X-Git-Url: https://git.carlh.net/gitweb/?p=dcpomatic.git;a=blobdiff_plain;f=doc%2Fmanual%2Fdcpomatic.xml;h=664b05438247d91bde3d5490247b1207924d6c92;hp=a9fdd69f5261270139a8967530d3c8a573f444df;hb=51e2ea8ee216222378e05e62b0ebaf998e3a2ff3;hpb=8fa2fb5438708be00bb57f993836b0884d196876 diff --git a/doc/manual/dcpomatic.xml b/doc/manual/dcpomatic.xml index a9fdd69f5..664b05438 100644 --- a/doc/manual/dcpomatic.xml +++ b/doc/manual/dcpomatic.xml @@ -16,7 +16,7 @@ --> -DCP-o-matic +DCP-o-matic users' manual CarlHetherington @@ -27,6 +27,7 @@ Hello, and welcome to DCP-o-matic! +
What is DCP-o-matic? @@ -38,23 +39,23 @@ and AVI, or still images. 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 @@ -65,14 +66,18 @@ This manual uses icons from the Tango
+ + Installation + +
Windows -To install DCP-o-matic on Windows, simply download the installer from +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. @@ -89,12 +94,14 @@ 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 Applications folder or wherever else you would @@ -108,10 +115,9 @@ like to install it. You can install DCP-o-matic on Ubuntu 12.04 (‘Precise -Pangolin’), 12.10 (‘Quantal Quetzal’), 13.04 -(‘Raring Ringtail’) or 13.10 (‘Saucy -Salamander’) using .deb packages: download the -appropriate package from .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. @@ -119,25 +125,48 @@ and set DCP-o-matic up for you.
+ +
Debian Linux + +Packages are available for Debian 7 (squeeze), 8 (jessie) and unstable (sid) from http://dcpomatic.com/. + +
+ + +
+Centos Linux -Packages are also available for Debian 7 (squeeze) from 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; you will have to compile it from source. If +you are using distribution for which no packages are available, do let +me know by email and I +will look into providing packages on the website. @@ -152,7 +181,6 @@ The following dependencies are required: libssh GTK (on Linux) wxWidgets -libquickmail libxml++ xmlsec curl @@ -181,7 +209,7 @@ With any luck, this will build and install DCP-o-matic on your system. To run i -dcpomatic +dcpomatic2 @@ -191,6 +219,8 @@ in a shell.
+ + Creating a video DCP @@ -223,11 +253,11 @@ shown in .
- Creating a new film + Creating a new film - + - +
@@ -237,11 +267,11 @@ linkend="fig-video-new-film"/>.
- Dialogue box for creating a new film + Dialogue box for creating a new film - + - +
@@ -256,6 +286,8 @@ will write its working files. + +
Adding content @@ -269,21 +301,21 @@ 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 - + - +
@@ -299,19 +331,19 @@ 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 @@ -325,6 +357,8 @@ url="http://www.mplayerhq.hu/design7/news.html">mplayer or + +
Making the DCP @@ -345,9 +379,9 @@ linkend="fig-making-dcp"/>.
Making the DCP - - - + + +
@@ -359,14 +393,17 @@ 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 preferences in . +Alternatively, if you have a projector or Theatre Management System +(TMS) that is accessible via SCP across your network, you can upload +the content directly from DCP-o-matic. See the in .
+ + Creating a still-image DCP @@ -383,12 +420,12 @@ As with video DCPs, the first step is to create a new shown in . -
- Dialogue box for creating a new film +
+ Dialogue box for creating a new film - + - +
@@ -399,12 +436,12 @@ For our example, we will add a single image file, as shown in . -
- Selecting a still content file +
+ Selecting a still content file - + - +
@@ -412,16 +449,16 @@ linkend="fig-still-select-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 Play length setting, as shown in . -
+
The timing tab - + - +
@@ -440,6 +477,8 @@ to encode a single frame which it can then repeat. + + Content settings @@ -461,7 +500,7 @@ 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 @@ -475,13 +514,26 @@ 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 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. @@ -490,6 +542,33 @@ 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 @@ -500,6 +579,13 @@ 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, @@ -510,6 +596,8 @@ in each section are described below.
+ +
Video @@ -517,15 +605,17 @@ in each section are described below. The Video tab controls properties of the image, as shown in . -
+
Video settings tab - + - +
+ +
Image type @@ -533,23 +623,45 @@ The Video tab controls properties of the image, as shown 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 other option 3D -left/right tells DCP-o-matic to interpret the frame as a +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 - + - + + +
+ + +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 + + + +
-This option can be used to generate a 3D DCP. Other means of creating -3D will be added in the future. +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.
@@ -568,12 +680,12 @@ setup area of the DCP-o-matic window; this opens the filters selector as shown in . -
- Filters selector +
+ Filters selector - + - +
@@ -586,18 +698,94 @@ 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 @@ -605,6 +793,8 @@ ratio that your content should be presented in.
+ +
Video description @@ -612,22 +802,26 @@ 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 @@ -635,78 +829,60 @@ 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. @@ -716,38 +892,44 @@ 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 - + - +
@@ -758,6 +940,8 @@ shows the mapping of a 5.1 source into a 5.1 DCP.
+ +
Other controls @@ -777,12 +961,12 @@ button next to the audio gain entry, and the dialogue box in will open. -
+
Calculating audio gain - + - +
@@ -808,16 +992,11 @@ 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 @@ -826,36 +1005,294 @@ The subtitles tab contains settings related to subtitles in your content, as shown in . -
+
Subtitle settings tab - + - +
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. +included in the image and not overlaid by the projector) or included +as a separate subtitle ‘asset’ within your DCP (in which +case the projector overlays them onto the image on playback). The +difference between these two arrangements 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. + + + +Note that subtitles come in two types: text and bitmap. Text +subtitles are expressed as plain text and can be either burnt into the +image or included as a separate subtitle asset within the DCP. Bitmap +subtitles, on the other hand, are expressed as pre-rendered bitmaps. +They cannot (yet) be added to the DCP as a separate asset and must be +burnt into the image. + + + 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. +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. -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). +The Stream control changes the subtitle stream +that is used when the content has more than one.
- + + +
+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 + + + + + +
+ +
@@ -868,36 +1305,78 @@ 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 DCI +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 DCI name +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 -DCI-compliant name. +ISDCF-compliant name. 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 check-box. The DCI name will be composed using details +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 DCI name details dialogue box, which you can +can be specified in the ISDCF name details dialogue box, which you can open by clicking on the Details button. -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. +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 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). + + + +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. @@ -910,12 +1389,6 @@ format into a Flat container: in this case, select the small format for the content's ratio and ‘Flat’ for the DCP. - -Next up is the content type. This can be -‘feature’, ‘trailer’ or whatever; select the -required type from the drop-down list. - - The Frame Rate control sets the frame rate of your DCP. This can be a little tricky to get right. Ideally, you @@ -925,13 +1398,6 @@ content to fit the specified frame rate. Frame rates are discussed in more detail in . - -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 . - - 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 @@ -939,9 +1405,10 @@ added. -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. +Burn subtitles into image should be selected if +you want DCP-o-matic to overlay the subtitles onto the video frame +before encoding. Leave this un-ticked to include the subtitles +separately in the DCP. @@ -959,24 +1426,102 @@ 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 (MBps). +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 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 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. Two 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. + + + + +
+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. -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. +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. +
+ @@ -988,6 +1533,8 @@ chapter discusses the basic principles of DCP encryption, and how DCP-o-matic can create encrypted DCPs and KDMs for them. + +
Basics @@ -997,10 +1544,12 @@ encoded in such a way that only cinemas ‘approved’ by the DCP's creators can read them. In particular, this means copies of the DCP can be distributed by insecure means: if an ne'er-do-well called Mallory obtains a hard drive containing an encrypted DCP, there is no -way that he can play it. Only those cinemas who receive a key +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) @@ -1011,8 +1560,8 @@ 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. @@ -1039,11 +1588,12 @@ 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. @@ -1076,6 +1626,8 @@ does not).
+ +
Encryption using DCP-o-matic @@ -1089,7 +1641,7 @@ 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, so that should be kept +be written to the film's metadata file, which should be kept secure. @@ -1108,11 +1660,11 @@ will open the KDM dialogue box, as shown in .
- KDM dialog + KDM dialog - + - +
@@ -1145,10 +1697,41 @@ 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 select Doremi or Dolby from the +Server manufacturer selection and then click +Download. In the next dialogue box, enter +details of the screen and click Download 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. @@ -1165,6 +1748,8 @@ generate the KDMs. + + Preferences @@ -1173,31 +1758,36 @@ 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 @@ -1215,6 +1805,8 @@ read about how to contribute a translation.
+ +
Threads @@ -1228,88 +1820,144 @@ to set this up correctly when you run it for the first time.
+
-KDM emails +Updates -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. +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! + +
+
+
Defaults -The next few options allow you to set up default values for several -properties of new films that you create. +The defaults tab is shown in . + + +
+ Defaults preferences + + + + + +
+ + +The options in this tab simply allow you to set up default values for +various properties of new films. -
+
-Colour conversions +Servers -The colour conversions tab is shown in . +The servers tab is shown in . -
- Colour conversions preferences +
+ Servers 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. - - - -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, so if you are happy to use a randomly-generated 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. + + + +The bottom of the tab specifies the certificate and private key that +is used to decrypt DCPs if they are imported as sources to +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. As with the certificate chain, +DCP-o-matic will create a certificate and private key for you. You +can also choose to load your own certificate and key.
+
TMS +TMS preferences The TMS tab (shown in ) gives some @@ -1320,12 +1968,12 @@ upload DCPs directly from DCP-o-matic to the TMS using the Jobs menu. -
- TMS preferences +
+ TMS preferences - + - +
@@ -1336,8 +1984,17 @@ 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. + + +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 @@ -1345,25 +2002,102 @@ 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 + + +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. + + + +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. + + +
+
 @@ -1375,29 +2109,35 @@ video frame and audio sampling rates as the DCP. This is not, however, always possible. + +
-DCP rate limitations +DCP frame rate limitations -There are some limitations to video and audio rates in DCPs. This is +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 rates. It is possible to create a DCP which one projector will +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. + +
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 @@ -1406,6 +2146,8 @@ Many projectors now in the wild support additional video frame rates:
+ +
Adapting content to fit the DCP rate @@ -1437,7 +2179,7 @@ If DCP-o-matic did nothing else, the result of this would be that the audio would be running at the original speed with the video running slowly. Hence the audio would drift slowly out of sync. To avoid this, DCP-o-matic also resamples the audio such that the projector -will play it too fast by the same amount. Hence it will sound +will play it too slow by the same amount. Hence it will sound slightly different but will remain in sync with the video. @@ -1448,6 +2190,8 @@ For very low or high frame rates, DCP-o-matic can also skip or duplicate frames.
+ +
Setting up @@ -1455,7 +2199,7 @@ 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. @@ -1466,6 +2210,15 @@ content will give a summary of what DCP-o-matic is doing with that content. + +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. + +
@@ -1488,6 +2241,8 @@ 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 @@ -1505,7 +2260,7 @@ To run the command line version, simply enter: -dcpomatic_server_cli +dcpomatic2_server_cli @@ -1515,7 +2270,7 @@ by doing something like: -dcpomatic_server_cli -t 4 +dcpomatic2_server_cli -t 4 @@ -1542,6 +2297,8 @@ without touching your standard operating system install.
+ +
Setting up DCP-o-matic @@ -1554,6 +2311,8 @@ servers that DCP-o-matic has found.
+ +
Some notes about encode servers @@ -1572,27 +2331,6 @@ provide a significant speed-up compared to a 100Mb/s network. - -Colour conversions - - -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. - - - -In order to do this, source colour is converted in three steps: - - - -Input gamma correction. -Multiplication by a conversion matrix. -Output gamma correction. - - - - Generated files @@ -1602,12 +2340,12 @@ 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 - + - +
@@ -1657,6 +2395,8 @@ 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