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 + -By default the Use content‘s audio button -will be selected. This means that the DCP will use one of the -soundtracks from your content file; you can select the soundtrack that -you wish to use from the drop-down box. +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. -Note that if your content's audio is mono, DCP-o-matic will place it -in the centre channel in the DCP. +DCP-o-matic can do this if you avoid changes to +the following content settings: + +Crop +Scaling +Subtitle burn-in +Fades +Colour conversion + + -Alternatively, you can supply different sound files by clicking the -Use external audio button and choosing a WAV file -for any channels that you want to appear in the DCP. These files can -be any bit depth and sampling rate, and will be re-sampled and -bit-depth converted if required. +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.
+ +
-Subtitles tab +Making overlay files -This tab contains settings related to subtitles in your DCP, as shown in . +With its default settings, DCP-o-matic will take any data from DCP +content and copy it into the DCP that it creates. See . -
- Subtitle settings tab - - - - - +
+Creating a new DCP by copying an existing one +
-DCP-o-matic will extract subtitles from the content, if present, and -they can be ‘burnt into’ the DCP (that is, they are -included in the image and not overlaid by the projector). Note that -DVD and Blu-Ray subtitles are stored as bitmaps, so it is not possible -(automatically) to use non-burnt-in subtitles with these sources. -Select the With Subtitles checkbox to enable -subtitles. The offset control moves the -subtitles up and down the image, and the scale -control changes their size. - - - -Future versions of DCP-o-matic will hopefully include the option to -use text subtitles (as is the norm with most professionally-mastered -DCPs). +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. -
-
- -
-Making the DCP - -Now that we have set everything up, choose Make -DCP from the Jobs 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 . +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. -
- Making the DCP - - - - - +
+Creating a new DCP by referring to an existing one +
-When it has finished, the DCP will end up on your disk inside the -film's directory. You can then copy this to a projector via a USB -stick, hard-drive or network connection. +To play back the subtitled DCP the projectionist ingests both the base +(OV) DCP and the overlay (VF) DCP, then plays the VF one. -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 . +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. + +
+ + + + + + + -Creating a still-image DCP +Content settings -DCP-o-matic can also be used to create DCPs of a still image, perhaps -for an advertisement or an on-screen announcement. This chapter shows you -how to do it. +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. +
+Adding and removing content + -As with video DCPs, 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 . +At the top of the Content 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: -
- Dialogue box for creating a new film - - - - - -
+ +Movie — a file containing some video, probably some +audio and possibly some embedded subtitles; for example, a MOV, MP4 or VOB. + - -Enter a name and click OK. Then we set up the -content; click the content selector as before, and this time we will -choose an image file, as shown in . - +Sound — a file containing one or more channels of +audio; for example, a WAV or AIFF file. + -
- Selecting a still content file - - - - - -
+Still image — a file containing a single still image; for +example, a JPEG, PNG or TIFF file. + - -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. - +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. + -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. +To add one or more movie, sound, still-image or subtitle files, select +Add file(s)... and choose them from the selector. -Still-image DCPs can include sound; this can be added from the -Audio 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 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. -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 -to encode a single frame which it can then repeat. +You can remove a piece of content by clicking on its name and then +clicking the Remove button. - - +
- -Preferences + +
+Adding existing DCPs - -DCP-o-matic provides a few preferences which can be used to modify its -behaviour. This chapter explains those options. +Adding existing DCPs to a DCP-o-matic film is a little different +to adding other types of content. Most content has to be converted to +JPEG2000, the compression scheme used by DCPs, which is a very +time-consuming process. Existing DCPs are already in JPEG2000 format +so do not require conversion. This means that, provided no settings +such as crop are used on the DCP content, picture and sound data will +be passed from existing to new DCP unaltered. -
-The preferences dialogue - - -The preferences dialogue is opened by choosing -Preferences... from the Edit -menu. The dialogue is shown in . +Encrypted DCPs that are added as content will require a KDM +targeted at DCP-o-matic so that DCP-o-matic can decrypt them. You +should ask the creator of the imported DCP to provide a KDM for +DCP-o-matic's decryption certificate, which can be obtained by +clicking Export DCP decryption certificate... +from the Keys tab of the +Preferences dialog (see ). -
- Preferences - - - - - -
+
+
-TMS setup +Content Properties -The first part of the dialogue gives some options for specifying -details about your TMS. If you do this, and your TMS accepts SSH -connections, you can upload DCPs directly from DCP-o-matic to the TMS. -This is discussed in . +Below the content list are the controls to set content properties. To +adjust the properties for a piece of content, click its name in the +content list. The content property controls will then become active +for that piece of content. -TMS IP address should be set to the IP address of -your TMS, TMS target path to the place that DCPs -should be uploaded to (which will be relative to the home directory of -the SSH user). Finally, the user name and password are the -credentials required to log into the TMS via SSH. +If you want to change the properties for multiple pieces of content at +the same time, select the content in the list by clicking the first +piece then clicking the other pieces with shift key +held down. Note that not all settings can be changed in this way. -
- -
-Threads -When DCP-o-matic is encoding DCPs it can use multiple parallel threads -to speed things up. Set this value to the number of threads -DCP-o-matic should use. This would typically be set to the number of -processors (or processor cores) in your machine. +The content properties are split up into four sections: +Video, Audio, +Subtitles and Timing. Not +all of these sections will be active for all content types. The controls +in each section are described below.
+ +
-Default directory for new films +Video -This is the directory which DCP-o-matic will suggest initially as a place to put new films. +The Video tab controls properties of the image, as shown in . -
+
+ Video settings tab + + + + + +
+ +
-A/B options +Image type -These options are for DCP-o-matic's special mode of making A/B -comparison DCPs for checking the performance of video filters. Their -use is described in . +The first option on this tab is the ‘type’ of the video. +This specifies how DCP-o-matic should interpret the video's image. +2D is the default; this just takes the video +image as a standard 2D frame. The 3D +left/right option tells DCP-o-matic to interpret the frame as a +left-right pair, as shown in . -
+
+ 3D left/right image type + + + + + +
-
-Encoding servers + +Alternatively the 3D top/bottom option tells +DCP-o-matic to see the frame as a top-bottom pair, as shown in . + + +
+ 3D top/bottom image type + + + + + +
-If you have spare machines sitting around on your network not doing -much, they can be pressed into service to speed up DCP encodes. This -is done by running a small server program on the machine, which will -encode video sent to it by the ‘master’ DCP-o-matic. This -option is described in more detail in . -Use these preferences to specify the encoding servers that should be -used. +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.
-
+ + +
+Filtering + + +The ‘filters’ settings allow you to apply various video +filters to the image. These may be useful to try to improve +poor-quality sources like DVDs. You can set up the filters by clicking the +Edit button next to the filters entry in the +setup area of the DCP-o-matic window; this opens the filters selector +as shown in . + + +
+ Filters selector + + + + + +
+ + +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! + +
+ + + + +
+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, +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 +ratio that your content should be presented in. + + +
+ + +
+Video description + + +At the bottom of the video tab is a short description of what will +happen to your video with the current settings. In the example of +, DCP-o-matic is telling you that the +video file is 1920x1080 pixels and it has square pixels (a pixel +aspect ratio of 1.00) hence its display aspect ratio is 1.78:1. Since +the controls specify ‘16.9’ for the ratio, DCP-o-matic +does not scale the image but pads it to the DCP's container ratio of +1.85:1. For a 2K DCP this is 1998x1080 pixels. + + + +This description also gives the frame rate of the content and what +will happen to it when it is played at the DCP's frame rate. See + for details of DCP-o-matic's +frame-rate conversion. + + +
+ + + + + +
+Audio + + +The Audio tab controls properties of the image, as shown in . + + +
+ Audio settings tab + + + + + +
+ + + +
+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. + + + +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. + + + +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 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. + + + +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. + + + +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. 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. 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 + + + + + +
+ + +As a final example, the map in +shows the mapping of a 5.1 source into a 5.1 DCP. + + +
+ + + +
+Other controls + + +‘Audio Gain’ is used to alter the volume of the +soundtrack. The specified gain (in dB) will be applied to each sound +channel of your content before it is written to the DCP. + + + +If you use a sound processor that DCP-o-matic knows about, it can help +you calculate changes in gain that you should apply. Say, for +example, that you make a test DCP and find that you have to run it at +volume 5 instead of volume 7 to get a good sound level in the screen. +If this is the case, click the Calculate... +button next to the audio gain entry, and the dialogue box in will open. + + +
+ Calculating audio gain + + + + + +
+ + +For our example, put 5 in the first box and 7 in the second and click +OK. DCP-o-matic will calculate the audio gain +that it should apply to make this happen. Then you can re-make the +DCP (this will be reasonably fast, as the video data will already have +been done) and it should play back at the correct volume with 7 on +your sound-rack fader. + + + +Current versions of DCP-o-matic only know about the Dolby CP650 and +CP750. If you use a different sound processor, and know the gain +curve of its volume control, get in +touch. + + + +Audio Delay is used to adjust the synchronisation +between audio and video. A positive delay will move the audio later +with respect to the video, and a negative delay will move it earlier. + + +
+
+ + + +
+Subtitles + + +The subtitles tab contains settings related to subtitles in your +content, as shown in . + + +
+ Subtitle settings tab + + + + + +
+ + +DCP-o-matic 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 + + + + + +
+ + +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.... + + + +With any subtitles you can click Appearance... to +change how the subtitles look. + + +
+ + + +
+Timing + + +The timing tab contains settings related to the timing of your +content, as shown in . + + +
+ Timing settings tab + + + + + +
+ + +Most of the timing tab's entries are time-codes. +These are expressed as four numbers, as shown in . + + +
+ Timecode + + + + + +
+ + +Position is the time at which this piece of +content should start within the DCP. In most cases, this will be +0:0:0:0 to make the content start at the beginning of the +DCP. + + + +Full length is the length of the piece of +content. This can only be set for still-image content: for video or +sound content, it is fixed by the nature of the content file. If +still-image content is being used you can set the length for which it +should be displayed using this control. + + + +Trim from start specifies the amount that should be trimmed from the start of the content. + + + +Trim from end specifies the amount that should be trimmed from the end of the content. + + + +Play length indicates how long this piece of +content will be once the trims have been applied. This will be equal +to the full length minus trim-from-start and minus trim-from-end. + + + +Video frame rate specifies the frame rate for +still-image content. It can also be used to override the detected +frame rate of other content if DCP-o-matic has got it wrong. + + + +Each timecode control has a Set which you should +click when you have entered a new value for a timecode. The +Set button will make DCP-o-matic take account of +any changes to the corresponding timecode. + + +
+ + + +
+Video processing pipeline + + +This section gives a little more detail about how DCP-o-matic process +video as it takes it from a source and puts it into a DCP. + + + +Consider, as a somewhat over-the-top example, that we have a 720 x 576 +image which is letterboxed with 36 black pixels each at the top and +bottom, and the video content within the letterbox should be presented +in the DCP at ratio of 2.39:1 within a 1.85:1 frame (such as might +happen with a trailer). The source image is shown in . + + +
+ Example image to demonstrate video processing + + + + + +
+ + +DCP-o-matic runs through the following steps when preparing an image for a DCP: + + + +Crop +Scale +Place in container + + + +First, some amount of the image can be cropped. This is almost always +used to remove black borders (letterboxing and/or pillarboxing) around +images. + + + +In our example image, we would use 36 pixels of crop from the top and +bottom. This would give the new image shown in . + + +
+ Example image after cropping + + + + + +
+ + +The next step is to scale the image. Since this content should be +presented in a 2.39:1 aspect ratio inside a 1.85:1 DCP we would select +Scope from the Scale to +option in the Video tab and +Flat from the Container +option in the DCP tab. + + +The Scale to option should always be set to +the aspect ratio at which the content should be seen. The +Container option should be set to the preset that +you want to use on the projector. Of course, these two settings will +often be the same. + + + +Given the scaling and container information, DCP-o-matic will look at +the DCP's container size, and then scale the source image up until one +or both of its dimensions (width, height or both) fits the size of the +container, all the while preserving the desired aspect ratio. + + + +In our example here, the DCP's container is specified as 1.85:1 (so +that the DCP will play back correctly using the projector's +‘Flat’ preset). At 2K, 1.85:1 is 1998 pixels by 1080. +Scaling the source up whilst preserving its 1.85:1 aspect ratio will +result in the image hitting the sides of the container first, at a +size of 1998 x 836. This gives us a new version of the image as shown +in . + + +
+ Example image after cropping and scaling + + + + + +
+ + +The final step is to place the image into the DCP. In this case, +since we have a 2.39:1 image that should be presented as a 1.85:1 DCP, +we have set the container in the +DCP tab to be Scope. Since the content has been +scaled to 1998 x 836, and a Flat container is 1998 x 1080, there will +be some black bars at the top and bottom of the image. DCP-o-matic +shares out this black equally, as shown in . + + +
+ Example image in the DCP + + + + + +
+ +
+ + + + +DCP settings + + +This chapter describes the settings that apply to the whole DCP. The +controls for these settings are in the DCP tab of +the main window, as shown in . + + +
+ 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. + + +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 + + +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. + + + +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. + + + +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. + + + + +DCP-o-matic offers three options for setting up the reels in your DCP: +single reel, split by video content or custom. + + + +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. + + + +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 + +
+ + +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. + + + +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 Show Audio button will instruct DCP-o-matic +to examine the audio in your content and plot a graph of its level +over time. This can be useful for getting a rough idea of how loud +the sound will be in the cinema auditorium. A typical plot is shown +in + + +
+ Audio plot + + + + + +
+ + +The plot gives the audio level (vertical axis, in dB) with time +(horizontal axis). 0dB represents full scale, so if there is anything +near this you are in danger of clipping the projector's audio outputs. + + + +There are two plot types: the peak level and the RMS, which can be +shown or hidden using the check-boxes on the right hand side of the +window. + + + +The channel check-boxes will show or hide the plot(s) for +the corresponding channels in the DCP. + + + +The smoothing slider applies a variable degree of temporal smoothing +to the plots, which can make them easier to read in some cases. + + + +Obviously the audio plot is no substitute for listening in an +auditorium, but it can be useful to get levels in the right rough area. + + +
+ + + + +Encryption + + +It is not required that DCPs be encrypted, but they can be. This +chapter discusses the basic principles of DCP encryption, and how +DCP-o-matic can create encrypted DCPs and KDMs for them. + + + + +
+Basics + + +DCPs can be encrypted. This means that the picture and sound data are +encoded in such a way that only cinemas ‘approved’ by the +DCP's creators can read them. In particular, this means copies of the +DCP can be distributed by insecure means: if an ne'er-do-well called +Mallory obtains a hard drive containing an encrypted DCP, there is no +way that he can play it. Only those cinemas who receive a correct key +delivery message (KDM) can play the DCP. + + + + +
+How it works (in a nutshell) + + +This section attempts to summarise how DCP encryption works. You can +skip it if you like. You may need some knowledge of encryption +methods to understand it. + + + +We suppose that we are trying to send a DCP to +Alice's cinema without a troublemaker called Mallory being able to +watch it himself. + + + +There are two main families of encryption techniques. The first, +symmetric-key encryption, allows us to encode some data using some +numeric key. After encoding, no-one can decode the data unless they +know the key. + + + +The first step in a DCP encryption is to encode its data with some key +using symmetric-key encryption. The encrypted DCP can then be sent +anywhere, safe in the knowledge that even if Mallory got hold of a +copy, he could not decrypt it. + + + +Alice, however, needs to know the key so she can play the DCP in her +cinema. A simple approach might be for us to send Alice the key. +However, if Mallory can intercept the DCP, he might also be able to +intercept our communication of the key to Alice. Furthermore, if Alice +happened to know Mallory, she could just send him a copy of the key. + + + +The clever bit in 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 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. + + + +Public-key encryption allows us to distribute the DCP's key to Alice +securely. The manufacturer of Alice's projector generates a public +and private key. They hide the private key deep inside the bowels of +the projector (inside an integrated circuit) where no-one can read it. +They then make the public key available to anyone who is interested. + + + +We take our DCP's symmetric key and encrypt it using the public key of +Alice's projector. We send the result to Alice over email (using a +format called a Key Delivery Message, or KDM). Her projector then +decrypts our message using its private key, yielding the magic +symmetric key which can decrypt the DCP. + + + +If is fine if Mallory intercepts our email to Alice, since the only +key which can decrypt the message is the private key buried inside +Alice's projector. The projector manufacturer is very careful that +no-one ever finds out what this key is. Our DCP is secure: only Alice +can play it back, since only her projector knows the key (even Alice +does not). + + +
+
+ + + +
+Encryption using DCP-o-matic + + +There are two steps to distributing an encrypted DCP. First, the +DCP's data must be encrypted, and secondly KDMs must be generated for +those cinemas that are allowed to play the DCP. + + + +The first part is simple: ticking the Encrypted +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. + + + +A DCP that is generated with the Encrypted box +ticked will not play on any projector as-is (it will be marked as +‘locked’, or whatever the projector manufacturer's term +is). + + + +The second part 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 + + + + + +
+ + +In order to generate KDMs for a particular projector, you need to know +its certificate. These are usually made +available by the projector manufacturers as text files with a +.pem extension. + + + +DCP-o-matic can store these certificates 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. + + + +Once you have added a cinema, select it by clicking on its name, then +click Add Screen.... The resulting dialogue +allows you to enter a name for the screen and load in its certificate +from a file. The certificate should be in SHA256 PEM format. + + + +Alternatively, certificates for projection systems made by some +manufacturers can be downloaded from databases provided by the +manufacturer. Currently this is supported for Doremi and Dolby +equipment. If you are targeting a screen with equipment by one of +these manufacturers you can 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. + + + +The differences between the three KDM types are fairly subtle. +DCI Specific and DCI Any add +a <ContentAuthenticator> tag to the KDM which +allows the exhibitor to check that the DCP and KDM have come from a +bona-fide source. In addition, DCI Specific adds +information on trusted devices to the KDM. This allows the KDM +creator to specify devices (such as sound processors) that are allowed +to use keys delivered by the KDM. At present it is not clear how +widely the DCI Specific and DCI +Any features are supported (or even tolerated) by servers +so you are advised to use Modified Transitional +1. + + + +Finally, choose what you want to do with the KDMs. They can be +written to disk, to a location that you can specify by clicking +Browse. Alternatively, if you choose +Send by email the KDMs will be zipped up and +emailed to the appropriate cinema email addresses. Click +Make KDMs to 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 + + + + + +
+ +
 - -Advanced topics -This chapter describes some parts of DCP-o-matic that are -probably not essential, but which you might find useful in some -circumstances. + + + +Preferences + + +DCP-o-matic provides a few preferences which can be used to modify its +behaviour. This chapter explains those options. + + + + +
+The preferences dialogue + + +The preferences dialogue is opened by choosing +Preferences... from the Edit +menu. The dialogue is split into seven tabs. + + + +
+General + + +The general tab is shown in . + + +
+ General preferences + + + + + +
+ + + +
+Language + + +If you tick the Set Language checkbox and choose +a language from the list, that language will be used for DCP-o-matic. +You will need to restart DCP-o-matic to see the new language. + + + +The translations for DCP-o-matic have been contributed by helpful +users. If your language is not on the last, head to the DCP-o-matic website to +read about how to contribute a translation. + +
+ + + +
+Threads + + +When DCP-o-matic is encoding DCPs it can use multiple parallel threads +to speed things up. Set this value to the number of threads +DCP-o-matic should use. This should normally be the number of +processors (or processor cores) in your machine. DCP-o-matic will try +to set this up correctly when you run it for the first time. +
+ +
-Filtering +Cinema and screen database file -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 -Edit button next to the filters entry in the -setup area of the DCP-o-matic window; this opens the filters selector -as shown in . +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. + + +
+ +
+Integrated loudness + + +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. + +
+ +
+ + +
+Defaults + + +The defaults tab is shown in . -
- Filters selector +
+ Defaults preferences - - - + + +
-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! +The options in this tab simply allow you to set up default values for +various properties of new films. + + +
+ + +
+Servers + + +The servers tab is shown in . + + +
+ Servers preferences + + + + + +
+ + +If Use all servers is ticked DCP-o-matic will +locate encoding servers automatically (see ). + + + +Instead of this (or in addition) servers can be specified explicitly. +To add a server, click Add... and enter the host +name or IP address of the server to use. + + +
+ + + +
+Keys + + +The Keys tab (shown in ) holds options +related to the keys and certificates used in some parts of DCP +creation. + + +
+ Keys preferences + + + + + +
+ + +At the top of the tab is the chain of certificates that will be used +to sign DCPs and KDMs. DCP-o-matic creates a random chain when you +first run it 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 + + +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 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 + + + + + +
+ + +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 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 + + +The KDM email is shown in . + + +
+ KDM email preferences + + + + + +
+ + +This is a template for the email that is used to send KDMs out to +cinemas. You can change it to say whatever you like. A few +‘magic’ strings will be replaced by information from the +KDM that is being sent: + + + +‘Magic’ KDM strings + + + +$CPL_NAMEDCP title + + +$CINEMA_NAMECinema name + + +$SCREENSName of screen or screens that KDMs are being generated for + + +$START_TIMEThe time from which the KDMs are valid + + +$END_TIMEThe time until which the KDMs are valid + + + +
+ + +The Reset to default text will replace the current KDM email with DCP-o-matic's default. + + +
+ + + +
+Advanced +Advanced preferences + + +The advanced preferences are shown in . + + +
+ Advanced preferences + + + + + +
+ + +Maximum JPEG2000 bandwidth specifies the maximum +bit-rate of JPEG2000 that DCP-o-matic will allow you to create. You +are advised to leave this at 250Mbit/s in normal use for maximum DCP +compatibility. + + + +Allow any DCP frame rate removes the limits on +the DCP video frame rates that DCP-o-matic will create. This may be +useful for experimentation. Again, you are strongly advised to leave +this unticked for normal use. + + + +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 +DCP. It is useful to leave General, +Warnings and Errors ticked +as this makes the log files useful for tracking down bugs. + + + +The Timing checkbox will enable extra log entries +to allow developers to investigate and optimize the speed of +DCP-o-matic. It will significantly increase the size of the log files +that are generated, so in normal use it is best to leave this +unticked.
+
+ + +Frame rates + + +In an ideal world, a DCP would be created using content at the same +video frame and audio sampling rates as the DCP. This is not, +however, always possible. + + + + +
+DCP frame rate limitations + + +There are some limitations to video and audio frame rates in DCPs. This is +complicated by the fact that not all projectors will play DCPs at the +same frame rates. It is possible to create a DCP which one projector will +play fine, but another (of a different type) will refuse to play, or +even refuse to ingest. + + + +
-Scaling +Guaranteed rates -If your source material is not of the DCI-specified size, or if it -uses non-square pixels, DCP-o-matic will need to scale it. The -algorithm used to scale is set up by the Scaler -entry in the film setup area. We think ‘Bicubic’ is the -best all-round option, but tests are ongoing. +The only rates that are (pretty much) guaranteed to work on all DCI +projectors are 24 frames per second (fps) for video and 48kHz or 96kHz +for audio. If you are sending your DCPs to unknown places it wise to +consider using these rates if at all possible.
-
-TMS upload + + +
+Other often-supported rates + +Many projectors now in the wild support additional video frame rates: +25, 30 and 48 fps. + +
+ + + +
+Adapting content to fit the DCP rate + + +DCP-o-matic has a few tricks to allow you to use content that is not +in one of the ‘approved’ rates. + + + +Audio is easy: DCP-o-matic can resample to 48kHz from any source rate +with minimal loss in quality. + + + +Video rate conversion is harder. DCP-o-matic's basic strategy to deal +with a non-supported content rate is to run it at the wrong speed, and +to adjust the audio to keep it in sync. + + +Let us consider the example of a 25fps source for which you want +to create a 24fps DCP. DCP-o-matic will put the frames from the +source directly into the DCP without modification, but will tell the +projector to play them back at 24fps. This means that the DCP's video +will run slightly slower than the original. + + + +If DCP-o-matic did nothing else, the result of this would be that the +audio would be running at the original speed with the video running +slowly. Hence the audio would drift slowly out of sync. To avoid +this, DCP-o-matic also resamples the audio such that the projector +will play it too slow by the same amount. Hence it will sound +slightly different but will remain in sync with the video. + -If you have configured details of a TMS in the preferences dialogue -() you can upload a completed DCP -straight to your TMS buy choosing Send DCP to TMS -from the Jobs menu. +For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
+
-
-A/B comparison + +
+Setting up + + +The Frame Rate control in the +DCP tab sets the video frame rate that the DCP +will use. Clicking Use best sets the rate to +what DCP-o-matic thinks is the best for your content. With this +button, DCP-o-matic assumes that the whole range of frame rates (24, +25, 30 and 48fps) are allowable. + -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. +After this, the Video tab for each piece of +content will give a summary of what DCP-o-matic is doing with that +content. -To enable A/B mode, click the A/B checkbox in the setup area of the -DCP-o-matic window. When you generate your DCP, the left half of the -screen will use the filters and scaler specified in the preferences dialogue, and the right -half will use the filters and scaler specified in the film setup. +If you want to experiment with other non-standard frame rates, you can +do so by ticking the Allow any DCP frame rate in +the Advanced tab of the preferences dialogue (see the +). You are strongly advised to +use this only on your own equipment, and only for experimentation +purposes.
-
+ + + + Encoding servers @@ -838,16 +2720,23 @@ than one machine at the same time. An instance of DCP-o-matic can offload some of the time-consuming JPEG2000 encoding to any number of other machines on a network. To do this, one ‘master’ machine runs DCP-o-matic, and the ‘server’ machines run -a small program called ‘servomatic’. +a small program called dcpomatic_server. + + + +The master and server machines do not need to be the same type, so you +can mix Windows PCs, Macs and Linux machines as you wish. + +
Running the servers There are two options for the encoding server; -servomatic_cli, which runs on the command line, and -servomatic_gui, which has a simple GUI. The command line +dcpomatic_server_cli, which runs on the command line, and +dcpomatic_server, which has a simple GUI. The command line version is well-suited to headless servers, especially on Linux, and the GUI version works best on Windows where it will put an icon in the system tray. @@ -858,7 +2747,7 @@ To run the command line version, simply enter: -servomatic_cli +dcpomatic2_server_cli @@ -868,7 +2757,7 @@ by doing something like: -servomatic_cli -t 4 +dcpomatic2_server_cli -t 4 @@ -882,27 +2771,35 @@ tray; right-click it to open a menu from whence you can quit the server or open a window to show its status. +If you would rather not bother installing DCP-o-matic on your +server computers, the other option is to use the live-CD +image that you can download from the DCP-o-matic web site. + +Either burn the image to CD, or write it to a USB stick (using +something like unetbootin). Boot a +PC from the CD or USB stick and it becomes a DCP-o-matic server +without touching your standard operating system install. + +
+ +
Setting up DCP-o-matic -Once your servers are running, you need to tell your master -DCP-o-matic instance about them. Start DCP-o-matic and open the -Preferences dialog from the -Edit menu. At the bottom of this dialog is a -section where you can add, edit and remove encoding servers. For each -encoding server you need only specify its IP address and the number of -threads that it is running, so that DCP-o-matic knows how many -parallel encode jobs to send to the server. - - - -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 +Encoding Servers from the +Tools menu brings up a window which shows that +servers that DCP-o-matic has found.
+ +
Some notes about encode servers @@ -917,16 +2814,100 @@ You will probably find that using a 1Gb/s or faster network will provide a significant speed-up compared to a 100Mb/s network. +
+ + + + +Generated files + -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. +DCP-o-matic generates a number of files as it makes a DCP. shows the files that might be generated +after you have created a DCP for a film called ‘DCP Test’. -
-
+
+ Creating a new film + + + + + +
+ + +The DCP Test folder is the one that you specify when you +select the New Film option from DCP-o-matic's +menu. Everything is stored inside this folder. + + + +DCP-o-matic generates some working files as it goes along. These are as follows: + + +log is a list of notes that DCP-o-matic makes as it goes +along. This can be useful for debugging purposes if something goes +wrong. + +metadata stores the settings that you have made +for this film: things like cropping, output format and so on. + +video is where DCP-o-matic writes the DCP's +video data as it encodes it. + +analysis is used to keep the results of audio analysis runs. + +info contains details of each video frame that +DCP-o-matic has written so far. This is used when an encoding +operation is interrupted and DCP-o-matic must resume it. + + + + +Following this is the DCP itself: +DCP-TEST_EN-XX_UK-U_51_2K_CSY_20130218_CSY_OV. This +contains some small XML files, which describe the DCP, and two large +MXF files, which contain the DCP's audio and video data. It may also +contain subtitles in either XML or MXF format. This folder +(DCP-TEST_EN-XX_...) is what you should ingest, or pass +to the cinema which is showing your DCP. + + +Loose ends + + +This chapter collects a few notes on bits of DCP-o-matic that do not fit elsewhere in the manual. + + + + +
+Resuming encodes + + +If you cancel a DCP encoding run half-way through, or your computer +crashes... fear not. DCP-o-matic takes care to ensure that, in most +cases, it can resume encoding from where it left off. When you +re-start a DCP creation, using the same settings are a previous run, +DCP-o-matic will first check that the existing picture frames are +correct, and then resume from where it left off. The checking of +existing frames does take some time, but it is much faster than +running a full re-encode. + + + +This resumption is achieved by writing a digest (hash) to disk for +every image frame that is written. On resumption, the existing MXF +file for image data is read and its contents checked against the +hashes. + + +
+ +