CLIPSTER DCI Mastering Supplement User Guide (Version 3.
Supplement User Guide: CLIPSTER DCI Mastering Document Version 3.7 for the CLIPSTER Software Version 3.5 and higher Copyright © 2008-2011 by DVS Digital Video Systems GmbH, a Rohde & Schwarz company, Hanover. All rights reserved. The manuals as well as the soft- and/or hardware described here and all their constituent parts are protected by copyright.
CLIPSTER DCI Mastering Supplement User Guide Introduction 1 Getting Started 2 Digital Cinema Delivery Tool 3 Using the DCP and Self KDM 4 Creating a DCP Manually 5 Miscellaneous 6 Index I
Headquarters: DVS Digital Video Systems GmbH Krepenstr. 8 30165 Hannover GERMANY Phone: +49-511-67807-0 Fax: +49-511-630070 E-mail: info@dvs.de Internet: http://www.dvs.de Support: Phone: +49-511-67807-125 Fax: +49-511-371985 E-mail: support@dvs.de For the Americas: U.S. Headquarters: DVS Digital Video, Inc. 300 East Magnolia Boulevard, Suite 102 Burbank, CA 91502 USA Phone: +1-818-846-3600 Fax: +1-818-846-3648 E-mail: info@dvsus.com Internet: http://www.dvsus.
Contents 1 Introduction ............................................................................... 1-1 1.1 1.2 1.3 1.4 1.5 2 C Overview ............................................................................. 1-2 Target Group ........................................................................ 1-3 Conventions Used in this User Guide .................................... 1-4 Abbreviations ....................................................................... 1-5 General Notes .............
Contents 3 Digital Cinema Delivery Tool ................................................. 3-1 3.1 Starting the Digital Cinema Delivery Tool ............................. 3-2 3.2 Overview ............................................................................. 3-3 3.3 The Configuration Steps ....................................................... 3-5 3.3.1 Delivery Type .............................................................. 3-5 3.3.2 Compression ................................................
Contents 6 Miscellaneous ........................................................................... 6-1 6.1 Stereoscopic DCP ................................................................. 6-2 6.1.1 Preparing a 3D DCP .................................................... 6-2 6.1.2 Creating a 3D DCP ...................................................... 6-3 6.2 6.3 6.4 6.5 6.6 I Color Space Conversions ...................................................... 6-5 Adapting the Rating Agencies .............
Introduction 1 This document describes the optionally available DCI Mastering feature of CLIPSTER and the steps that are required to create a DCP successfully. The CLIPSTER DCI Mastering feature allows you to create digital content which adheres to the standards formulated by the Society of Motion Picture and Television Engineers (SMPTE), and thus widely to the specifications as originally formulated by Digital Cinema Initiatives (DCI).
Introduction 1.1 Overview This user guide describes the possibilities and user interface items of the DCI Mastering feature of CLIPSTER as well as the steps required to create digital cinema content. The chapters in this user guide contain the following information: Chapter 1 Begins with a short introduction to the DCI Mastering feature, followed by a note regarding the audience this manual is written for and an explanation of the conventions used in this manual.
Introduction 1.2 Target Group To use this manual and the DCI Mastering feature effectively you should be familiar with the DVS soft- and hardware as well as the manuals delivered with the DVS system. Furthermore, to create content for digital cinemas you should have knowledge about the digital cinema environments where it will be used as well as about the expected form/ structure of the content (because a few may deviate from the SMPTE standards and/or the specifications of DCI).
Introduction 1.3 Conventions Used in this User Guide The following typographical conventions will be used in this documentation: Texts preceded by this symbol describe activities that you must perform in the order indicated. – Texts preceded by this symbol are parts of a list. Texts preceded by this symbol are general notes intended to facilitate work and help avoid errors. You must pay particular attention to text that follows this symbol to avoid errors.
Introduction Screenshots The screenshots shown in this documentation may differ from the user interface(s) displayed on your system. They may have been taken, for example, from previous/pre-release software versions or from other systems with a similar user interface. However, they should contain the items required to understand the described actions. 1.4 Abbreviations The following lists the abbreviations used in this document. Most are from the SMPTE standards and/or the specifications of DCI.
Getting Started 2 This chapter provides basic information about a DCI Mastering and describes the preliminary steps to start one. Here you can find, for example, information about the phases that a final DCP creation comprises or the basic configurations that are required for the DVS system. Additionally, it will be described how to deal with the source data and prepare it to be converted to digital cinema content.
Getting Started 2.1 Basics This section provides some basic information for a DCI Mastering. First the general steps and phases that a DCP consists of will be described as they are outlined by DCI. Among them you can find some recommendations and useful notes for a DCI Mastering with CLIPSTER. Afterwards details about some of the allowed video and audio formats for digital cinema content are provided because a DCP has to be created in one of the defined formats only.
Getting Started Digital Cinema Distribution Master (DCDM) The Digital Cinema Distribution Master (DCDM) as the next phase for a DCP is deemed the exchange format by DCI for environments involved in the task to create D-Cinema content. It can be used as a complete and standardized format to communicate movies, for instance, between studio and post production. To serve as a master and exchange format the DCDM should be saved in very high quality (i.e.
Getting Started Digital Cinema Package (DCP) During the last stage of a DCP creation, the audio and JPEG2000 encoded image files will be wrapped (either encrypted or unencrypted) in the MXF format as the DCP’s content delivery format.
Getting Started Video Formats The following lists the video formats that are suitable for a DCP: No. of Active No. of Active Pixel Aspect Frame Aspect Ratio Horizontal Pixels Vertical Pixels Ratio Rate 4096 2160 1.90:1 (full) 1:1 24 4096 1716 2.39:1 (scope) 1:1 24 3996 2160 1.85:1 (flat) 1:1 24 2048 1080 1.90:1 (full) 1:1 24/48 2048 858 2.39:1 (scope) 1:1 24/48 1998 1080 1.
Getting Started AES Channel Pair / Ch. Label / Name Description 8/1 15 User defined 8/2 16 User defined Other audio channel mappings can be found in SMPTE 428-3. 2.1.3 DCP Standards Until today, there have been several different DCP standards in use: SMPTE Phase 0 (MPEG) Also called ’MPEG Interop’ or ’MXF Interop’. This standard was originally defined by the MPEG Interop Group and is based on MPEG compressed files wrapped in MXF containers. SMPTE Phase 0 (JPEG) Also called ’JPEG Interop’.
Getting Started 2.2 Preparing the Source Data In order to create a DCP or one of its intermediate steps the available source data has to be prepared. Depending on the step from which to create the digital cinema content (see section “The DCI Mastering Steps” on page 2-2) the source data has to be prepared differently. When creating a delivery type other than a DCDM, all preprocessing steps, such as scalings or color corrections will be performed as well.
Getting Started Afterwards the DCDM clips will be visible in the contents area of the bin. However, because the software registers the added video clip(s) as RGB clips (as stated in the image files’ headers), you have to change the color space of the added clip(s) manually: Open the properties of the video clip(s) of the DCDM in the bin (context menu of bin clip » Properties…).
Getting Started 2.2.3 The Steps to Prepare JPEG2000 Data JPEG2000 data that is already adapted for digital cinema will normally be in the format of the final DCP in 12 bit X’Y’Z’. In so far it resembles a DCDM and thus the steps to use such data for the creation of a DCP are almost the same: Open a new project in the Edit Tool.
Getting Started 2.3 Adding Subtitles The DCI Mastering feature supports subtitles and, if wanted, you can add them to your prepared project (see section “Preparing the Source Data” on page 2-7), view them in the video overlay and edit or create them. The DVS software supports XML subtitle files as specified by SMPTE/DCI, PNG images as subtitles and subtiltes already wrapped in MXF. This section describes how to use subtitles in the Edit Tool. 2.3.
Getting Started Then add the subtitle from the bin to the timeline by dragging and dropping it into the empty timeline track: Figure 2-3: Adding a subtitle bin clip Once the subtitle bin clip has been added to the timeline, you will see its timeline element in the video track. It will already contain the MXF/ XML subtitle file in a subtitle track. Then you can add further subtitles as described in section “Adding Further Subtitles (via Subtitle Tracks)” on page 2-12.
Getting Started Figure 2-4: Adding an empty subtitle timeline element With this you will get an empty subtitle timeline element in the video track. Then it can be filled with subtitles as described in section “Adding Further Subtitles (via Subtitle Tracks)” on page 2-12. The subtitle effects operator can also be used as the other effects operators, i.e. it can be added to the effects list of a video clip.
Getting Started Either double-click the subtitle timeline element or call up its context menu and select the menu option Show properties.
Getting Started The subtitle types (field ’Track type’) must be assigned with regard to the standard that the final DCP should be created in (see section “DCP Standards” on page 2-6): SMPTE Phase 0 ’Main subtitle’ and ’Closed captions’ are allowed only SMPTE Phase 1 Same as SMPTE Phase 0 SMPTE Phase 2 All four types are allowed All phases Only one shall be of the type ’Main subtitle’ By performing the above mentioned steps repeatedly you can add the subtitles for your project to the subtitle timeli
Getting Started played in the area Subtitle elements. When you select one of the subtitle elements, its appearance will be shown in the areas Appearance settings and Position settings. The Area ’Subtitle tracks’ A new subtitle track can be added as already described in section “Adding Further Subtitles (via Subtitle Tracks)” on page 2-12 and it can be deleted with the button Delete track. Additionally, this area provides a context menu that can also be used to edit the subtitle tracks.
Getting Started Figure 2-6: The subtitles of the track Slip subtitle… Allows you to adjust the in- and outpoints of subtitles in a single step. It can be used either on one subtitle, a selection of subtitles or on all. Positioning Determines where the timeline cursor will be positioned when a subtitle is selected from the list (e.g. at time in/out, after its fade in, before its fade out, or in the middle of a subtitle). Select all Selects all subtitles in a single step.
Getting Started The Areas ’Appearance settings’ and ’Position settings’ When a subtitle element has been selected from the table Subtitle elements, its appearance is shown in the areas Appearance settings and Position settings. Then you can use these areas to change the appearance of the selected element, for example, you can set its position with the items of the area Position settings.
Getting Started 2.4 Setting Reels To split the loaded or created project (see section “Preparing the Source Data” on page 2-7) during the creation of the DCP into reels to comply with the requirements of a DCP, you have to define reels in the timeline: When wrapping to MXF (see section “The DCI Mastering Steps” on page 2-2), the finalized files will be automatically divided at the reel edit points in the timeline, resulting each in one MXF file per output format (video and audio).
Getting Started to your liking manually. To set reels automatically in the timeline do as described in the following: Select from the context menu of the timeline scale the menu option Set DC reels automatically….
Getting Started Item Description Set a DC reel …: Use this setting and its combo box to specify that the video and/or audio clips available in the timeline should determine the reels. The reels’ in- and outpoints will then be set at the edit points (cuts) of the clips. Apply to This setting allows you to limit the procedure. You can perform it either on all clips of the timeline or on the clips of a timeline range only, i.e. between a set in- and outpoint for the timeline.
Getting Started you can create DC reels manually in the timeline. They can be created and edited in the following ways: To set reel in-/outpoints and to move within a reel you can also use the provided shortcuts (see section “Keyboard Shortcuts” on page 6-8). – The reels will be formed by setting an inpoint as well as an outpoint. – The nearest, free and unobstructed (no already defined reel inbetween) in-/outpoint will be used to form a reel.
Getting Started With the timeline area switched to the DC reels mode you can set new DC reels manually or edit already determined ones as indicated in section “Setting Reels Manually” on page 2-20. Newly created reel in- and outpoints, when not assigned to a reel already, will be shown in the timeline with an in-/outpoint marker without the blue line.
Getting Started You can change the values of a reel displayed on the tab DC reels, i.e. the names of the reels as well as their in-/outpoints, by double-clicking a particular entry with the mouse and entering a new one. Further information about a reel can be viewed by clicking on the plus/ minus (+/-) signs in front of a reel entry.
Getting Started Figure 2-14: The context menu of the timeline scale The following menu options are available to configure and edit DC reels: Remove DC reel This menu option removes the DC reel that is currently selected (highlighted) in the timeline area. Remove all DC reels Removes all DC reels defined for the timeline in a single step. Set DC reels automatically… With this menu option you can set reels automatically.
Getting Started 2.5 Configuring the System for a DCP Creation For the creation of a DCP you have to make some general settings on the tab Defaults of the Configuration Tool of the DVS software and set, for example, the private key to sign the extra files of the DCP (i.e. CPL, KDMs and PKL). These settings are not required in case you want to create an intermediate step towards a DCP. They are applied during the generation of a DCP only.
Getting Started Configure these settings according to your requirements: – Use the area Self KDM with the field Certificate to select the public key of a DVS DCI Mastering system that should be able to load the DCP, e.g. for quality checks. This public key will then be used during the creation of a DCP to generate a special KDM file (the self KDM). With this KDM you will be able to load the DCP on the respective DCI Mastering system (e.g.
Getting Started After these settings are determined confirm them by clicking on the OK button. With this the project and system are properly prepared for a DCI Mastering and you can start one at any time as described in section “How to Start a DCI Mastering” on page 2-28.
Getting Started 2.6 How to Start a DCI Mastering As soon as the preparations appropriate for your source material and the general configurations are performed as described in this chapter, you can start a DCI Mastering and create material for digital cinema workflows. There are two ways to create such material: digital cinema delivery tool With the digital cinema delivery tool you can create MPEG or JPEG2000 compressed DCPs or an intermediate state towards one.
Digital Cinema Delivery Tool 3 The digital cinema delivery tool is the recommended way to create DCPs or an intermediate state towards one. Its usage is most convenient because it will lead you step by step through the different configurations required to create a DCP. This chapter explains the digital cinema delivery tool in detail. First, it will be described how to get the delivery tool started, followed by an overview of its user interface.
Digital Cinema Delivery Tool 3.1 Starting the Digital Cinema Delivery Tool To get the digital cinema delivery tool started perform the following: Configure the system and prepare your source data in the timeline of the Edit Tool as described in chapter “Getting Started” on page 2-1. Then select Project » Digital Cinema Delivery Tool… from the menu bar of the DVS software. Alternatively, you can use the keyboard shortcut [Ctrl + D].
Digital Cinema Delivery Tool 3.
Digital Cinema Delivery Tool The configurations that can be made for the currently displayed configuration step are shown in the settings pane in the middle of the window. When you are finished with the configurations for the current step, you can go to the next or previous configuration step with the appropriate buttons in the button area at the bottom of the window.
Digital Cinema Delivery Tool 3.3 The Configuration Steps This section explains the settings possibilities of the configuration steps in detail. Depending on the selected delivery type (see section “Delivery Type” on page 3-5) there are different configuration steps required and this section explains them all. The configuration steps that are required for a delivery type are summarized in section “Delivery Type” on page 3-5. 3.3.
Digital Cinema Delivery Tool In the settings pane select the delivery type that you want to create by activating one of the available radio buttons. When finished you can go to the next configuration step with the button NEXT. Depending on the selected delivery type there are different configuration steps required. The following explains shortly the available delivery types and shows the configuration steps that have to be performed for each.
Digital Cinema Delivery Tool for later adaptations (supplemental DCP). For a DCP without KDM the following configuration steps are necessary: Figure 3-5: Configuration steps for a DCP without KDM ’Master DCP with KDM’ This option creates an encrypted DCP (e.g. for a feature film) either from a DSM, a DCDM or digital cinema compliant JPEG2000 data in a single step (see also section “Digital Cinema Package (DCP)” on page 2-4).
Digital Cinema Delivery Tool ’KDM only’ This option allows you to create additional KDMs without generating the DCP again completely (e.g. for later releases of the same encrypted DCP). It will be available when an encrypted DCP has been loaded into CLIPSTER (see section “Creating Additional KDMs (KDM only)” on page 4-6).
Digital Cinema Delivery Tool 3.3.2 Compression With the compression configuration step you configure the compression rate of the digital cinema content. Figure 3-10: The compression settings At the very top of these settings you can change the compression type. By default the JPEG2000 compression is activated. However, to support alternative D-Cinema players you can also select an MPEG compression. The available MPEG compression settings are the default ones.
Digital Cinema Delivery Tool The JPEG2000 compression type provides the following settings items: ICT This setting enables the Irreversible Color Transform, meaning an internal conversion of the images’ colors prior to encoding. With this the colors of the images will be encoded more efficiently.
Digital Cinema Delivery Tool 3.3.3 Source Type With the source type configuration step you determine the color space and color profile (type) of your source material in the timeline: Figure 3-11: The source type settings Further information about color space conversions can be found in section “Color Space Conversions” on page 6-5. This step is not required if an MPEG compression has been selected (see section “Compression” on page 3-9).
Digital Cinema Delivery Tool Depending on the selected color space the options (radio buttons) in the middle of the settings area will be displayed. With them you have to specify how to interpret the color space of the source material in the timeline, i.e. the color profile/type of the selected color space: Table 3-1: Settings for color space ’RGB’ RGB REC 709 Activate this radio button if your material is stored in the REC 709 color profile.
Digital Cinema Delivery Tool 3.3.4 Delivery Format The delivery format configuration step is used to determine the output format of the digital cinema content. Figure 3-12: The delivery format settings Depending on the type of material that is available in the timeline (video and/or audio) the respective output types will already be activated. In the settings pane use the buttons, the list box and the settings items for the video output to specify the video format.
Digital Cinema Delivery Tool Additionally, specify the audio format for the digital cinema content according to your needs, for example, select the WAV (DCDM or JPEG2000) or MXF (DCP) file format in 24 bits as a multi-channel file. Audio retiming should be activated when the output frame rate differs from the one selected for the timeline. These settings items are almost identical to the ones used in the finalize dialog. For further information about them see the “CLIPSTER Edit Tool” user guide.
Digital Cinema Delivery Tool If one of the subtitles should be rendered into the images, you can activate this with the check box Render subtitle track into image. Then you can select the subtitle track that should be rendered into the images with the combo box to the right. When activating this option, deselect the respective subtitle track in the upper list box, i.e. deselect it from a separate file creation (if separate file creation has been activated as well).
Digital Cinema Delivery Tool 3.3.5 CPL When creating a DCP, you also have to perform the configuration step for a Composition Playlist (CPL). Figure 3-14: The CPL settings In the settings pane configure the CPL to be generated to your requirements: For details about the Currently set DC reels and the Automatically set DC reels items please refer to section “Modifying a DCP (Supplemental DCP)” on page 4-7.
Digital Cinema Delivery Tool rating and rating agency can be removed from the list field at the right by selecting it and pressing the [Del] key on your keyboard. The rating and rating agencies can be adapted. Further information about this can be found in section “Adapting the Rating Agencies” on page 6-7. After this the configurations for the CPL are complete and you can go to the next configuration step with the button NEXT.
Digital Cinema Delivery Tool 3.3.6 KDM If you create an encrypted DCP, one or more Key Delivery Messages (KDMs) have to be created as well. They will contain the encrypted AES key to decrypt the content of the DCP. Usually you will create one KDM for each D-Cinema player that should play out the content and for this the respective public key of the D-Cinema player is required. The generation of the KDMs as well as the keys that should be used can be configured with the KDM configuration step.
Digital Cinema Delivery Tool is essential. Date/time entries are standardized and must be given in the format YYYY.MM.DD hh:mm:ss. In the area Forensic Marking you can select whether the D-Cinema players should apply a watermarking to the played out video and/or audio data. It is a flag that will be set in the KDM and interpreted by the players. Via the Encryption settings an encryption of the content can be turned on or off.
Digital Cinema Delivery Tool 3.3.7 Delivery Creation The delivery creation configuration step is the last step to be performed before the digital cinema content is created. With it you can check the material of a DCP as well as specify further output settings such as the path where the content should be stored: Figure 3-16: The delivery creation settings The area DCP audio/video assets will provide information when you create a DCP and at least one DC reel is specified in the timeline.
Digital Cinema Delivery Tool ple, its storage location and name. To set the file name(s) you can also use a variable naming with the button NAME OPTIONS…. The settings items of the area Delivery Creation are almost identical to the ones used in the finalize dialog. For further information about them see the “CLIPSTER Edit Tool” user guide.
Digital Cinema Delivery Tool 3.4 The Generated Files The generation of the digital cinema content initiates a standard finalizing process that will create the content according to your settings. The output of the intermediate steps for a DCDM or JPEG2000 files will be as described in the “CLIPSTER Edit Tool” user guide. When creating a DCP, the finalizing generates the video files as well as the audio data according to your settings (e.g.
Digital Cinema Delivery Tool File/Folder Explanation CPL_*.xml The Composition Playlist specifying the sequence of the track files and thus the order of the play-out. Contains hash values of the DCP’s track files, certificates and a signature for verification purposes as well. ASSETMAP The Asset Map details the content of the delivered DCP and the paths to its files relative to the Asset Map. It can be loaded by D-Cinema players which use it to reconstruct the track files. PKL_*.
Using the DCP and Self KDM 4 When a DCP of a feature film is created, it is usually encrypted with the decryption key stored in the KDMs. The decryption key in each KDM is also encrypted, and it can be decrypted only with the private key of the respective D-Cinema player for whom it was created. The conclusion of this is that, once an encrypted DCP is created, it cannot be modified or checked for flaws that may have occurred during the encoding and/or wrapping processes.
Using the DCP and Self KDM 4.1 Configurations for a Self KDM The necessary configurations to create a self KDM have to be made during the preparations of the system and its software: 1. During the general preparations for a DCI Mastering (see section “Configuring the System for a DCP Creation” on page 2-25) some settings have to be made in the Configuration Tool (tab Defaults » group DCI): In the field Certificate of the area Self KDM you have to enter the path to the file (*.
Using the DCP and Self KDM 4.2 Loading the DCP After a DCP has been created it can be loaded with the DVS software. Unencrypted DCPs can be loaded on every DVS system that provides the DCI Mastering feature. Encrypted DCPs, however, require a self KDM and can be loaded only on the system for which the self KDM has been intended, i.e.
Using the DCP and Self KDM The extra files of the DCP (in *.xml format) will be displayed in the dialog window. Select the CPL of the DCP that you want to load and open it with the DVS software by clicking the button OPEN. This will check the CPL if the DCP contains encrypted content. When this is the case, the DVS software will search for an appropriate KDM for the DCP (i.e. the self KDM) in the directory level of the extra files of the DCP.
Using the DCP and Self KDM 4.3 The Menu Option ’Load KDM...’ When working on other projects on a DVS DCI Mastering system, you may want to add parts of video or audio from already created DCPs. While unencrypted DCP track files can be added without further ado, for encrypted material you have to use the menu option Load KDM…. It allows you to load the keys of a self KDM into the hardware of the DCI Mastering system.
Using the DCP and Self KDM 4.4 Creating the Extra Files Again (CPL only) When an already generated DCP is loaded in the Edit Tool (see section “Loading the DCP” on page 4-3), you can create the extra files (e.g. CPL, KDMs and PKL) of the DCP again, for example, to correct typos in the extra files or other delivery issues. This way you do not have to generate the DCP again completely.
Using the DCP and Self KDM 4.6 Modifying a DCP (Supplemental DCP) An already created DCP can be modified, for example, to exchange audio, subtitles or certain parts of video. For this the digital cinema delivery tool provides the option Supplemental DCP (see section “Delivery Type” on page 3-5). It can be used to create different versions of a DCP, for instance, for localizations of a feature film.
Using the DCP and Self KDM Subtitle: Video: Audio 1: Audio 2: Audio 3: Modified content Figure 4-4: Example of a timeline with modified content Afterwards, by using the digital cinema delivery tool with the option Supplemental DCP (see section “Delivery Type” on page 3-5) you can create additional supplementing content for this DCP. 4.6.
Using the DCP and Self KDM According to SMPTE a reel must have a duration of at least one second. Some digital cinema players may be unable to display reels that are shorter than 5 seconds. For further information about DC reels see section “Setting Reels” on page 2-18. The option Automatically set DC reels… sets virtual DC reels for the timeline which will include only the changed material.
Using the DCP and Self KDM 4.6.4 Delivery Creation At the configuration step to specify the delivery creation the digital cinema delivery tool shows you the content that will be created (see also section “Delivery Creation” on page 3-20): Figure 4-7: The content that will be created When creating a supplemental DCP, the list box in the area DCP audio/ video assets indicates the reels and assets that will be generated with activated check boxes.
Manual Creation of a DCP 5 Every state towards a DCP or the final DCP itself can also be created manually by using the finalizing dialog of the DVS software. This way to create digital cinema material is not as intuitive and forthcoming as the digital cinema delivery tool (see chapter “Digital Cinema Delivery Tool” on page 3-1), but it is to some extent more flexible regarding the created output. This section describes how to create digital cinema material manually via finalizing(s), i.e.
Manual Creation of a DCP 5.1 Creating a DCDM Manually This section describes how to create a DCDM from a DSM. For further information about this delivery type see section “Digital Cinema Distribution Master (DCDM)” on page 2-3: For some particulars about the creation of a DCDM see section “Color Space Conversions” on page 6-5. Prepare the DSM as described in section “The Steps to Prepare a DSM” on page 2-7. Afterwards call up the finalize dialog of the DVS software (menu Project » Finalize…).
Manual Creation of a DCP Figure 5-3: Window to select a 3D LUT file After the selection and when returned to the finalize dialog, make sure that the check box in front of the 3D LUT… button is activated, otherwise the 3D LUT will not be applied and no color space conversion to X’Y’Z’ takes place. In case your source data provides 3D material or subtitles use the Stereoscopic output and the Subtitle output settings items and configure them accordingly.
Manual Creation of a DCP After this the settings to create a DCDM are complete and you can start the finalize process at any time: Press the button RENDER to start the generation of the DCDM. This will start the finalizing of the DCDM and it will be created at the specified location.
Manual Creation of a DCP 5.2 Creating JPEG2000 D-Cinema Data Manually This section describes how to create JPEG2000 compressed data optimized for the digital cinema either from a DSM or DCDM. For further information about this delivery type see section “JPEG2000” on page 2-3: Prepare your source data (either a DSM or a DCDM) appropriately as described in section “Preparing the Source Data” on page 2-7. Afterwards call up the finalize dialog of the DVS software (menu Project » Finalize…).
Manual Creation of a DCP final DCP (see section “Possible Formats for a DCI Mastering” on page 2-4). Specify the audio format for the digital cinema content according to your project’s needs, for example, select the WAV file format in 24 bits as a multi-channel file. Figure 5-7: Audio settings After this the settings to create JPEG2000 encoded digital cinema content are complete and you can start the finalize process at any time: Press the button RENDER to start the generation of the JPEG2000 data.
Manual Creation of a DCP 5.3 Creating a DCP Manually This section describes how to create a DCP either unencrypted (e.g. for trailers or advertisements) or encrypted (e.g. for a feature film) from a DSM, a DCDM or digital cinema compliant JPEG2000 data. For further information about this see section “Digital Cinema Package (DCP)” on page 2-4: To create a DCP the source data has to be prepared first as described in chapter “Getting Started” on page 2-1, i.e.
Manual Creation of a DCP Next, you have to refine the compression type and set it according to the DCP standard that the DCP should be created in (see section “DCP Standards” on page 2-6): – Either configure the JPEG2000 encoding options as described in section “JPEG2000 Options” on page 6-9 or – select MPEG2 VES (instead of 12 bit XYZ) as the file type to create an MPEG compressed DCP. This can also be configured further same way as the JPEG2000 options.
Manual Creation of a DCP 5.3.3 Finalize Settings – CPL When finalizing to a DCP you also have to generate a Composition Playlist (CPL). The items for a CPL will be available only when in at least one activated finalize output DC MXF is selected as the file format. To activate the generation of a CPL enable the check box D-Cinema Playlist in the finalize window. This will be enough to generate a CPL when the DCP is finalized. However, there is also the possibility to configure the CPL.
Manual Creation of a DCP This will close the window to configure the CPL and you will be returned to the finalize dialog. With the check box in front of the PLAYLIST… button activated, the CPL will be generated during the finalizing of the DCP. As the next step the creation of the KDMs must be configured (see section “Finalize Settings – KDM” on page 5-10). 5.3.4 Finalize Settings – KDM For an encrypted DCP one or more KDMs have to be created as well.
Manual Creation of a DCP In this window set the generation of the KDM(s) according to your needs. These settings items are identical to the ones used in the digital cinema delivery tool. For further information about them see section “KDM” on page 3-18. When everything is set as desired click the OK button. This will close the window to configure the KDM(s) and you will be returned to the finalize dialog.
Manual Creation of a DCP Figure 5-12: Audio format settings After this the settings to create a DCP should be complete and you can start the finalize process at any time: Press the button RENDER to start the generation of the DCP. This will start the finalizing and the files of the DCP will be created at the specified location as described in section “The Generated Files” on page 3-22.
Manual Creation of a DCP 5.4 Creating Additional KDMs Manually With an already encrypted DCP and a self KDM you are able to create further KDMs, for example, for later releases of the same material without having to generate the DCP again. For this perform the following: Load the encrypted DCP as described in section “Loading the DCP” on page 4-3. Then call up the finalize dialog of the DVS software (menu Project » Finalize…). Next choose a name and storage location for the KDM(s).
Manual Creation of a DCP 5.5 Modifying a DCP Manually An already created DCP can be used to modify its content, for example, to exchange audio or subtitles, or for a later encryption of the content. With this you are able to create different versions of the same DCP without having to generate it again completely (i.e. unaltered track files will not be rendered again but copied). This approach to modify a DCP creates a complete DCP from the master DCP.
Manual Creation of a DCP – If required adjust the encryption or KDMs to be created in the dialog window to configure the KDMs (button KEY…). If track files have been modified, you will need another self KDM to be able to load them with the DVS software. Once the settings are made you can start the generation of the modified DCP at any time: Press the button RENDER to start the modification of the DCP.
Miscellaneous 6 This chapter explains other DCP related topics, such as how to create a 3D/stereoscopic DCP or how to adapt the rating agencies. Furthermore, some background information about color space conversions as well as keys and certificates are provided.
Miscellaneous 6.1 Stereoscopic DCP With the DCI Mastering feature you can also create a stereoscopic DCP and thus material to be screened in 3D. This section explains the items that are specifically available for a stereoscopic DCP and how to create one. The general items available for working with 3D material are not described in this manual. A description of them can be found in the “CLIPSTER 3D/Stereoscopy” supplement user guide accessible via the software’s online help.
Miscellaneous 6.1.2 Creating a 3D DCP When your project is properly prepared for 3D (see section “Preparing a 3D DCP” on page 6-2), you can start the creation of the DCP as described in chapter “Digital Cinema Delivery Tool” on page 3-1. A stereoscopic DCP can also be created manually via finalizing (see section “Creating a DCP Manually” on page 5-7 as well as the “CLIPSTER 3D/Stereoscopy” supplement user guide).
Miscellaneous After clicking on the respective button in the digital cinema delivery tool the stereoscopic DCP will be created according to your settings. A stereoscopic DCP can be loaded in the DVS software as described in chapter “Using the DCP and Self KDM” on page 4-1. The video track will be automatically configured to a 3D stereo track.
Miscellaneous 6.2 Color Space Conversions According to the specifications a DCDM/DCP should be converted and saved in the X’Y’Z’ color space. The most important concept about a color space conversion is, that you should know the source material that you want to process. The properties of the clips added to the bin and used in the timeline (context menu of bin clip » Properties…) must reflect these, i.e. they have to match the properties of the material on the storage.
Miscellaneous Particulars for All Other Delivery Types Contrary to a DCDM conversion, when converting material to a delivery type where a JPEG2000 encoding is involved (i.e. all other delivery types but a DCDM), the color space conversion is performed via a matrix. This way provides the best possible color space conversion.
Miscellaneous 6.3 Adapting the Rating Agencies During the configuration of the CPL (see section “CPL” on page 3-16 and section “Finalize Settings – CPL” on page 5-9) you can set one or more rating agencies. Ex factory the software already offers a few rating agencies. However, these may not be enough for your work. Then you can add new selectable rating agencies or edit the already available ones. The file RatingAgency.
Miscellaneous 6.4 Keyboard Shortcuts For a more easy and faster control of the DCI Mastering feature there are various keyboard shortcuts available which are listed in the tables below: Table 6-1: General keyboard shortcuts Action Shortcut Open the digital cinema delivery tool [Ctrl + D] Open the finalize dialog [Ctrl + F] Table 6-2: Keyboard shortcuts for DC reels (i.e.
Miscellaneous 6.5 JPEG2000 Options With the JPEG2000 options you can set its encoding parameters. They can be accessed via the OPTIONS button to the right of the File format field in the finalize dialog window (Project » Finalize…). The button will be available as soon as a JPEG2000 format is selected as the file format for video (e.g.
Miscellaneous In detail the window to configure the JPEG2000 encoding provides the following settings items: Colorspace Interpretation This setting determines the color profile and interpretation of RGB video material: – When converting from RGB to another color space (material in timeline is RGB, finalized output format is set to another color space), it sets the color profile of the source material, i.e. of the material in bin and timeline.
Miscellaneous 6.6 Keys and Certificates Explained There are various keys and certificates involved in the process of creating a DCP. This section tries to shed some light on them and the way they are used. 6.6.1 What’s a Key A key is a piece of information (normally a string) that determines the output of a cryptographic algorithm. The key is used during encryption by the cryptographic algorithm to transform a certain piece of information (e.g. plaintext) to ciphertext, i.e. encrypted information.
Miscellaneous information exchange file (*.pfx) which is typically encrypted and requires a password to be opened. This file will also contain the public key certificate (or more than one if a certificate chain is involved) for authentication as well. Thus, a PFX file contains besides the private key one or more public keys. 6.6.3 The Key Players of the DCI Mastering Detailed in the following you can find the key pairs that are used during a DCI Mastering.
Miscellaneous – The private key of the Signing Key is used to create a signature for the files of a DCP, i.e. it is used to encrypt hash values of the files. – The public key of the Signing Key will be part of a certificate that will be attached to the extra files (if required, the certificate chain will be attached). The private key has to be set on CLIPSTER. Normally, it is stored encrypted in a PFX file and will require a password to be opened. The creator of a DCP has to provide this key (i.e.
Miscellaneous Summary The following lists shortly the most important points about the different keys: AES key – Generated automatically by CLIPSTER Encryption Key – Certificate with public key must have been sent to you by the theater (i.e. the public key of a specific D-Cinema player) – Has to be set on CLIPSTER Signing Key – Normally, you must provide this key pair (i.e.
Miscellaneous Figure 6-6: The keys and where they are used on the Creator side The generated track file of the DCP is encrypted with an AES key that has been randomly generated by the DVS system. For each track file one AES key will be created and used. The AES keys are then encrypted with the public key of the Encryption Key. Afterwards the encrypted AES keys are written to the KDM file. Of each encrypted track file a hash value is created which is then written to the PKL file.
Miscellaneous Figure 6-7: The keys and where they are used on the Recipient side At the Recipient the received DCP has to be validated with the help of the public Signing Key that is attached to each extra file of the DCP (e.g. CPL, KDM or PKL). Whether the track files were received unmodified can be checked by comparing the hash values written in the validated (and thus unaltered) PKL file with hashs calculated from the received track files.
Miscellaneous other certificates) certifies that it comes from another certificate (the intermediate certificate), this certifying that it comes from a further certificate (another intermediate), and so on until the last certificate in the chain is reached (the root certificate that confirms the validity of the whole chain as well as the identity of its issuer). The whole structure of a certificate chain implies a hierarchy where the highest rank is held by the root and the lowest by the leafs.
Miscellaneous Figure 6-9: Certificate chain validation In a public-key certificate no certificate chain is stored. So, in order to validate a leaf certificate at the end of a certificate chain, the complete chain up to the root certificate has to be available. The maximum path depth from root to leaf that is allowed in a certificate hierarchy is a property of the root certificate. During the creation of the root it has to be set and it will be inherited correspondingly to the lower ranks.
Miscellaneous in a trusted communication and compare this with the certificate delivered with the signed files. To validate a certificate chain the complete certificate chain has to be available to you. Nevertheless, although you need the certificate chain to verify the origin of a leaf or intermediate certificate, only its root certificate has to be verified via a secure communication because the chain leads to it (see also section “What’s a Certificate Chain” on page 6-16). 6.6.
Miscellaneous File: TestSigningCertificateRoot.pem TestSigningCertificateIntermediate.pem Path: DVS\CLIPSTER\Certificate Store\DVS Test\ Explanation: For testing only: Test certificates. The certificate chain for the public key certificate of the private Signing Key for testing (intermediate and root) for verification. Live Keys The following keys can be used for the creation of digital cinema content: File: DvsClipsterDCI_*.
I Index Delete track ............................ 2-15 In/Out / DC reels . 2-18, 2-20, 2-21 inpoint ................................... 2-20 Key .................... 5-10, 5-13, 5-15 Load settings ............................ 3-4 Name options ...3-21, 5-2, 5-5, 5-7 New image ............................. 2-16 New subtitle ........................... 2-15 New track .............................. 2-13 Next ........................................ 3-4 Options ...................................
Index compression ................... 2-3, 3-9, 6-9 configuration step ........... 3-3, 3-5, 3-6 CPL (extra files) only ................. 4-6 KDM only ................................ 4-6 supplemental DCP .................... 4-8 Configuration Tool ................ 2-6, 2-25 configuring self KDM .............2-26, 4-2 configuring the system .................. 2-25 constant quality VBR .................... 3-10 container ............................2-10, 2-12 conventions of user guide ...............
Index creation ............................3-6, 5-5 generated files ........................ 3-22 preparation .............................. 2-9 E editing DC reels ........................... 2-21 effects operator (subtitle) .............. 2-11 encrypted DCP ..................... 3-7, 3-19 finalizing ................................ 5-10 Encryption Key .......... 6-12, 6-14, 6-15 setting ................................... 3-19 EntryPoint ................................... 2-22 exchange format ..........
Index name of DCP ............................... 3-21 next step ....................................... 3-4 notes ............................................ 1-5 O option ........................................... 1-5 orange ........................................ 2-15 orange line (DC reel) .................... 2-22 overview of chapters ............................... 1-2 of DCP phases .......................... 2-2 of digital cinema delivery tool ..... 3-3 P path depth ..............................
Index output format ........................ 3-14 output settings ....................... 3-14 position ................................. 2-17 properties .....................2-12, 2-14 render into image ................... 3-15 result ..................................... 3-22 slip ........................................ 2-16 subtitle track ....... 2-10, 2-12, 2-15 supplemental DCP ............. 4-7, 4-9 supported formats .................. 2-10 timeline element .. 2-10, 2-11, 2-14 track type ...........
