Home

CLIPSTER DCI Mastering Supplement User Guide (Version 2.0)

1. o pos ERREUR 1 5 2 4 constant quality VBR 3 14 CTD C 5 1 5 14 conventions of user guide 1 4 audio format eese 2 5 conversion color space 7 2 creation 3 6 3 7 6 6 OPL eeen 1 5 2 4 encrypted RES 3 7 3 18 6 9 Creation 3 15 6 8 extra files o n 2 4 file er 3 22 formats eee 2 4 OAC P 4 3 generated files ooo ee cece cece cece 3 21 UUID eene 2 19 ro eI MD ve gtneRs 4 3 creating localization 4 7 6 12 s J T 3 15 6 8 master 3 6 3 7 4 7 6 12 DCDM stirante tisis 3 6 6 2 NAME ssa roh Per ora PEvYY ERROR AR 3 20 DCP siiicar tar nitir aaia 3 6 6 6 unencrypted TEERDE 3 6 3 18 6 9 further KDMS nsise 4 6 6 11 versions sseeeeeeeeeeseeees 4 7 6 12 JPEG2000 ossessi 3 6 6 4 video format cesses 2 5 KDMS eeenHHH 3 17 6 9 DCP phases odiacunu iiie 2 2 MPEG Interop seeneee 6 7 DCP standards ssssssesse 2 6 self KDM nonsese 3 18 4 2 delivery creation 3 19 supplemental DCP nsere 3 7 SDD AE RUPES 5 14 supplemental DCP 2 4 10 D delivery format seeen 3 11 delivery IUD eser niei eerie 3 5 dtd rate sissien dete ice eee 2 3 digital cinema delivery tool 2 20 3 1 DEKDM P 6 11 EIDEM t 5 14 DC MXP P irriserva 6 6 7 6 ClOSG 2 i e ici rte Pet dCi 3 4 3 20 DEteel sarrar e 2
2. Figure 3 9 The source type settings Further information about color space conversions can be found in section Color Space Conversions on page 7 2 Via the radio buttons at the top of the settings area you have to select the color space of your source material in the timeline RGB If the timeline consists of clips in the RGB color space only you have to activate this radio but ton XYZ Select this setting if the clips in the timeline are all in the X Y Z color space Depending on the selected color space the radio buttons in the middle of the settings area will be made available With them you have to spec 3 9 DvS Digital Cinema Delivery Tool ify how to interpret the color space of the source material in the time line or in other words the color profile type of the selected color space RGB REC 709 Activate this radio button if your material is stored in the REC 709 color profile You can adjust the gamma luminance of the output with the items to the right When switching the combo box to the right from SMPTE gamma the default gamma as speci fied by SMPTE which cannot be adjusted to another setting the slider will be made avail able Then the gamma value can be changed via the slider or the entry field to the right RGB DLP P3 Activate this radio button if your material is stored in the DLP P3 color profile With the slider and the entry field to the right you can a
3. CLIPSTER DCI Mastering Supplement User Guide Supplement User Guide CLIPSTER DCI Mastering Document Version 2 0 for the CLIPSTER Software Version 3 1 Copyright 2008 2010 by DVS Digital Video Systems AG 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 Without the express permission of DVS Digital Video Systems AG any form of use which goes beyond the narrow bounds prescribed by copyright legislation is prohibited and liable to prosecution This particularly applies to duplication copying translation processing evaluation publishing and storing and or processing in an electronic system Specifications and data may change without notice We offer no guarantee that this documentation is correct and or complete In no event shall DVS Digital Video Systems AG be liable for any dam ages whatsoever including without limitation any special indirect or consequential damages and damages resulting from loss of use data or profits or business interruption arising out of the use of or inability to use the hardware software and or manual materials Those parts of this documentation that describe optional software or hardware features usually contain a corresponding note Anyway a lack of this note does not mean any commitment from DVS Digital Video Systems AG CLIPSTER and DVS are registered trademarks of DVS Digital Video Syste
4. sseee 4 5 4 4 Creating Additional KDMs KDM only sssss 4 6 4 5 Modifying a DCP Supplemental DCP ssse 4 7 4 5 1 Preparations isomer iicr eniai eaaa 4 7 4 5 2 The Configuration SLEDS swuscventuarenrnnnnrnsdessiavacnteetsbnnasdnad 4 8 253 Reel SSUES 212i oci Ia rnorti 4 8 4 5 4 Delivery Creation RD ee scectiaaectes 4 10 5 Stereoscopic DCP oon cccccccecssssssssesssesssesscssieeseesseceeeeeseeeeeeen 5 1 5 1 Types of 3D Material 4st retraite sb ne papse uini d pens 5 2 5 2 Preparing the Edit Tool for 3D sssssseeees 5 3 5 2 1 Preparing Two Separate Clips as 3D Material 5 3 5 2 2 Preparing Interleaved 3D Material 5 4 5 9 Working with 3D Mera iet to aire eti aeneis 5 7 5 3 1 Merging and Unmerging Video Tracks 5 7 5 3 2 Particulars about Merging and Unmerging 5 8 53 3 FOUNS P ere ere en er en ere nee ere ren peers 5 10 5 3 4 Viewing and Playing Out see 5 10 5 4 Generating 3D Ate ite anoo ieiuno dpi qoa biegen 5 14 541 Creating Sc PED e M c yia 5 14 54 2 Finalizing SD Materiale irati Er rper e 5 15 5 4 3 Recording 3D Material i2 oratoria Santa avrei dederis 5 16 OY Contents Manual Creation of a DCP esses 6 1 6 1 Creating a DCDM Manually n 6 2 6 2 Creating JPEG2000 D Cinema Data Manually 6 4 6 3 Creating a DCP Manually
5. x Hardware finalize support DC MXF hd 12 bit Q Limited to j Unlimited Figure 7 1 Accessing the JPEG2000 options Then the following window will be displayed on the screen t4 JPEG2000 Encoding Parameters S y VBR Q Limit the mum bit rate fi e to be compliant to the DCI spec Bit rate Mbps 250 ej Limit the maximum bit rat o Bit rate Mbps 250 No limit Li Constant quality VBR ession quality 100 00 maximum bit rat to be compliantto the DCI spec Bit rate Mbps Y L4 Limit the maximum bit rat to Bit rate Mbps 250 No limit Cancel Figure 7 2 Configuring the JPEG2000 encoding Further information about color space conversions can be found in section Color Space Conversions on page 7 2 Further information about a JPEG2000 encoding can be found in section JPEG2000 on page 2 3 7 6 DvS Miscellaneous In detail the window to configure the JPEG2000 encoding provides the following settings items Colorspace Interpretation This setting determines the color profile and inter pretation 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 When converting from another color space to RGB material in timeline is in another color space finaliz
6. Right Eye OK Cancel Figure 5 8 The track properties window The track properties window provides the following settings items Single track Same as the option Single track of the drop down menu above Stereoscopic 3D When this option is activated the tracks as in track dicated by the items Stream 1 and Stream 2 will be configured to a 3D stereo track Select the partner track of the first stream i e of the track where the properties window has been invoked with the Track no combo box of Stream 2 With the combo boxes to the right you have to determine which of the tracks con tains the left and the right eye clip The DVS software starts an operation for 3D such as a finaliz ing or play out with the left eye clip as the first frame How ever by configuring the track of the right eye clip to Left Eye this behavior can be changed Once everything is set correctly you can confirm your settings by click ing the OK button The CANCEL button will close the properties win dow without altering the states of the track s 5 3 2 Particulars about Merging and Unmerging There are several particulars that are worth to note when merging and unmerging video tracks Automatic Activation of Stereoscopic Output Mode When video tracks are merged to a 3D stereo track the stereoscopic output mode is automatically activated button SETTINGS of the 5 8 Stereoscopic DCP timeline area see sec
7. e g for trailers or adver tisements or encrypted e g for a feature film from a DSM a DCDM or digital cinema compliant JPEG2000 data see also sec tion Digital Cinema Package DCP on page 2 4 Additionally it will be described how use the finalizing dialog to create additional KDMs e g for later releases or to modify a DCP manually 6 1 PVs Manual Creation of a DCP 6 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 Distri bution Master DCDM on page 2 3 For some particulars about the creation of a DCDM see section Color Space Conversions on page 7 2 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 e Choose a name and storage location for the finalized files according to your project s needs To set the file name s you can also usea variable naming with the button NAME OPTIONS File name result dow D Name options Render path downtown dcdm m Bin v M Disable gap rendering Generictimecode Timeline output TC M Clipwise rendering Options Figure 6 1 File name and storage location e As the file format select the TIFF file format with the saving type 16 bit RGB big endian e Make sure that the hardware finalize support is activated
8. ing a DCP Manually on page 6 6 except the following ones You may select another file name for the finalized files After the generation only the newly generated files will carry this name Asa storage location choose a different directory If required select in the dialog window to configure the CPL button PLAYLIST other subtitle files 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 i self KDM to be able to load them with the DVS soft ware Manual Creation of a DCP Once the settings are made you can start the generation of the modi fied DCP at any time Press the button RENDER to start the modification of the DCP This will start the modification of the DCP Altered or newly added track files will be generated and wrapped in MXF whereas all unchanged files will be copied to the location specified for the DCP Additionally the ex tra files i e CPL KDMs and PKL will be created as well Miscellaneous This chapter explains other DCP related topics such as some particulars about color space conversions or how to adapt the rating agencies Fur thermore some background information about keys and certificates are provided 7 1 PVs Miscellaneous 7 1 Color Space Conversions According to the specifications a DCDM DCP should be converted
9. x Video output x Hardware finalize suppo File format TIFF Options File type 16 bit RGB big endian nsi Files per folder Q Limited to 20000 gt Unlimited Figure 6 2 File format settings As specified by SMPTE DCI the DCDM has to be saved in X Y Z in the TIFF file format However the TIFF file format natively does not store the X Y Z color space It saves the RGB or Luma color space only To make this work nevertheless a 3D look up table LUT has to be ap plied to the DSM material which will then create the X Y Z color space compliant with the specifications To convert the DSM to X Y Z select the 3D LUT appropriate for your project s material with the button 3D LUT ESSI For this you may use one of the available 3D LUTs provided by DVS 6 2 PVs Manual Creation of a DCP t 3D LUT Management Ii Profile 709_to_XYZ_DCI Add Delete Lin to Log Custom Name File incl Path evlut rZ08 to XYZ D Figure 6 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 acti vated otherwise the 3D LUT will not be applied and no color space conversion to X Y Z takes place Usethe buttons the list box and the settings items in the middle of the finalize dialog to specify the video format Adjust them so that they match the format of the final DCP see section Possible For mats for a
10. 1 Ch 9 User defined _ Ch 10 User defined Ch 11 User defined Ch 12 User defined Ch 13 User defined Ch 14 User defined Ch 15 User detined Ch 16 User defined E Reel name 02 E D el name 03 E Reel name 04 E A te Reel name_05 E Figure 2 7 The expanded contents of a reel With this you can easily confirm the contents of a reel and furthermore view the mapping of the audio data routing of the audio tracks see also section Possible Formats for a DCI Mastering on page 2 4 2 15 PVs Getting Started The Context Menu The context menu of the timeline scale provides some menu options to help you during the configuration and editing of DC reels Most of them will be available when the DC reels viewing mode is activated h Prerender Add marker ove marker all markers Set makers automatically Match frame C reels automatically Delete from in to out Figure 2 8 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 Removes all DC reels defined for the timeline in reels a single step Set DC reels With this menu option you can set reels auto automatically matically Further information about this can be found in section Setting Reels Automatically on page
11. 10 configuration steps 3 3 3 5 3 6 action in outpoints 2 14 load settings ns 3 4 ASSEES tis 3 19 4 10 5 14 OVEIVIEW eesee He 3 3 PVs save Settings ccce 3 4 Start eroosio etapetara Eee 3 2 DLP caper 3 10 DEP PZ mra a 3 10 BUm 1 5 2 2 color Space nnne 2 2 2 7 preparation seisxxsscsesdadndedeatedasut 2 7 dual stream oic iie teta eset 5 11 finalizing ERN U E 5 16 DUTDUE ipiis de to ipe eedes 5 13 Duration i esse axet ite cec en eene Sie ace 2 14 E editing 3D stereo tracks 5 10 editing DC reels 3 22 22 neni 2 13 empty timeline stretch 3D 5 9 encrypted DOP 3 7 3 18 1a are lr T MERIT eee UNDE 6 9 Encryption Key 7 9 7 11 7 12 zin DC 3 18 EntryPoint acia soe enne se booote els 2 14 error status 3D ccecce 5 9 pw E rere 5 9 exchange format sesei 2 3 extra files of a DOP cc 2 4 F file size eeeen 2 3 3 14 finalizing MN MET EEI QM 6 1 DUA EE 5 15 DCDM eemHMH 6 2 ple pet 6 6 encrypted DEP nonsese 6 9 interleaved clip 22r 5 16 JPEG2000 eee 6 4 separate Clips 3 52 3 bs ic irduds 5 16 unencrypted DOP assesses tse 6 9 FOME RR REPE M 3 16 3 21 forensic marking a se 3 18 format DIUI UNS 2 4 frame rate 2 2 2 3 2 7 G general settings ccecce 2 17 H hardware finalize support 6 2 6 4 6 7 Index HD SDI 5555252280 1992500 0000 5 12 5 17
12. 2 5 3 1 1 6 3 6 4 6 7 delivery creation 4 10 stereo 1D ance ietndos ties 5 16 storage location i tieu 4 10 video overlay siciasisarastinniasiaauecans 5 10 c 4 8 4 9 virtual DC reel 4 9 synchronicity 3D serere 5 9 Volume Index 2c eint 3 22 T Ww tab DC reels sassaacsneateaatenestoussensaye 2 14 watermarking eres 3 18 target group NP 1 3 WAV f 2 5 3 12 6 3 6 4 TEE TN RR 2 3 2 7 3 6 6 2 track mode item 5 7 X track number 3D 5 9 track properties window 5 8 XYZ 2 3 2 7 3 9 3 10 6 2 7 2 trusted communication 7 16 xyz pDEOIBCLOF coercet eter ti psit 4 4 typographical conventions 1 4 U Y YGXCZ iorra aiea 2 8 3 10 unencrypted DCP 3 6 3 18 YUV matrix isses 2 8 3 10 finalizing emer eM MN 6 9 unmerging tracks 3D 5 7 5 8
13. A transitional standard that is identical to the MPEG Interop standard but applies a JPEG2000 compression as proposed by DCI SMPTE Phase 1 This standard is based on JPEG Interop but uses different KDMs To create a DCP that can be viewed in a digital cinema theater you should know which of the different standards phases to apply to your DCP creation With the DCI Mastering feature you can create DCPs in all standards MPEG Interop can be created via a manual finalizing see chapter Manual Creation of a DCP on page 6 1 For this the setting SMPTE Phase 1 see section Configuring the System for a DCP Creation on page 2 17 has to be deactivated JPEG Interop and SMPTE Phase 1 can be created with the digital cinema delivery tool as well as via a manual finalizing You can choose between them with the configuration setting SMPTE Phase 1 see section Configuring the System for a DCP Creation on page 2 17 2 6 PVs 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 cessing steps such as scalings or color corrections will be per formed as well For particulars about the creation of a DCDM see section Digital Cinema Distri
14. CLIPSTER DCI Mastering feature allows you to create digital con tent which adheres to the standards formulated by the Society of Mo tion Picture and Television Engineers SMPTE and thus widely the specifications as originally formulated by Digital Cinema Initiatives DCI With it you will be able to take the D Cinema steps from DSM to DCP over CPL and KDM with ease With the CLIPSTER DCI Mastering feature you can generate a Digital Cinema Package DCP from a Digital Source Master DSM directly in one step However all intermediate steps such as a Digital Cinema Dis tribution Master DCDM or JPEG2000 encoded files can be generated as well For all this the DVS software provides the comprehensive digital cinema delivery tool which will lead you through the different configu rations step by step Truly beneficial is the possibility to load and adapt an already created DCP With this you cannot only quality check the final result or create additional KDMs for example for future releases but you can create different versions of a DCP for instance for localizations of a feature film Additionally you will be able to handle 3D material in the timeline and thus to create stereoscopic digital cinema content Any renderings which may be necessary during the creation of an inter mediate result or the final DCP will be supported by additional hard ware such as the CLIPSTER JPEG2000 accelerator board enabling you for example to genera
15. DCDM clips video as well as audio to the bin for exam ple by dragging them to the contents area of the bin from a file manager or by using the menu option Add clip of the bin s context menu 2 7 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 V The properties of several clips can be changed in a single i step by selecting the clips in the bin and then opening their properties Then the properties window of the bin clip s will be displayed on the screen e n this window set the color space settings to X Y Z XYZ and con firm your alteration with the OK button Colormode bd Sampling 444 YUY matrix Range Full Source timecode XYZ Source offset 00 00 00 00 Y Stereoscopic Clip Figure 2 2 Altering the color space settings of the DCDM video clip Once X Y Z has been selected as the color space the color ma i trix setting YUV matrix will switch to the correct color matrix automatically With this setting made an automatic color space conversion from RGB to X Y Z will be prevented during the creation of the DCP If your material is in YCxCz i e it was proce
16. 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 bit as a multi channel file x Audio output Channels File format WAY w Options X Stereo 1 2 __ Stereo 9 10 Bit depth 24 bits X Stereo 3 4 11412 Render audio in Multichannel file hd S o 546 Ste 13414 Audio auto retiming Off x Stereo 7 8 Ste 15416 Figure 6 4 Audio settings 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 6 3 PVs Manual Creation of a DCP 6 2 Creating JPEG2000 D Cinema Data Manually This section describes how to create JPEG2000 compressed data opti mized 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 e Choose a name and storage location for the finalized files according to your project s needs To set the file name s you can also use a variable naming with the button NAME OPTIONS File name resu
17. DCP can be validated 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 Index Numerics rji e 5 1 anaglyph R C stream 5 11 5 16 anaglyph R G stream 5 12 5 16 Ce JD ESEHNMEDNME DER TRUM 5 16 configuring tracks 1 2 ees 5 8 D i Tape MAN UR TN ETUR 5 14 dual stream 5 11 5 13 5 16 Editing NEP DDR D DE 5 10 empty timeline stretch 5 9 error StAtUs 222 2 midiiei este cbeicis 5 9 finalizing t U 5 15 HD SDI ssctessactrseiiectenis 5 12 5 17 interleaved clip 5 2 5 9 5 16 left eye right eye 5 12 merging tracks 5 7 5 8 output mode 5 nes 5 11 Output ports ccecce 5 12 preparing interleaved clip 5 4 preparing separate clips 5 3 resetting error status 5 9 saturation anagylph 5 11 5 16 separate clips n s 5 2 single stream i iocis beoe oci rita 5 11 single stream combined 5 12 start of operation 5 8 stereoscopic output mode 5 8 5 12 synchronicity 2222222222222 02 2 11e 5 9 track number sciences b tens 5 9 unmerging tracks 5 7 5 8 BIDUO
18. Delivery Tool The digital cinema delivery tool is the recommended tool to create JPEG2000 compressed 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 With it you will be able to create digital cinema content that is JPEG Interop or SMPTE DCI compliant see section DCP Standards on page 2 6 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 After this the individual configuration steps will be described Because some of the configuration steps are not required for certain de livery types the section where you have to select the delivery type will also summarize the steps that are necessary for a delivery type Subse quently all configuration steps will be described i e as they would have to be specified when creating an encrypted DCP Once you are through with the steps screens of the digital cinema de livery tool the chosen delivery type can be created This chapter will be concluded with a description of the resulting output that can be expect ed 3 1 PVs Digital Cinema Delivery Tool 3 1 Starting the Digital Cinema Delivery Tool To get the digital cinema delivery tool started perform the following Prepare your source data in the timeline of the Edit Tool as descr
19. For further information about the track properties window and the track mode item see section Merging and Unmerging Vid eo Tracks on page 5 7 n this window activate the radio button Stereoscopic 3D track and configure the tracks according to where in which track you have added the respective clips When finished confirm your settings with the OK button This will merge the two video tracks to a single 3D stereo track in the timeline 00 00 American_Beauty_Part02_ Figure 5 3 3D stereo track in the timeline Afterwards the preparations for two separate video clips as 3D material are finished and you can now start your work as described later in this chapter 5 2 2 Preparing Interleaved 3D Material When only a single video clip is available i e an interleaved 3D clip you have to alter its bin clip properties accordingly Afterwards it can be added to a stereo track of the Edit Tool For this perform the following Add the interleaved 3D clip to the bin for example by dragging it to the contents area of the bin from a file manager or by using the menu option Add clip of the bin s context menu Afterwards the interleaved clip will be visible in the contents area of the bin However because an interleaved clip is registered by the DVS soft ware just as a normal clip you have to correct its properties to account for its 3D content Open the properties of the interleaved video clip in the bin contex
20. 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 For any correct color space conversion when perform ing a DCI Mastering the timeline of the Edit Tool should consist of clips in a single color space only Furthermore when using the digital cinema delivery tool or manually finalizing to digital cinema content the color space of your material in the timeline has to be specified further by choosing the correct color profile color type for the source material in the timeline With the dig ital cinema delivery tool it can be set in the second configuration step see section Source Type on page 3 9 When converting to digital cinema content manually it can be found under the JPEG2000 encod ing parameters see section JPEG2000 Options on page 7 6 This way the DVS software will know how to interpret the color space of your video material in the timeline Once these two settings i e the bin clip properties and the color pro file are set properly the color space conversion s will be performed correctly during the creation of the digital cinema content Particulars for a DCDM Conversion The color space conversion for
21. can be set i in the DVS software can be found in chapter Using the DCP and Self KDM on page 4 1 7 10 PVs 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 typically the public key of a specific D Cinema player Has to be set on CLIPSTER Signing Key You have to provide this key pair The private key has to be set on CLIPSTER The public key will be attached to the extra files of the DCP and is thus delivered with the DCP automatically Self KDM Similar to the Encryption Key Public key file is available on CD ROM or in the installation directory of the respective CLIPSTER Requires a different setting than the Encryption Key in CLIPSTER See chapter Using the DCP and Self KDM on page 4 1 7 5 4 The Keys Applied The following shows in diagrams the keys as they are applied during a DCI Mastering on CLIPSTER and a play out by the D Cinema player i Please note that the explanations of the keys at the recipient side are detailed for clarification only The Keys on CLIPSTER This diagram shows the keys applied on a DVS DCI Mastering system 7 11 Miscellaneous Creator Track File Recipient Certificate Y RSA encry
22. can check the material of a DCP as well as specify further output settings such as the path where the content to be created should be stored t9 Digital Cinema Delivery Tool loeien tvoe Source te oetverr roma oetznno I cru Iron ocivers Craton d Be auc cluded into DCP Reel name_O03 E a E multiplechannel vultiplechanne In Out __ Disable gap rendering Limitedto 20000 e Unlimited Render path Di File name dci finalize Name Options Save settings Load settings Previous Create Cancel Figure 3 14 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 Then it will show you the DC reels as defined in the timeline and their assets By clicking on a plus minus sign in front of an entry the assets of the reel can be expanded or collapsed thereby providing you with fur ther details about them With this you can easily check and confirm the material of each reel of the DCP down to its source With the settings in the area Delivery Creation you can specify the output of the digital cinema content further and determine for exam 3 19 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 identical to the ones used in the finalize dialog For further in formation abo
23. described in this chapter you can start a DCI Mastering and create material for digital cinema workflows There are two ways to cre ate such material digital cinema With the digital cinema delivery tool you can delivery tool create JPEG2000 compressed DCPs or an inter mediate state towards one DCPs can be creat ed either JPEG Interop or SMPTE DCI compliant see section DCP Standards on page 2 6 This tool is the recommended way to create D Cinema material because it will lead you step by step through the different configu rations necessary to create digital cinema con tent manual creation Every state towards a DCP or the final DCP it self can also be created manually via finaliz ing s with the Edit Tool When using this way to create digital cinema content you are more flexible regarding the created output e g you can create MPEG compressed DCPs MPEG In terop see section DCP Standards on page 2 6 As the name suggests however this way of creating digital cinema material is not as intuitive and forthcoming as when using the digital cinema delivery tool How to use the digital cinema delivery tool to create DCPs or an inter mediate result is described in chapter Digital Cinema Delivery Tool on page 3 1 How to manually create a final DCP or an intermediate result with the Edit Tool via finalizing is described in chapter Manual Creation of a DCP on page 6 1 2 20 Digital Cinema
24. hierarchy cenere 7 14 l ICT aesasanciegseencaccdenpachabeacenseeeedinctes 3 14 input format eerren 5 16 interleaved clip 3D recae 5 2 559 finalizing aeee 5 16 intermediate certificate 7 14 intermediate step 2 2 J DPD 6 4 7 6 Jj egt 7 6 JPEG Interop nsnsi 2 6 2 19 JPEG2000 2 3 3 13 7 6 creation esee 3 6 6 4 generated files 3 21 preparation ueaxesonttekeebre tias 2 9 K KONN C 1 5 2 4 creating further KDMs 4 6 6 11 creation cecceeceeeeeeeeeees 3 17 6 9 RN 3 22 KDM only 5 ciet ruere hti 3 7 4 6 configuration steps oes 4 6 lem 7 8 L leaf certificate 1 7 14 left eye right eye 3D 5 12 leterBONINE iiciin eee iced etd 2 5 load settings vices eese deter tec acess aces 3 4 loading o CP M 4 3 Of DCOP ucc ettet iin 4 3 of self KDM eese 4 4 4 5 localization of a DCP 4 7 6 12 loudspeaker b 2 5 M manual creation 2 20 6 1 MApp Ng NUM 2 5 master DCP 3 6 3 7 4 7 6 12 master project eee eee er eee i ue diete cutis 2 2 PVs Index MAIK oe tec eee eee ea 7 3 R maximum quality VBR 3 14 merging tracks 3D 5 7 5 8 rating iPaxadaes d a uuu ew a VK wai 3 15 7 4 AOI ERR MNT HR 5 10 rating agency eset 3 15 7 4 MPEG Inter
25. receive a Signing Key is to order x 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 en crypted in a PFX file and will require a password to be opened Due to the fact that the public key is attached to the extra files via cer tificates it will be distributed with them to the D Cinema player auto matically There the exhibitor can extract it from the files and use it to verify the origin and validity of the DCP Self KDM Key This key is not necessarily required A DCP can be created without it but afterwards it would be impossible to load it again with a DVS DCI Mastering system The key for a self KDM is in most respects identical to an Encryption Key While the private key is stored securely in the hardware of the re spective DVS DCI Mastering system the complementary public key is provided via a certificate file You can find this file either already stored in the installation directory of the DVS software on the respective sys tem or on a separate CD ROM However compared to the Encryption Key this key has to be set differently in the DVS software Further information about a self KDM and where it
26. site It is used to decrypt the AES key provided via the KDM The private key is stored at the recipient s site and will not be distribut ed Thus it can be disregarded because it will not be available to you The public key should have been sent to you in a signed certificate to enable you to create a DCP for this player It has to be set on CLIPSTER Signing Key The Signing Key is an asymmetric key pair RSA used to sign and vali date the files of a DCP e g KDM or CPL With it the creator of the DCP digitally signs the extra files while the recipient will be able to ver ify that the DCP was distributed by the creator distributor and not al tered in the meantime Because DVS will not be the creator of a DCP just the manufacturer of the DCI Mastering system the user of CLIPSTER has to provide this 7 9 Miscellaneous key For a DCI Mastering DVS suggests that you use either your own Signing Key or one provided by your client it from a certificate authority CA However you can find in cluded in the delivery of the DCI Mastering feature a tool that can be used to create a Signing Key i e a self signed certifi cate Do not take the step of creating your own Signing Key lightly N With it you should define and install a certificate hierarchy to enable others to validate your identity You are the one re sponsible for the certificates issued within your certificate chain i The most appropriate way to
27. the DCP in the timeline will be used If not manually ad justed by you in the meantime they will be set to the reel settings of the master DCP By configuring the DC reels in the timeline manually prior to creating a supplemental DCP you can achieve reels according to your needs 4 9 PVs Using the DCP and Self KDM 4 5 4 Delivery Creation At the configuration step to specify the delivery creation the digital cin ema delivery tool shows you the content that will be created see also section Delivery Creation on page 3 19 icluded into DCP x xie gt e Reel name_O3 x xil Subtitle x R Reel name_04 x e Reel name_05 x Reel name_06 Figure 4 7 The content that will be created When creating a supplemental DCP the list in the area DCP audio vid eo assets indicates the reels and assets that will be generated with ac tivated check boxes The check boxes of assets that are mandatory for the supplemental DCP will appear dimmed and cannot be excluded from the creation process Assets that are optional for the creation of the supplemental DCP can be deselected By selecting check boxes that were initially deactivated you can copy content from the master DCP to the supplemental DCP during the creation process e g to create a DCP that is self sustained and independent from the master s content If these assets are left deactivated the master DCP will be needed to load the supplemental DCP The supplemental D
28. un aee 3 10 6 2 7 2 7 3 A abbreviations 2 22 25 2o tope pa ds 1 5 action Ins oBEpollis 2223 aee erae 2 14 D Cinema player i copiis 2 14 AES key cce 7 9 7 11 7 12 I l I l anaglyph R C stream 5 11 finalizing eee 5 16 anaglyph R G stream 5 12 finaliZINg ereas iire ten 5 16 arrow configuration steps 3 3 I ez cel p 7 v so ccerscariterGeinetecictenclan 2 5 coo cr 3 19 SD DCP petto 5 14 supplemental DCP 4 10 Asset Map societa bie diua 3 22 audio channel mapping 2 5 audio format 2 5 3 12 6 3 6 4 6 10 audio retiming cecce 3 12 audio routing 2 7 2 8 2 9 2 15 B bitrate c2 recedens cures equi 2 3 3 14 blue line DE reel ics 2 13 button 3D CUT iiec Rt RR 6 2 3D Output ports aseeseen 5 12 Cancel S 3 4 Cr ale iR 3 4 3 20 In Out DC reels 2 10 2 12 2 13 IPOINT sem R 2 12 KO 6 9 6 11 6 12 Load settings MS 3 4 Name options 3 20 6 2 6 4 6 6 i pe Re Dn E RN 3 4 9 1e1101 MN pM 7 6 Other Mec 5 16 OUT Scadente Eu aobravet ad iEE 2 12 Playlist 31 225 5 552 6 8 6 12 uis 3 4 Render 6 3 6 5 6 10 6 11 6 13 Save Settings oec iaces iot 3 4 Settings 2 7 2 9 5 3 5 5 5 12 transfer ioco iie i cede eco UH eee 3 18 PVs Index C automatic setting 2 10 4 9 editing occ 2 13 capturing 3D n eeesssessssssssrrrrrrrrnne 5 16 in outpoin
29. 00 data This will start the finalizing process and the JPEG2000 data will be cre ated at the specified location PVs Manual Creation of a DCP 6 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 aDCDM 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 it has to be prepared and reels as well as the general configurations have to be made Afterwards the finalizing has to be configured and as the final step the project has to be rendered which will result in the final DCP These last two steps are described in this section 6 3 1 Finalize Settings Naming and Storage Options With the project properly prepared for the creation of the DCP see chapter Getting Started on page 2 1 you can begin to set up the DCP finalizing Call up the finalize dialog of the DVS software menu Project Finalize Next choose a name and storage location for the finalized files according to your project s needs To set the file name s you can also use a variable naming with the button NAME OPTIONS File name result sex jle gt _ lt DC reel gt _ lt Videc Name options Render path vse cti do own dc Bi
30. 00 00 00 24 Figure 5 16 Configuring an input These video rasters can be used to record a 3D dual stream The two streams must be available in YUV at one of the dual link HD SDI input ports of the DVS system e g ports A B Then during capturing the two streams will be written into an interleaved clip see section Types of 3D Material on page 5 2 according to your settings for the input 5 17 Manual Creation of a DCP 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 itis to some extent more flexible regarding the created output With it you can for example create MPEG compressed DCPs MPEG Interop see section DCP Standards on page 2 6 This section describes how to create digital cinema material manually via finalizing s i e the following will be explained 1 How to create a DCDM from a DSM i e a sequence of TIFF image files in 16 bit X Y Z see also section Digital Cinema Dis tribution Master DCDM on page 2 3 2 How to create JPEG2000 compressed data optimized for the digi tal cinema either from a DSM or DCDM i e a sequence of JPEG2000 files in 12 bit X Y Z see also section JPEG2000 on page 2 3 3 How to create a DCP either unencrypted
31. 2 10 PVs Getting Started 2 4 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 f These settings are not required in case you want to create an i intermediate step towards a DCP They are applied during the generation of a DCP only x Further information about the keys and certificates used during the creation and usage of a DCP can be found in section Keys and Certificates Explained on page 7 8 and information about the keys and certificates delivered with the DVS system can be found in section The Keys and Certificates Delivered with CLIPSTER on page 7 16 Because the settings on the tab Defaults are general settings for the CLIPSTER software they will be set and available for each initialized new project This way you may not have to configure them again when creating other DCPs in the future Open the DCI settings in the CLIPSTER Configuration Tool menu Options Configuration defaults group DCD 2 17 Getting Started Configuration Project Detaults C Program Files sterKey DwsClipsterDCI 21070197 ce ignature Details dnQualifie dnQuali Thumbprint ahjQQJ64bPckM Private Signing Key C Program Files VS Clipster Signature Sto estSigning
32. 5 rite testet trinus 6 6 6 3 1 Finalize Settings Naming and Storage Options 6 6 6 3 2 Finalize Settings File and Video Format 6 6 6 3 3 Finalize Settings CPL 2 aiii tes be E ri ee tt EO R hens 6 8 6 3 4 Finalize Settings KDM 2 11 dedico pariesab e ris nd edons 6 9 6 3 5 Further Finalize Settings and Rendering 6 10 6 4 Creating Additional KDMs Manually 6 11 6 5 Modifying a DCP Manually sene 6 12 Miscellaneous sss 7 1 7 1 Color Space Conversions 12a need bim cupa UE GR SM MU 7 2 7 2 Adapting the Rating Agencies 5 cereis 7 4 7 3 Keyboard Shortcuts c 7 5 7 4 JPEG2000 Options ereere 7 6 7 5 Keys and Certificates Explained 22 eite eit qe 7 8 7 5 1 Whatsa KEY tem 7 8 7 5 2 What s a Certificate eese cesa ie enne sore on aprire Reed 7 8 7 5 3 The Key Players of the DCI Mastering ees 7 9 FDA The Keys ApplIgu uirtute part iota tree et eratac eno 7 11 755 What s a Certificate Chain eiecit edes 7 13 7 5 6 Validating Certificates ca ticasnceseniecttbacauctds lessee dacnttaecctas 7 15 7 5 7 The Keys and Certificates Delivered with CLIPSTER 7 16 f e RR I 1 iii Introduction This document describes the optionally available DCI Mastering feature of CLIPSTER and the steps that are required to create a DCP successful ly The
33. CP can be created at any location you like Anyway when creating a supplemental DCP that requires the material of the master DCP it should be stored in a subfolder of the master DCP Oth erwise the references of the supplemental DCP to the original material would be invalid when loading such a supplemental DCP with the DVS software you would be asked for their location After clicking on the respective button in the digital cinema delivery tool the supplemental DCP will be created according to your settings Stereoscopic DCP With the DCI Mastering feature you can also create a stereoscopic DCP and thus material to be screened in 3D This chapter describes the 3D features of CLIPSTER First the different types of 3D material will be described followed by a description of how to prepare the Edit Tool for 3D depending on the type of material After this the possibilities to work with 3D in the Edit Tool will be outlined thereby describing for example how to edit and view play out such clips The chapter will be concluded with descriptions how to generate 3D material with the DVS system for instance a DCP 5 1 PVs Stereoscopic DCP 5 1 Types of 3D Material Stereoscopic material provides for each human eye a separate video stream clip commonly called left eye and right eye clip They can be stored differently on a storage and the following two types of 3D ma terial can be used in the DVS software Two sepa
34. CertificateLeaf ptx JUID in CPLname E Phase 1 x Cancel Figure 2 9 DCI configuration settings Configure these settings according to your requirements Use the button fj on the right hand side of the field Private Signing Key to select the private E eee key file pfx that should be Ee neee used to sign the extra files of the DCP Signing Key For this you may have to enter a password to authenticate your usage of the private key Afterwards the corresponding public key is detailed in the field Public Key above This public key will be attached to the extra files and will be used by D Cinema players to verify the origin of the files of a DCP i Your authentication for the private key will be valid for t4 Signing Key e SJ ficateLeaf pfx Select this session of the software only After a restart of the DVS software and when performing a DCI Mastering again you will be asked automatically by the software to enter the password once more Use the area Self KDM with the field Certificate to select the public key of a CLIPSTER DCI Mastering system that should be 2 18 Getting Started 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 CLIPSTER e g to view it to create additional KDMs of the same DCP at a later ti
35. P sccccsstccteceaisecsicencees Qo ENAUrE s aaa 3 22 7 8 7 10 Dil aL OOMINE aereo bon eret 2 5 Signing extra files 2 18 7 9 7 12 E E 1 5 DA IBIIUE SOY resini Dede Te Tuto fli e Ee LL 3 22 Se HITE so ince Feel piol gi a ds plaintext ENDE OMM 7 8 single SU COM SSQHENRHENUAU GNU a post compression rate control 3 14 Pis TT eo ee SO pe icc e seecasececcaiwcxntcaceecrcnoxeo ee ee 1 1 4 5 DS ose ME ME A DU RE prd interleaved Clip 3D 5 4 Source data nsss 2 7 7 2 JPEG2000 LLL 2 9 Sourcetype sss 3 9 separate clips 3D 5 3 standards TUNER ENS 2 6 pr vio s Step a4 uns profile sanonnan 3 9 7 2 7 7 aan a a naire ds digital cinema delivery tool 3 2 Of operation 3D nesese 5 8 stereoscopic 3D track 5 7 PVs Index stereoscopic output mode 5 8 5 12 DS PX 2 19 stereoscopy see 3D V storage location 3 20 6 2 6 4 6 6 supplemental DCP 4 10 validation 7 9 7 13 7 15 subtitle eess 3 16 3 21 yalidity us eec teet resale citi cee te 7 8 supplemental DCP 4 8 4 9 of DCP suc en etd 3 17 supplemental DCP ossee 4 7 of self KDM nsc 4 1 ASSOES a E E 4 10 GIB AREE 2 3 3 14 configuration steps 1 cens 4 8 verification 2 18 3 22 7 9 7 16 creation re 3 7 versions of a DCP 4 7 6 12 DC reels aieceeccec eost xen ercuecenal 4 9 video format
36. P without KDM This option creates an unencrypted DCP e g for trailers or advertise ments either from a DSM a DCDM or digital cinema compliant JPEG2000 data in a single step see also section Digital Cinema Pack age DCP on page 2 4 Afterwards this DCP can be used as a master 3 6 PVs Digital Cinema Delivery Tool for later adaptations supplemental DCP For a DCP without KDM the following configuration steps are necessary eee cess esr rc cc xow Beier cestier gt 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 Afterwards this DCP can be used as a master for later adap tations supplemental DCP In case you have an unencrypted DCP you can use this option to encrypt it An unencrypted DCP can also be encrypted via a finalizing see section Modifying a DCP Manually on page 6 12 For an encrypted DCP the following configuration steps are necessary eee cess ees oma rc c ros Geedun gt Figure 3 6 Configuration steps for a DCP with KDM KDM only This option allows you to create additional KDMs e g for later releases of the same encrypted DCP without generating the DCP again It will be available when an encrypted DCP has been loaded into CLIPSTE
37. R see section Creating Additional KDMs KDM only on page 4 6 For this the following configuration steps are necessary petivenyype source Type Delivery Format sPEG2000 c Home ceton gt Figure 3 7 Configuration steps for a DCDM rc Supplemental DCP This option allows you to create additional material for an already gen erated DCP master DCP It will be available when a DCP encrypted or unencrypted has been loaded into CLIPSTER see section Modify 3 7 PVs Digital Cinema Delivery Tool ing a DCP Supplemental DCP on page 4 7 For this the following configuration steps are necessary eee cese ees Fa eco cc vos Bae cestier gt Figure 3 8 Configuration steps for a supplemental DCP Whether the configuration step for a KDM is required depends i on whether an encrypted or unencrypted DCP has been load ed An unencrypted DCP can be encrypted either with the option Master DCP with KDM or via a finalizing see section Mod ifying a DCP Manually on page 6 12 3 8 PVs Digital Cinema Delivery Tool 3 3 2 Source Type With the source type configuration step you determine the color space and color profile type of your source material in the timeline t4 Digital Cinema Delivery Tool Gamma 2 2 SMPTE gamma Gamma h applied 3D LUT in the timeline converting RGB XYZ native CxCz Save settings Load settings Previous
38. a terial in 3D 5 4 1 Creating a 3D DCP This section explains how to create a DCP with stereoscopic content via the digital cinema delivery tool For this you have to follow the instruc tions as given in this manual and create and prepare your project as described in chapter Getting Started on page 2 1 configure the video tracks of your project to 3D stereo tracks see this chapter e g section Preparing the Edit Tool for 3D on page 5 3 After this you can start the creation of the DCP as described in chapter Digital Cinema Delivery Tool on page 3 1 For the creation of a stereoscopic DCP there is the Stereoscopic out put setting available in the digital cinema delivery tool It can be found in the settings pane of the delivery format configuration step see sec tion Delivery Format on page 3 11 Stereoscopic output Interleaved stream Y Figure 5 13 Configuring the stereoscopic output for a DCP To create a stereoscopic DCP the check box of the Stereoscopic out put setting must be activated With the combo box to the right you can then configure the output type of the 3D DCP Because there is only one type allowed for such a DCP it is automatically set and no other type can be selected here see also section Types of 3D Material on page 5 2 With this activated the DCP will be created as a stereoscopic DCP At the delivery creation configuration step the digital cinema delivery tool will
39. a DCDM is performed via a 3D look up table LUT When using the digital cinema delivery tool you can choose between predefined 3D LUTs or a LUT of your own see section Source Type on page 3 9 A predefined 3D LUT can be selected by choosing one of the color profiles types detailed in the source type configuration step With this a 3D LUT that has been applied to the timeline al ready i e via the output settings will be overwritten To use a 3D LUT of your own it must be applied to the timeline the usu al way Then with the appropriate option selected in the digital cinema delivery tool it will be used for the DCDM conversion When converting to a DCDM manually you have to select the 3D LUT that should be applied to the DSM material in the finalize dialog see section Creating a DCDM Manually on page 6 2 DVS delivers sev eral predefined LUT files together with the DVS software that may be suitable for the color space conversion This way you can also apply a 3D LUT of your own 7 2 Miscellaneous Particulars for All Other Delivery Types Contrary to a DCDM conversion when converting material to a deliv ery type where a JPEG2000 encoding is involved i e all other delivery types but a DCDM the color space conversion is performed via a ma trix This way provides the best possible color space conversion Furthermore a 3D LUT that is applied to the timeline will be evaluated during the conversion as wel
40. al source project instead A loaded DCP can be saved as a project file This way you can work on an already finished DCP and save intermediate steps e g when modifying it 4 7 PVs Using the DCP and Self KDM Audio 1 Audio 2 Audio 3 3 Modified content Figure 4 4 Example of a timeline with modified content Afterwards by using the digital cinema delivery Q Supplemental DCP tool with the option Supplemental DCP see sec tion Delivery Type on page 3 5 you can create additional supple menting content for this DCP 4 5 2 The Configuration Steps The configuration steps that must be performed when creating a sup plemental DCP are the same as they have been made for the master DCP during its creation Therefore to create a supplemental DCP you can use the digital cinema delivery tool as described in chapter Digital Cinema Delivery Tool on page 3 1 However because the supplemen tal content has to be for the most part in the same format as the master DCP several settings items will already be set and cannot be altered Different subtitles can be set during the configuration step for the CPL as usual see section CPL on page 3 15 4 5 3 Reel Settings Same as when generating a full DCP the option to create a supplemen tal DCP will deal with the content reel wise To comprise only the changed parts of a timeline it offers you the possibility use automatical ly set DC reels for the c
41. ards reduced to 12 bit altogether For best results CLIPSTER will store the data in true 16 bit when creating a DCDM meaning when the DSM is in 16 bit already it will be stored in the DCDM in 16 bit as well and not rounded down to 12 bit amp JPEG2000 For the sake of storage space and bandwidth the size of a DCP must be reduced so that it can be transported saved and displayed without great efforts For this the image files of the DCP will be converted to 12 bit X Y Z and then encoded with JPEG2000 lossy compression For maximum efficiency CLIPSTER encodes the image data with a vari able bit rate VBR The audio data will not be compressed Same as with the DCDM with CLIPSTER you do not have to create the JPEG2000 material explicitly to get a DCP A DCP can be created from a DSM directly which will include the JPEG2000 compression automat ically However if only the JPEG2000 encoded data is required it can be created with CLIPSTER without difficulty The DCI specification limits the data rate for a successful presentation in a digital cinema theater to a file size of 1 302083 MB per 2K image at 24 frames per second equivalent to a sustained data rate of 250 Mbit sec For a frame rate of 48 fps a 2K distribution should be set to a maximum of 651 041 bytes per frame also 250 Mbit sec In CLIPSTER the settings of a JPEG2000 encoding are config i ured by defaultto this maximum data rate specified by DCI i e to
42. ards the reels can be altered and configured to your liking manually To set reels automatically in the timeline do as described in the following PVs Getting Started Select from the context menu of the timeline scale the menu option Set DC reels automatically This will switch the timeline area to the view of the DC reels automati cally and the following window will be displayed on the screen Set DC reels markers automatically DC reel name Reel name_ DC reel position mode e One DC reel per time interval 20 00 00 Apply to Figure 2 3 Dialog to set reels automatically It provides the settings items as described below Item Description DC reel name These two fields determine the names of the reels The name prefix as entered in the field to the left will be used for each reel supplement ed by a consecutive numbering that can be configured with the field to the right start number of the numbering DC reel position Determines the way the reels should be gener mode ated Via the radio buttons you can select be tween one of the following possibilities One DC reel per time interval With this set ting you can set a fixed duration for the reels via the entry field to the right The timeline range will then be divided into reels of the stat ed duration the last reel may be shorter Number of DC reels Use this setting to set a definite number of reels with the en
43. ated cannot be played back on this CLIPSTER OK Figure 6 11 KDM generation configuration 6 9 Manual Creation of a DCP n this window set the generation of the KDM s according to your needs V7 These settings items are identical to the ones used in the dig i ital cinema delivery tool For further information about them see section KDM on page 3 17 When everything is set as desired click the OK button This will close the window to configure the KDM s and you will be re turned to the finalize dialog In the finalize dialog make sure that the check box in front of the KEY button is activated otherwise an encryption will not be made and KDM s will not be created With this the KDM s will be created during the finalizing and you can continue the configuration of the finalizing by finishing it see section Further Finalize Settings and Rendering on page 6 10 6 3 5 Further Finalize Settings and Rendering Now only the audio settings remain to be set e f necessary enable the output of audio e n case it is not already set select DC MXF as the file format This will automatically configure the fields Bit depth and Render au dio in to the correct settings for a DCP Use the remaining settings items to configure the audio output to the needs of your DCP see also section Delivery Format on page 3 11 X Audio output Channels File format DC MXF Y Options x Stereo 1 2 _ Stereo 9 10 Bi
44. bmenu of this option You can choose be tween displaying the two images side by side left right or top bottom or interlaced Left Eye Right Eye Combo Box The left eye right eye combo box determines what to display in the user interface of the DVS software With it you can select depending on the setting of the output mode combo box which of the streams to view in the video overlay Additionally it controls whether the left eye or right eye stream should be displayed by the representations of the video clips in the 3D track e g via their thumbnails Furthermore in the Single stream output mode it effects the signal displayed at the output ports of the DVS system Configuring the Output Via the SETTINGS button you can set up and configure the output of stereoscopic material as well as the output ports that should be used for this It is located at the top left side of the timeline area After pressing this button the Timeline output settings window will be displayed on the screen At the bottom of this window you can find the Options area where further optional settings are provided To the right you can find the settings items for a configuration of the stereo scopic output Stereoscopic output x 3D Output ports Figure 5 11 Configuring the stereoscopic output With the check box of the Stereoscopic output settings you can turn on or off the stereoscopic output mode of the DVS system It will be automati
45. bution Master DCDM on page 2 3 and section Color Space Conversions on page 7 2 i When creating a delivery type other than a DCDM all prepro s 2 2 1 The Steps to Prepare a DSM To create for example a DCP from the original DSM you have to per form the following If not already the case load the project that contains the DSM video as well as audio in the timeline It is recommended that the DSM consists of video clips in i the RGB color space only and that the timeline is set to a D Cinema compliant frame rate Additionally the routing of the audio tracks containing audio data should be configured to the final routing of the DCP See also section Possible Formats for a DCI Mastering on page 2 4 E Once the DSM is available in the timeline you can continue the prep aration as described later in this chapter see section Setting Reels on page 2 10 2 2 2 The Steps to Prepare a DCDM A DCDM is normally saved in X Y Z in the TIFF file format However TIFF natively does not store the X Y Z color space it saves the RGB or Luma color space only To use a DCDM for the creation of a DCP nev ertheless it must be properly prepared and available in the timeline of the Edit Tool Opena new project in the Edit Tool With the button SETTINGS of the timeline area configure the timeline output settings so that they match the format of the DCDM normally the same as the final DCP format Add the
46. cally activated when tracks are merged to a 3D stereo track in the timeline When deactivated manually a single stream of a 3D track will be shown in the video overlay as well as at the outputs of the DVS system only same as the setting Single stream of the output mode combo box see section Output Mode Combo Box on page 5 11 By clicking the button 3D OUTPUT PORTS the HD SDI output ports of the DVS system can be configured It opens the following window Stereoscopic DCP t4 3D Output ports i Left Right eye output ports HD SDI output port 1 2 HD SDI output port 3 4 Cancel Figure 5 12 Configuring the output ports In this window you determine on which of the HD SDI output ports of the DVS system to give out the left eye and right eye stream of a 3D stereo track in the timeline when the output mode combo box is set to 3D Dual stream see section Output Mode Combo Box on page 5 11 Once everything is set as desired the configuration of the stereoscopic output is complete and you can view the 3D material as configured via the HD SDI outputs of the DVS system 5 13 PVs Stereoscopic DCP 5 4 Generating 3D Material In this section it is explained how to generate 3D material with the DVS system and its software First it will be explained how to create a DCP with stereoscopic content After this it is described how to finalize a project in 3D followed by a description of the possibility to record m
47. depth certificates can be created from root and intermediate certificates When setting up a certificate hierarchy take care that only trusted users receive certificates i e the private key of these certificates This applies especially to intermediate certificates that can be used to create other certificates 7 5 6 Validating Certificates As useful as the concept of certificates may seem it fails when the val idating certificate itself is a forgery Thus the remaining question is how can a receiver be sure about the origin of the signed files If the certificate was issued by a certificate authority you can validate the certificate either via a public certificate repository i e a database of issued certificates that is maintained by the CA or by contacting the CA directly When dealing with a self signed certificate there is only one way You should have received a duplicate of the respective public key certificate Miscellaneous in a trusted communication and compare this with the certificate deliv ered 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 cer tificate has to be verified via a secure communication because the chain leads to it see also section What s a Certificate Chain on page 7 13 7 5 7 The Keys and Certi
48. dio tracks containing the audio data must be adapted as outlined in SMPTE 428 3 in the CLIPSTER Edit Tool The table below shows map ping and labels suitable for audio in a DCP quoted from the specifica tion for nine channels a n Channel Label Name Description 1 1 1 L Left Far left screen loudspeaker 1 2 2 R Right Far right screen loudspeaker 2 1 3 C Center Center screen loudspeaker 2 2 4 LFE Screen Screen low frequency effects subwoofer loudspeakers 3 1 5 Ls Left surround Left wall surround loudspeakers 3 2 6 Rs Right surround Right wall surround loudspeakers 4 1 7 Lc Left center Mid left to center screen loud speaker 4 2 8 Rc Right center Mid right to center screen loud speaker 5 1 9 Cs Center surround Rear wall surround loudspeakers 5 2 10 SMPTE reserved 2 5 PVs Getting Started ar Channel Label Name Description Pair Ch 6 1 11 SMPTE reserved 6 2 12 SMPTE reserved 7 1 13 SMPTE reserved 7 2 14 SMPTE reserved 8 1 15 User defined 8 2 16 User defined 2 1 3 DCP Standards d Other audio channel mappings can be found in SMPTE 428 3 Until today there have been three different DCP standards in use MPEG Interop Also called MXF Interop This standard was originally defined by the MPEG Interop Group and is based on MPEG compressed files wrapped in MXF containers JPEG Interop
49. djust the gamma luminance of the output RGB DLP P7 Activate this radio button if your material is stored in the DLP P7 color profile With the slider and the entry field to the right you can adjust the gamma luminance of the output RGB with applied 3D LUT This setting will be available when a user de fined 3D LUT has been applied to the timeline When activated this 3D LUT will be used for the color conversion XYZ native Activate this radio button if your material is stored in the X Y Z color space already Then no color conversion will be performed YCxCz If you material was processed with a YUV ma trix this setting has to be activated The bin clip properties of these clips in the timeline have to be set to YUV with the appropriate YUV matrix selected that was used to process the material see also section The Steps to Prepare a DCDM on page 2 7 When everything is set up correctly you can go to the next configura tion step with the button NEXT 3 10 PVs Digital Cinema Delivery Tool 3 3 3 Delivery Format The delivery format configuration step is used to determine the output format of the digital cinema content Digital Cinema Delivery Tool Original aspec Ster 7 2048 x 1080 FILM4K FILM4K Multichannel file Audio auto retiming Off Sa ttings Load settings Figure 3 10 The delivery format settings Depending on the type of materia
50. during the generation of a DCP only In CLIPSTER the DC reels can be set wherever and to whatever length you want For example it is not necessary to set them to the edit points of clips in the timeline According to DCI it is common practice to divide a feature film into reels of a length between 10 and 20 minutes 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 the viewing and manual editing of DC reels in the timeline the Edit Tool provides a special mode It can be activated with the toggle button IN OuT DC REELS of the timeline area In its deactivated state the button of the timeline area is labelled IN OUT In this mode you can see the timeline as usual and set the timeline s in and outpoint mem When the button is activated it will be labelled DC REELS and the timeline area will show you already set reels Additionally the tab DC reels of the tool area will be activated In this mode you can view the DC reels and set their in and outpoints To set reels in the timeline you have two possibilities at hand You can set them automatically or manually Both possibilities will be described in this section Furthermore it will be described how to edit and config ure the reels 2 3 1 Setting Reels Automatically The reels for a DCP can be set automatically which is the most conve nient way to do this Afterw
51. e Apart from editing already determined reels manually in the timeline they can also be configured with the tab DC reels of the tool area as well as with some menu options of the context menu of the timeline scale Both possibilities will be described in the following The Tab DC reels Already set reels can be configured with the tab DC reels of the tool area Makers DC reels Perform Reel duration Action In Ez a Reel name_03 D Reel name_04 e Reel name_05 E Figure 2 6 The tab DC reels The tab DC reels shows you the already defined DC reels as they can be seen in the timeline When selecting a reel for example with a click of the mouse the DVS software will switch to the viewing mode for DC reels if not already activated and highlight the respective reel in the timeline Additionally the timeline cursor will be positioned at the in point of the selected reel The entries on this tab provide information about the exact in and out points of the reels as well as their durations Furthermore for each reel you can specify an action in and outpoint i e determine the param eters EntryPoint and Duration of a DCP asset in a CPL You may use them for example if the targeted digital cinema player requires some thing similar to pre or postroll times When an action in or outpoint is specified the material of this reel that lies outside the action duration will not be displayed by a digital cin
52. e 7 5 Certificate hierarchy The root certificate is either a CA issued certificate or a self signed one i e it is signed by its own private key From this root certificate other certificates can be created intermediates that enable other users to digitally sign items in the name of the root via their private keys Addi tionally from intermediate certificates further certificates can be creat ed either other intermediates or leaf certificates The last link in the chain is the leaf certificate that can only be used for signing meaning other certificates cannot be created from a leaf All certificates in a certificate chain refer back to the identity that is bound to the root certificate and thus inherit the trustworthiness of the root Root Certificate must be trusted Miscellaneous Leaf Root Intermediated A1 Certificate Certificate Certificate validate validate Figure 7 6 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 certifi cate 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 Within this path
53. e DVS software will search for an appropriate KDM 4 3 Using the DCP and Self KDM for the DCP i e the self KDM in the directory level of the extra files of the DCP If none can be found a dialog window for the selection of a file will appear asking you for the location of the file Once the KDM has been found and or loaded the content of the DCP will be opened in the Edit Tool and you will see it in the timeline Afterwards you can use the DCP for example to play out the timeline and review the content of the DCP for quality checks 7 A loaded CPL is not a DVS project file Therefore certain set Li tings may not be configured correctly and you may have to set them again A loaded DCP can be saved as a project file This way you can work on an already finished DCP and save intermediate steps e g when modifying it If you want to view the DCP on an XYZ projector you have to deactivate the automatic color conversion from X Y Z to RGB of the DVS software For this you have to alter the color spaces of the clips in the bin of the Edit Tool and set them to RGB For further hints about how to do this see section The Steps to Prepare a DCDM on page 2 7 4 4 PVs 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 wit
54. e contents area of the bin from a file manager or by using the menu option Add clip of the bin s context menu Afterwards the clips will be visible in the contents area of the bin and they will be automatically set to the correct color space Next add the JPEG2000 clip s to the video track s of the timeline Add the audio clip s to the audio tracks of the timeline If necessary adapt the routing of the audio tracks that now contain audio data so that they are suited for the DCP to be created see section Possible Formats for a DCI Mastering on page 2 4 With this the clips have been added to the timeline of the Edit Tool and they will be used for the creation of the DCP You may now continue the preparation as described later in this chapter see section Setting Reels on page 2 10 2 9 PVs Getting Started 2 3 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 the 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 ate an intermediate step towards a DCP DC reels are evaluated i The setting of DC reels is not required in case you want to cre
55. e of the defined formats only This is followed by information about the different standards for a DCP packaging that have been in use and can be applied with the DVS system 2 1 1 The DCI Mastering Steps The generation of a Digital Cinema Package DCP consists of various steps and phases that can be easily accomplished with the DCI Master ing feature of CLIPSTER These were outlined by DCI and with CLIP STER you are totally free in your decision whether to make one of the intermediate steps towards a DCP to finish an intermediate state to a DCP or to create a DCP in a single step The individual steps that a DCP is composed of are explained shortly in the following ILI Ss TL eco am meu gt Figure 2 1 The DCP steps Digital Source Master DSM The first step to create a SMPTE DCI compliant Distribution Package for digital cinemas is the Digital Source Master DSM With CLIPSTER this step would be the same as with most projects You simply have to assemble your project in the timeline of the Edit Tool and edit it as de sired with for example trimmings transitions color corrections etc The SMPTE as well as DCI clearly state that the Digital Source Master DSM itself is not defined i e it may consist of any color space pixel matrix spatial frame rate temporal bit depth and many other met rics SMPTE 428 1 Therefore it lies totally in your own discretion how to prepare a project and thus the DSM It is this mast
56. eceived unmod ified can be checked by comparing the hash values written in the vali dated and thus unaltered PKL file with hashs calculated from the received track files The completely validated DCP can then be played out by decrypting the AES keys with the private key of the Encryption key After this the AES keys will be used to decrypt the track files of the DCP 7 5 5 What s a Certificate Chain Certificates see section What s a Certificate can be distributed in a chain where the last certificate the leaf certificate that cannot create Miscellaneous other certificates certifies that it comes from another certificate the in termediate certificate this certifying that it comes from a further cer tificate 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 Root Certificate Intermediate A1 Intermediate A2 Certificate Certificate coa Co Intermediate B1 Intermediate B2 Intermediate B3 Intermediate B4 Certificate Certificate Certificate Certificate Leaf Leaf Leaf Leaf Certificate Certificate Certificate Certificate Figur
57. ed output format is set to RGB it sets the profile of the target material i e of the material to be finalized and rendered When converting from RGB to RGB 1 1 con version or when no RGB material is involved in the color space conversion this setting has no effect When converting to X Y Z the content of i the timeline must be in a single color space only With every other color space than X Y Z selected as the target color space the timeline material is handled clip wise meaning each clip in the time line is evaluated separately and converted with regard to its color space set in the bin properties The remaining settings items are identical to the ones displayed at the JPEG2000 configuration step For further information about them see section JPEG2000 on page 3 13 7 7 PVs Miscellaneous 7 5 Keys and Certificates Explained There are various keys and certificates involved in the process of creat ing a DCP This section tries to shed some light on them and the way they are used 7 5 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 informa tion e g plaintext to ciphertext i e encrypted information Vice ver sa during decryption the key is used by the algorithm to decode the ciphertext back to the original information There a
58. eel Once you are finished with the creation and setting of the DC reels they can be edited and configured to your liking as described in section Editing and Configuring the Reels on page 2 13 2 3 3 Editing and Configuring the Reels DC reels action duration By activating the toggle button IN OUT DC REELS you switch the time line area to the viewing and editing mode for DC reels This also acti vates the tab DC reels of the tool area In this mode you can view the DC reels as well as edit and configure them The timeline area will then show you already set DC reels c A O M PP p 14 05 25 14 12 14 T HOLLYWOOD Hollywood 06 20 39 14 05 839 14 12 512 10 CSi 0 1 06 673 Figure 2 5 DC reels in the timeline area The DC reels already defined in the timeline will be displayed in the timeline area with a blue line showing the name of the reel right above it Once the timeline cursor is placed inside a reel the respective time line stretch between its in and outpoint will be highlighted in blue 2 13 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 sec tion Setting Reels Manually on page 2 12 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 lin
59. ema player only the material of the action duration will be shown during a presentation An action duration is marked in the timeline area with an orange line below the blue line Getting Started of a reel and it will appear as soon as one of the action in outpoints is set differently than the in outpoint of the reel An action in outpoint can only be placed inbetween the in and outpoint of its belonging reel 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 Afterwards confirm the new value with the Enter key which will apply it to the re spective reel When editing a reel s in outpoint they cannot be placed in side another already defined reel or beyond one Further information about a reel can be viewed by clicking on the plus minus signs in front of a reel entry It will expand or collapse the contents of the reel Reel name Content E XE Reel name 01 El E Video American_Beauty_Part02_ 05d tif E AX Audio Ch 1 Left CSi wav 0 1 FX_A_Master WAY 0 1 Ch 2 Right CSi wav 0 1 FX A Master WAV 0 1 Ch 3 Centen FX_A_MasterC WAY 0 1 Ch 4 LFE FX_A_MasterC WAWY 0 1 Ch 5 Left surround FX_B_MasterC WAY 0 1 Ch 6 Right surround FX_B_MasterC WAY 0 1 Ch 7 Left center Rhythm_B_Master WAV 0 1 Ch 8 Right center Rhythm_B_Master WAV 0
60. ention to text that follows this symbol to avoid errors Texts enclosed by quotation marks are references to other man uals guides chapters or sections Window Text in bold with single quotation marks indi cates a window name BUTTON Text in small caps and bold indicates push but tons Group Menu Text in italic and bold indicates either a group name menu name or options in a menu list Menu Option In the specified group or menu select the stated item Item Text in bold only stands for other labeled items of a user interface Directory File Directory structure or file Entry Parameters selections or entries made in the program it may also indicate a file syntax or contents of a file Key An individual key or a key combination on a keyboard Keyboard Shortcuts To perform options or procedures with the keyboard often requires a si multaneous pressing of two keys Example Ctrl F1 If this is given hold down the Ctrl key and press simultaneously the F1 key 1 4 PVs Introduction 1 4 Abbreviations The following lists the abbreviations used in this document Most are from the SMPTE standards and or the specifications of DCI Abbreviation Shortened Form of CPL Composition Playlist DCDM Digital Cinema Distribution Master DCI Digital Cinema Initiatives LLC DCP Digital Cinema Package DSM Digital Source Master KDM Key Delivery Message PKL Packing List SMPTE Soci
61. ep Further information about the keys and certificates used during the creation and usage of a DCP can be found in section Keys and Certificates Explained on page 7 8 t4 Digital Cinema Delivery Tool II oetverr pe T source type oetverr Format Loreanno I cp I wc Oetvery Creation d Key De ge Recipient certifications Name H conforming dt standardconfig xml DysTestHydraLeaf1 cer DusTestHydraLeaf1 ptx DusTestHydraLeaf2 cer DusTestHydraLeaf3 cer i i RatingAgency xml X Cre If this ed the content created cannot be played back on this CLIPSTER Save settings Load settings Previous Next Cancel Figure 3 13 The KDM settings In the settings pane configure the generation of the KDM s according to your needs With the entry and date time fields in the upper part of the window you have to provide further details about the KDM s to be created as well as their validity For the generation of a KDM a correct time setting 3 17 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 With the respective check boxes you can
62. er project that can then be converted to different formats for various applications such as a Digital Cinema Distribution Master DCDM a home video master a broadcast master or a master for archiving purposes For best results DVS recommends that the timeline of a DSM i in the Edit Tool consists of clips in the RGB color space only and S that it is set to a digital cinema compliant frame rate 2 2 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 in volved in the task to create D Cinema content It can be used as a com plete 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 in 16 bit X Y Z in the TIFF file format with the resolution frame rate and audio channel distribution of the later DCP see also section Possible Formats for a DCI Mastering on page 2 4 It is one of CLIPSTER s advantages that an explicit creation of a DCDM is not mandatory With CLIPSTER a DCP can be made from a DSM di rectly and you do not have to make a DCDM first in order to get a DCP Nevertheless in case a DCDM is required it can be generated with CLIPSTER easily f DCI suggested to store the DCDM in 12 bit padded to 16 bit i that the SMPTE in their stand
63. ersion 1 0 encoding utf 8 gt lt RA gt lt AGENCY NAME http www classification gov au 2007 ratings gt lt RATING gt G lt RATING gt lt RATING gt PG lt RATING gt lt RATING gt M lt RATING gt lt RATING gt MA 15 lt RATING gt lt RATING gt R 18 lt RATING gt lt RATING gt X 18 lt RATING gt AGENCY lt RA gt 7 4 PVs Miscellaneous 7 3 Keyboard Shortcuts For a more easy and a faster control of the DCI Mastering feature there are various keyboard shortcuts available which are listed in the tables below Table 7 1 General keyboard shortcuts Action Shortcut Open the digital cinema delivery Ctrl D tool Open the finalize dialog Ctrl F Table 7 2 Keyboard shortcuts for DC reels i e when in DC reel mode Action when in DC reel mode Shortcut Set DC reel inpoint E I Set DC reel outpoint R O Delete DC reel inpoint D Delete DC reel outpoint F Delete DC reel in and outpoint G Go to DC reel inpoint Q Go to DC reel outpoint W 7 5 Miscellaneous 7 4 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 for mat for video e g JP2 JPC or DC MXF
64. ety of Motion Picture and Television Engi neers 1 5 General Notes In the following you can find some general notes that may be helpful for your work with the DCI Mastering feature or this user guide i The DCI Mastering is available as an optional feature Up grades from previous CLIPSTER versions may be possible but depend on the system hardware delivered to you f For further details about user interface items not described in i this document please refer to the other user guides delivered with the DVS system 1 5 Getting Started This chapter provides basic information about a DCI Mastering and de scribes the preliminary steps to start one Here you can find for exam ple information about the phases that a final DCP creation comprises or the basic configurations that are required for the DVS system Addi tionally it will be described how to deal with the source data and pre pare it to be converted to digital cinema content 2 1 PVs 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 recommen dations and useful notes for a DCI Mastering with CLIPSTER After wards details about some of the allowed video and audio formats for digital cinema content are provided because a DCP has to be created in on
65. f you want to create new KDMs for i an already generated DCP DCPs can also be created unencrypted for example for trailers or advertisements Then of course they do not require KDMs or a self KDM Unencrypted DCPs as well can be used as de scribed in this chapter but do not require a self KDM This section describes how to use a DCP and a self KDM once they have been created It will be explained for example how to configure the creation of a self KDM how to load a DCP with the DVS software how to use a DCP to create additional KDMs and how to modify a DCP e g for localized versions 4 1 PVs 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 to use the DCI Mastering see section Configuring the System for a DCP Creation on page 2 17 some settings have to be made in the Configuration Tool tab Defaults group DCD In the field Certificate of the area Self KDM you have to enter the path to the file cer that holds the public key of the CLIPSTER DCI Mastering system where the DCP should be loaded Self KDM Certificate C Program Files G86 VDVS Clipster Key Store DvsClipsterDCI_21070197 c Figure 4 1 Setting the public key for a CLIPSTER DCI Mastering system This public key file can be found either already stored in
66. ficates Delivered with CLIPSTER In the delivery of the DCI Mastering feature you can find on the en closed CD ROM the following keys and certificates File cer Path DVS CLIPSTER Key Store Explanation Public key for a self KDM for this CLIPSTER DCI Mas tering system i e the certificate key to create a KDM for this DVS system to be able to decrypt a DCP there File DvsClipsterDCIRoot cer DvsClipsterDCIDvsAG cer Path DVS CLIPSTER Certificate Store DVS DVS CLIPSTER Certificate Store DVS Explanation The certificate chain of the public key for a self KDM intermediate and root for verification Use the following files for testing purposes only They should not be used to create a DCP for distribution For this you should use your own Signing Keys see section Signing Key on page 7 9 File TestSigningCertificateLeaf pfx Path DVS CLIPSTER Signature Store DVS Test Explanation For testing only Private Signing Key for testing With it you can sign the extra files of a DCP Contains the complete chain of test certificates Password DVS Miscellaneous File TestSigningCertificateLeaf pem Path DVS CLIPSTER Certificate Store DVS Test Explanation For testing only Test certificate The public key certif icate of the private Signing Key for testing With this file and the certificate chain the
67. following options Single stream When this option is selected the 3D track in the timeline will be displayed as if it were a standard single video track The video overlay as well as the outputs show all one stream of the 3D track only You can select the stream that should be displayed with the left eye right eye combo box 3D Dual stream This option displays the two streams of the 3D track independently at two different output ports of the system The output ports can be configured with the timeline output settings see section Configuring the Output on page 5 12 With this the video overlay shows a single stream only i e the one selected via the left eye right eye combo box 3D Anaglyph red cyan stream Combines the two streams of the 3D track to a single anaglyph stream for red cyan glasses and displays it in the video overlay as well as at the outputs of the system To activate it select one of the saturations O or 100 for the col or of the 3D material with the submenu of this option 5 11 Stereoscopic DCP 3D Anaglyph red Same as 3D Anaglyph red cyan stream but green stream the anaglyph stream is for red green glasses 3D Single stream Combines the two streams of the 3D track to a single stream and displays it in the video over lay as well as at the system s outputs e g for special 3D displays For this you have to select the way the streams will be combined with the su
68. for example for quality checks 4 2 PVs 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 on the DCI Mastering system that holds the com plementary key private RSA key to the public key that was entered in the Configuration Tool see section Configurations for a Self KDM on page 4 2 To load a DCP perform the following n the DVS software open the dialog window to load a project Project Open Switch to the directory where the DCP or more explicitly the CPL is stored Select as the file type to be displayed in the Load Project window the setting Digital Cinema Composition Playlist files combo box Files of type t Load Project Drsection31 dcitdep d739 File name Files of type ig ine laylist files xml A n Playlist files xml All files C X Figure 4 3 Loading the Composition Playlist CPL of a DCP The extra files of the DCP in xm1 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 th
69. he Edit Tool see section Setting Reels on page 2 10 you can add subtitles for the DCP in the area XML Subtitles For each specified reel there will be one entry field available where you have to enter the path to the xm1 subtitle file Alternatively you can select the file with the button to the right of the entry field gl To add a subtitle file at least one reel has to be speci fied in the timeline These files must be already available and one xml file has to be assigned to each reel Via the entry field Font File you have to select the font that the subti tles should be displayed in true type font ttf v Currently it is not possible to review or display subtitles with i the DVS software However the D Cinema player will recom pose them from the provided xm1 files during presentation After this the configurations for the CPL are complete and you can go to the next configuration step with the button NEXT PVs 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 gen eration of the KDMs as well as the keys that should be used can be con figured with the KDM configuration st
70. his 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 v This approach to modify a DCP creates a complete DCP from i the master DCP To create a supplemental DCP you have to use the digital cinema delivery tool see section Modifying a DCP Supplemental DCP on page 4 7 The track files of a DCP should not be submitted to further ren dering processes e g effects on audio or video For this use the original source project instead To modify a DCP perform the following Load the DCP as described in section Loading the DCP on page 4 3 If required replace video audio track files in the timeline When using the finalize dialog to modify a DCP modifications to track files are observed reel wise only For example even if only one frame of video is changed this reel will be rendered again completely How ever by changing the DC reels in the timeline area similar to the auto matically created ones as described in section Reel Settings on page 4 8 additional renderings can be avoided e If required adapt the DC reels in the timeline see section Setting Reels on page 2 10 Then call up the finalize dialog of the DVS software menu Project Finalize Inthe finalize dialog adjust all settings including the ones for CPL and KDMs so that they match the master DCP see section Creat
71. hout 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 Afterwards the encrypted clip can be added to the bin and you can use it in your project where you are working on see also section Configurations for G The self KDM must have been created for the DVS system aSelf KDM on page 4 2 The number of keys that can be loaded at a time is limited A single KDM usually contains several keys one for each track file and up to 256 different keys can be loaded To use an encrypted track file in another project of the DVS software perform the following Onthe Project menu select the menu option Load KDM This will open the dialog window to open a file n this window select the self KDM generated for the DCP from which the track file should be used and confirm your selection with the button OPEN This will load the keys of the self KDM into the DCI Mastering system Afterwards add the wanted track file video or audio to the bin either by using a file manager or the menu option Add clip of the bin s context menu This will make the encrypted track file available in the DVS software and you can use it in your project You can also work the other way around First load the en i crypted track file and then the self KDM amp KDM keys are not stored in a project file Once the project
72. ial you can add them to separate video tracks in the timeline of the Edit Tool and then merged these tracks to a single stereo track For this perform the following Add the two clips for the left and right eye to the bin for example by dragging them to the contents area of the bin from a file man ager or by using the menu option Add clip of the bin s context menu Next open the output settings of the timeline button SETTINGS In the Timeline output settings window set the video track size options to show a second video track in the timeline area and con firm this with the OK button Add the two video clips from the bin each to a video track in the timeline It is recommended to add the left eye video clip to the first video track and the right eye video clip to the second video track Once this is done the timeline of the Edit Tool will look similar to the following figure M Timeline1 00 00 2 M Single track 2 J American Beauty Parl02 00 00 1 Mi Single track WG tamerican_Beauty_Pant02_ Figure 5 2 Left eye and right eye clip in the timeline Then the two tracks can be merged to a single stereo track Either perform a click on one of the items labelled Single track or click on the triangle to the right and select from the drop down menu the entry Stereoscopic 3D track 5 3 Stereoscopic DCP After this the track properties window of the respective track will be dis played on the screen
73. ibed 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 This will start the digital cinema delivery tool and the first configuration step is displayed on the screen see section Overview on page 3 3 and section Delivery Type on page 3 5 3 2 PVs Digital Cinema Delivery Tool 3 2 Overview After starting the digital cinema delivery tool see section Starting the Digital Cinema Delivery Tool on page 3 2 its user interface is dis played on the screen showing you the first configuration step 4 Digital Cinema Delivery Tool configuration steps e sPEGz2000 crt Kom in TIFF 16 Bit XYZ format e of image files in JPEG2000 12 Bit XYZ format h ssage ai E L available settings pane oi p button area e Lx Figure 3 1 The digital cinema delivery tool The arrow at the top of the window of the digital cinema delivery tool shows you the configuration steps that would have to be performed for the currently selected delivery type Depending on the selected delivery type there are different configuration steps required and the arrow in dicates them with different colors yellow The current configuration step orange Configuration steps which have to be performed for the selected delivery type grey Configuration
74. is closed and opened again at a later time you have to load the respective self KDM again to access the material of the en crypted track file When using this function encrypted material may sometimes provide no thumbnails or waveforms in the DVS software However the video can be seen decrypted in the overlay of the Edit Tool 4 5 PVs Using the DCP and Self KDM 4 4 Creating Additional KDMs KDM only Once an already generated DCP is loaded in the Edit Tool see section Loading the DCP on page 4 3 it can be used to create further KDMs e g for later releases without having to generate the DCP again To achieve this you can use the digital cinema delivery tool with the option KDM only see section Delivery Type on page 3 5 It will lead you straight to the configuration step where you can set up the creation of KDMs see section KDM on page 3 17 After finishing the configuration of the KDMs to be created they can be saved at any location you want in the configuration step for the delivery creation see section Delivery Creation on page 4 10 4 6 PVs Using the DCP and Self KDM 4 5 Modifying a DCP Supplemental DCP An already created DCP can be modified for example to exchange au dio subtitles or certain parts of video For this the digital cinema deliv ery tool provides the option Supplemental DCP see section Delivery Type on page 3 5 It can be used to create different versio
75. l regardless of whether the digital cinema delivery tool is used or the conversion is made manually The only ex ception from this is when you use in the digital cinema delivery tool a 3D LUT of your own to effect the color space conversion to X Y Z see section Source Type on page 3 9 Then only this one will be used for the conversion 7 3 du Miscellaneous 7 2 Adapting the Rating Agencies During the configuration of the CPL see section CPL on page 3 15 and section Finalize Settings CPL on page 6 8 you can set one or more rating agencies Ex factory the software already offers a few rat ing 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 xml in the program installation directory of the DVS software usually C Program Files DVS Clipster contains the rating agencies that will be displayed in the Edit Tool It is a file in XML syntax that can be adapted to your needs Just copy paste and edit the entries and afterwards save the file The adaptations will be displayed in the software when configuring a CPL creation f The name of the agency attribute NAME of the AGENCY i tag should contain a URI that uniquely identifies the agency which issued the ratings The following shows an example of the file RatingAgency xml al ready adapted to another rating system lt xml v
76. l that is available in the timeline vid eo 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 Adjust them so that they match your desired output format normally the one of the final DCP see section Possible Formats for a DCI Mastering on page 2 4 3 11 Digital Cinema Delivery Tool Additionally specify the audio format for the digital cinema content ac cording to your needs for example select the WAV file format in 24 bit as a multi channel file v Audio retiming should be activated when the output frame i 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 For details about the Stereoscopic output item refer to sec tion Creating a 3D DCP on page 5 14 After this the configurations for the delivery format are complete and you can go to the next configuration step with the button NEXT PVs Digital Cinema Delivery Tool 3 3 4 JPEG2000 With the JPEG2000 configuration step you configure the JPEG2000 compression rate for the digital cinema content t4 Digital Cinema Delivery Tool parameters Color Transform R Oj um bit rate file size to be co c Bit rate Mbps Limit the maximum bit ra
77. ld provide see also section Possible Formats for a DCI Mastering on page 2 4 x Video output Hardware finalize support ema Playlist jd Playlist a Encryption 3D LUT Timeline TC Offset TC Drop frame Frame rate Dominance tio FILM4k Original aspect ratio Figure 6 9 Video format settings With this the file and video format are set properly and you can contin ue the configuration of the finalizing by setting up the CPL see section Finalize Settings CPL on page 6 8 6 7 PVs Manual Creation of a DCP 6 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 Cin ema 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 For this per form the following Click on the PLAYLIST button This will open the window to configure the CPL 4 DCI Composition Playlist Composition Play List Ag ion j MP Cl compliant mastering of a prepared DSM in CLIPSTER s timeline Language Cont Title C stering Example Content Kind Rating J03 ratings PG Cancel Figure 6 10 CPL configuration Configure the settings according t
78. le xml downtown dcpexample O1 mxf downtown dcpexample 02 mxf downtown dcpexample 03 mxf downtown dcpexample 04 mxf downtown dcpexample O05 mxf downtown dcpexample audio 01 mxf downtown dcpexample audio 02 mxf downtown dcpexample audio 03 mxf downtown dcpexample audio 04 mxf downtown dcpexample audio 05 mxf ewe EE EE E VE EE EL Ee E E KDM downtown dcpexample DvsTestHydraLeaf1 xml KDM downtown dcpexample DvsTestHydraLeaf2 xml S KDM downtown dcpexample DvsTestHydraLeaf3 xml KDM self downtown dcpexample DvsClipsterDCI 21070197 xml PKL 34c69417 df8e 4986 b837 864620 amp e36c1 xml E VOLINDEX Figure 3 15 The resulting DCP The following table lists shortly the generated files and their purpose File Folder Explanation subfolders The subfolders hold each a subtitle file xm1 and the font file tt in which to display the subtitles They are named according to the ID of the subtitle file tag lt SubtitleID gt 3 21 Digital Cinema Delivery Tool File Folder Explanation ASSETMAP The Asset Map details the content of the deliv ered 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 CPL xml Composition Playlist specifying the sequence of the track files and thus the order of the play ou
79. ls Delete mm 00 00 h di 07 00 Figure 2 4 Items to set in and outpoints Move the timeline cursor via its controls or manually to the position where the reel s inpoint should be set Then press the button for the inpoint Perform the same for the reel s outpoint This will automatically create a DC reel in the timeline with the name Reel name no By performing the same procedure repeatedly 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 7 5 The reels will be formed by setting an inpoint as well as an outpoint The nearest free and unobstructed no already defined reel inbe tween in outpoint will be used to form a reel n outpoints can also be set by entering a number in the respective entry field and afterwards pressing Enter Already determined reels can be altered by either setting a new in outpoint within an already defined reel shortens the reel or by setting a new in outpoint and deleting the old one lengthens the reel When in the DC reels mode reel in and outpoints can be deleted the same way as deleting the timeline s in and outpoint by using the toggle button DELETE The number no of the reel name will increase by one 1 with each created r
80. lt dow wn jp2 E Name options Render path sec 31 do D Bin hd In Q Disable gap rendering _ Generic timecode Timeline output TC Clipwise rendering Options Figure 6 5 File name and storage location e As the file format select the JP2 file format with the saving type 12 bit XYZ Configure the JPEG2000 encoding options as described in section JPEG2000 Options on page 7 6 Make sure that the hardware finalize support is activated x Video output x Hardware finalize support File format JP2 Options File type 12 bit XYZ i Files per folder Q Limited to 20000 gt Unlimited Figure 6 6 File format settings Usethe buttons the list box and the settings items in the middle of the finalize dialog to specify the video format Adjust them so that they match the format of the final DCP see section Possible For mats 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 bit as a multi channel file 6 4 Manual Creation of a DCP x Audio output File format Bit depth Render audio in Multichannel file Audio auto retiming Off Figure 6 7 Audio settings After this the settings to create JPEG2000 encoded digital cinema con tent are complete and you can start the finalize process at any time Press the button RENDER to start the generation of the JPEG20
81. me or to modify it Select the file cer that holds the public key of this CLIPSTER with the button fj to the right of the field Cer tificate N This public key file can be found either already stored in the installation directory of the CLIPSTER software on the respective system or on a separate CD ROM Further information about the usage of the self KDM as well as its creation can be found in chapter Using the DCP and Self KDM on page 4 1 Activate the check box Use UUID in CPL name to get a shorter version for the file name of the CPL based on its UUID universally unique identifier file name syntax will be CPL_ lt UUID gt xm1 If deactivated the file name of the DCP will be used An activated check box SMPTE Phase 1 creates a DCP that is SMPTE DCI compliant You have to deactivate the check box to generate a DCP for D Cinema players which are based on the MPEG or JPEG Interop instead of the SMPTE standard Further information about this can be found in section DCP Standards on page 2 6 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 Mas tering and you can start one at any time as described in section How to Start a DCI Mastering on page 2 20 2 19 PVs Getting Started 2 5 How to Start a DCI Mastering As soon as the preparations appropriate for your source material are finished as
82. ms AG Any other product names mentioned in this documentation may be trademarks or registered trade marks of their respective owners and as such are subject to the usual statutory provisions CLIPSTER DCI Mastering Supplement User Guide Introduction Getting Started Digital Cinema Delivery Tool Using the DCP and Self KDM Stereoscopic DCP Creating a DCP Manually Miscellaneous Index PVs Headquarters DVS Digital Video Systems AG 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 com Support E mail support dvsus com I I Contents I I 1 Introduction ooo ceccecceccsecessssesseesesssesseesesneestseeseeseteeteseeeeeee 1 1 UNES II rcm T 1 2 2 larget OrOUP sssaaa aaen aap iiaae 1 3 1 3 Conventions Used in this User Guide sssssse 1 4 1 4 Abbreviations isisisi ANE DUI I D EE 1 5 1 5 General Notes RR niinen inea 1 5 2 Getting Started sse 2i Zh 9 2 S gene ane a elu uu UL ILE E 2 2 2 1 1 The DCI Mastering Steps eee deerit een nnnc 2 2 2 1 2 Possible Formats f
83. n e Activate the finalizing of video with the check box Video output With a DCP loaded via a self KDM you will get in the list of file formats combo box File format an additional entry named DC KDM e As the file format select DC KDM e Afterwards click on the KEY button This will open the window to configure the KDM generation see sec tion Finalize Settings KDM on page 6 9 n this window configure the generation of the additional KDM s see section KDM on page 3 17 However because a self KDM for the current DCP is already available you may deactivate the check box Create a KDM for current Clipster When everything is set as desired click the OK button This will close the window to configure the KDM s and you will be re turned to the finalize dialog e n the finalize dialog make sure that the check box in front of the KEY button is activated otherwise the KDM s will not be cre ated After this the settings to create additional KDM s are finished and you can start their creation at any time Press the button RENDER to start the creation of the additional KDM s This will start the creation and the additional KDM s will be written to the specified location 6 11 PVs Manual Creation of a DCP 6 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 t
84. n the timeline and select the menu option Reset error status After wards the clips will be displayed with their normal color again No Partner Element The complementary partner element of a left right eye clip pair can be left out from the timeline meaning timeline stretches on one of the tracks to be merged to a 3D track can be left empty Those tracks can 5 9 Stereoscopic DCP still be merged to a 3D stereo track as long as synchronicity is observed everywhere else in the timeline see above Then the timeline element without a partner will be duplicated and added to the empty track When unmerging the track again you will find instead of just one time line element identical timeline elements in both tracks 5 3 3 Editing Once 3D material is properly prepared and available in the timeline of the Edit Tool see section Preparing the Edit Tool for 3D on page 5 3 you can start to work with it Any stereo track available in the timeline area of the Edit Tool can be edited the same way as a standard single video track The timeline ele ments on 3D stereo tracks can be for example cut or trimmed or tran sitions and effects can be applied All editing work will be applied to both streams at the same time When merging two video tracks with different effects applied i to the timeline elements the effects operators will be copied from the elements of the first stream to the elements of the second stream The one
85. n hd Render from In Out Y Disable gap rendering _ Generic timecode Timeline output TC v Clipwise rendering Options Figure 6 8 File name and storage location With this the file naming and storage location are determined Next you have to continue with section Finalize Settings File and Video For mat on page 6 6 and set the video format for the DCP 6 3 2 Finalize Settings File and Video Format In this step you have to configure the file and video format of the DCP e If not already set select DC MXF as the file format 6 6 Manual Creation of a DCP This will automatically set the saving file type to 12 bit xyz and the audio file format to DC MXF To create a DCP according to the standard MPEG Interop you have to select MPEG2 VES as the saving file type Further more for this the setting SMPTE Phase 1 see section Con figuring the System for a DCP Creation on page 2 17 must be deactivated See also section DCP Standards on page 2 6 Configure the JPEG2000 encoding options as described in section JPEG2000 Options on page 7 6 When creating an MPEG Interop DCP it can also be config ured further same way as the JPEG2000 options Make sure that the hardware finalize support is activated Usethe buttons the list box and the settings items in the middle of the finalize dialog to specify the video format If not already set cor rectly adjust them to the format that the final DCP shou
86. nema 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 Deliv ery Type on page 3 5 there are different configuration steps required and this section explains them as they would appear when creating an encrypted DCP The configuration steps that are required for a delivery type are summarized in section Delivery Type on page 3 5 3 3 1 Delivery Type Right after starting the digital cinema delivery tool see section Start ing the Digital Cinema Delivery Tool on page 3 2 the very first con figuration step will be displayed With it you determine the type of content that should be created i e the delivery type Digital Cinema Delivery Tool oer ripe ff Source type Detvenr Format JPEG2000 cec Kom Delivery Creation Select a delivery type you want to create Cinema Package without a Key Delivery ma Package including a Key Delivery Message additional Key Delive enan e ted DCP is already available ntal DCP Creation a supplemental version of a Mast that includes only e additional new auc eo information a new KOM and new CPL referring to the original Master DCP as well as the new audios Save settings Load settings Figure 3 2 The delivery type settings 3 5 Digital Cinema Delivery Tool In the settings pane select the delivery type that you wan
87. ns of a DCP for instance for localizations of a feature film A DCP made with the option Supplemental DCP from a master DCP generates anew only the content that was modified For the unaltered parts of content it still requires and refers to the content of the master In addition a supplemental DCP will contain all the extra files that are normally included in a DCP i e CPL KDMs PKL etc and thus can be seen as a DCP of its own The purpose of a supplemental DCP is to minimize the time and effort to encode different versions of the same package and to reduce its overall size All cinemas worldwide receive the same international ver sion master DCP with identical reels and CPLs Depending on the country an additional supplemental DCP is provided normally in a sub directory of the master DCP containing only the relevant changes This section describes how to use the supplemental DCP feature of the digital cinema delivery tool 4 5 1 Preparations After loading an already generated DCP see section Loading the DCP on page 4 3 it can be modified in the timeline of the Edit Tool There you can change for example certain frames of video and the au dio reels Additionally there may be different subtitle files available that should be included in the other version of the DCP 7v The track files of a DCP should not be submitted to further ren i dering processes e g effects on audio or video For this use the origin
88. o create a stereoscopic DCP Chapter 6 Describes the steps how to manually create the final DCP or an intermediate result with the DVS software via finalizing Chapter 7 Provides further details and information that may be useful for a DCI Mastering Index This chapter facilitates the search for specific terms 1 2 PVs 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 man uals 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 Additionally it would be beneficial to be familiar with the SMPTE stan dards concerned with the creation of digital cinema content and the specifications of DCI 1 3 PVs Introduction 1 3 Conventions Used in this User Guide The following typographical conventions will be used in this documen tation Texts preceded by this symbol describe activities that you must per form in the order indicated Texts preceded by this symbol are parts of a list Texts preceded by this symbol are general notes intended to fa l cilitate work and help avoid errors You must pay particular att
89. o your requirements These settings items are identical to the ones used in the dig ital cinema delivery tool For further information about them see section CPL on page 3 15 When everything is set as desired click the OK button 6 8 Manual Creation of a DCP This will close the window to configure the CPL and you will be re turned 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 6 9 6 3 4 Finalize Settings KDM For an encrypted DCP one or more KDMs have to be created as well Usually you will create one KDM for each D Cinema player that should play out the content and for this the 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 items D Cinema Encryption The items for a KDM will be available only when in at least one activated finalize output DC MxF is selected as the file format To create an unencrypted DCP see that the check box in front of the KEY button is deactivated To configure the generation of the KDM s perform the following Click on the KEY button This will open the window to configure the KDM generation t4 DCI Key Delivery Message 2 forthe DCI Mastering Example If this option content cre
90. ol It is available for convenience reasons already pro viding the optimum settings for digital cinema content The settings cannot be altered Limit the maximum bit rate file size to This setting enables the post compression rate con trol When it is activated the limitation values can be adjusted Select whether you want to adjust the bit rate or the file size from the drop down list and then change its value in the entry field to the right to the desired one No limit This setting disables the post com pression rate control meaning a JPEG2000 compression will still be performed but without further bit rate file size limitation resulting in the highest quality and the largest file sizes e g between 2 and 3 MB for 2K images The constant quality VBR setting operates near the maximum quality VBR when set to 100 Dur ing encoding it tries to get the same quality for the complete timeline so that you will receive the same impression for each image It can be specified fur ther with the settings sorted under it which oper ate the same way as for the maximum quality VBR see above When everything is set up correctly you can go to the next configura tion step with the button NEXT PVs 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 t4 Digital Cinema Delivery Tool ES II cetverr pe T source type etver
91. op PEERS Ae e 2 6 2 19 REC VOS HD DEIN 3 10 create cocccccccccccccccccccccccccnccecennuus 6 7 lg 2 4 MPEG2 VES AMT TE 6 7 see also DC reel multi channel file 3 12 6 3 6 4 MXF isssisi icriecitrestisiliiiexirxcpis 2 10 MXF RES 2 4 3 22 removing DC reel erroe 2 16 reels Me TTE 2 10 resetting error status 3D 5 9 MXF WEG Ds cscazdeescsevatesvaceticesaeces 2 6 retiming audio 3 12 RGB Em 3 9 N root certificate eere 7 14 COMMING noain 2 7 2 8 2 9 2 15 name of DC reel 2 11 2 12 2 15 Name Of DCP 5 re ebd 3 20 S icri lo MM RT RENE 3 4 NOLES NR RR A 1 5 SaturallOn eoe 5 11 5 16 Save Settings nccc 3 4 o self KDM e 4 1 configuration eee 2 18 4 2 OPON NR E RENT 1 5 creation isses 3 18 4 2 orange line DC reel 2 14 file eee 3 22 4 2 output mode 3 D VERENA 5 11 key dM E 7 1 O 7 11 OUTPUTS arriera 5 10 key setting sss 2 19 HD SDI cem 5 1 2 load TETTE 4 4 4 5 overview loading DCP 4 4 3 of chapters uunc cete 1 2 public key sse 7 16 of DCP phases eese 2 2 validity TELS 4 1 of digital cinema delivery tool 3 3 verification 7 16 Separate clips eeguiii to due oen EL SI SRNUE 5 2 ANANE eiercic 5 16 P setting Encryption Key 3 18 path depth sss zug DE EINE Key etic als PFX file 2 18 7 9 7 10 shortcuts TEk 7 5 phases Of a DO
92. or a DCI Mastering ssssss 2 4 213 DCOP Standards E IO 2 6 2 2 Preparing the Source Data cecene 2 7 2 2 1 The Steps to Prepare a DSM n eesssssssssrrrrrrrrrrrrrrreeeee 2 7 2 2 2 The Steps to Prepare a DCDM nn sssssssssssrsssrrrrrrrrrrreeee 2 7 2 2 3 The Steps to Prepare JPEG2000 Data 2 eee 2 9 2 3 Setting Reels NOE 2 10 2 3 1 Setting Reels Automatically 225 3 tpe rabat ebiss 2 10 2 3 2 Setting Reels Manually uio iecore ie rot do estie 2 12 2 3 3 Editing and Configuring the Reels 2 13 2 4 Configuring the System for a DCP Creation 2 17 2 5 How to Start a DCI Mastering eeren 2 20 3 Digital Cinema Delivery Tool 3 1 3 1 Starting the Digital Cinema Delivery Tool 3 2 cM MEC Rer SENEE ea 3 3 DvS Contents 3 3 The Configuration Steps eeeceeceeecereereererererenen 3 5 3 3 1 Delivery Type cm 3 5 3 3 2 Source Type sss ays asa ies iadeitub einge cun EER 3 9 EXCERPT 3 11 3 3 4 JPEG2000 skois iini atoiak Hee 3 13 3 31b CPDaiiuscien elie acid Mesi aL aes 3 15 3 3 6 KDM aisi enaena tente ae ea vodka pr epe Pecan teense 3 17 3 3 7 Delivery Creation m 3 19 BA The Generated Files rn trn ereere 3 21 4 Using the DCP and Self KDM ssssssssss 4 1 4 1 Configurations for a Self KDM eeren 4 2 4 2 Loading the DOP eec 4 3 4 3 The Menu Option Load KDM
93. pted AES Key eui AES encrypted CPL KDM PKLM Track File uejsks unesen 19d M31Sdl 1o DCP Figure 7 3 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 Next the completed CPL KDM and PKL are signed with the Signing Key The fin ished DCP can then be sent to the Recipient The Keys at the Recipient This diagram shows the keys as they are applied at the Recipient s site PVs Miscellaneous Recipient DCP Validated uc c a oper M s ccc AES encrypted cPL KDM PKL Hash Hash Track File RSA encrypted AES Key Creator Certificate decrypt lt a gt Track File de PETS Figure 7 4 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 r
94. rate video clips one for the left eye and one for the right eye A single video clip that contains both eyes by interleaving the two video streams interleaved video clip This is also the native format for a stereoscopic DCP Gogo ps d 8 0 0 00 Figure 5 1 Interleaving of a 3D video clip A stereoscopic DCP always starts with the left eye clip as the i first frame S This is also the standard mode of the DVS software Operations such as a finalizing or play out will start with the left eye clip as the first frame However by setting the right eye clip to be the left eye clip this behavior can be changed see section Merging and Unmerging Video Tracks on page 5 7 A clip configured as an interleaved video clip can be added to a 3D stereo track only see section Preparing Interleaved 3D Material on page 5 4 Depending on the type of material that is available to you the DVS software has to be prepared differently see section Preparing the Edit Tool for 3D on page 5 3 5 2 DVS Stereoscopic DCP 5 2 Preparing the Edit Tool for 3D Depending on the type of material that is available to you see section Types of 3D Material on page 5 2 the Edit Tool has to be prepared differently to be able to work in 3D This section describes how to pre pare the different types of 3D material 5 2 1 Preparing Two Separate Clips as 3D Material If two separate video clips are available as your 3D mater
95. re two types of keys available symmetric If the algorithm uses the same key during en and decryption it is known as a symmetric key algorithm asymmetric Algorithms that require two different keys one for encryption and one for decryption are called asym metric key algorithms The concept behind them is that it is almost impossible to compute one key from the other With this you can make one key public the public key while keeping the other in secret the private key thus providing others with the means for example to send encrypted pieces of information to the private key holder that only he can decode 7 5 2 What s a Certificate A certificate is a file that usually contains a key Additionally it includes a digital signature to ensure the validity of the key certificate With this the purpose of a certificate is on the one hand to provide you with a key and on the other to confirm that this certificate and key belong to a certain identity e g a person institute or company Ideally the signature comes from a certificate authority CA charged with the task of checking identities before issuing certificates that refer to this identity However the most commonly used certificates are those that users make for themselves self signed certificates Also common are certificates that users make for others so that these can certify validities on behalf of the user certificate chain see section What s a Ce
96. reation of the additional content see section CPL on page 3 15 4 Currently set DC reels e Automatically set DC reels for supplemental DCP Figure 4 5 Reel configuration for a supplemental DCP 4 8 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 10 The option Automatically set DC reels sets virtual DC reels for the timeline which will include only the changes For the example timeline shown in figure 4 4 on page 4 8 this would mean reels like the follow ing Audio 1 Audio 2 Audio 3 1 Reels Figure 4 6 Reels to be created Our example see figure 4 4 on page 4 8 would create two reels for video and a whole new set of reels for the audio data The remaining video data parts in light grey in the figure above would not be gener ated anew During the creation process they can either be copied to the supplemental DCP or left in the master DCP With the latter the new CPL of the supplemental DCP will reference to them Please note that the total amount of reels increases when using automatically set DC reels and you may have to provide different subtitle files for the addi tional reels When using the option Currently set DC reels the reels as currently configured for
97. rtificate Chain In the DCI Mastering a certificate normally contains a public key ceror pem files A private key is usually provided in a personal 7 8 Miscellaneous information exchange file p x which is typically encrypted and re quires 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 au thentication as well Thus a PFX file contains besides the private key one or more public keys 7 5 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 AES Key The AES key is a symmetric key used to en and decrypt the content of the DCP track files For each track file an individual AES key is gener ated This key will be encrypted with the Encryption Key on CLIPSTER see below and written to the KDM file The AES key is generated randomly and automatically by CLIPSTER Encryption Key The Encryption Key is an asymmetric key pair RSA used to encrypt and decrypt the AES key Typically this key pair is generated by the manu facturer of the D Cinema player and handed to the purchaser of the player The public key of the Encryption Key is used to encrypt the AES key when it is written to the KDM Usually it is embedded in a certificate file The private key of the Encryption Key is stored on the D Cin ema server player at the recipient s
98. s of the second stream will be deleted 5 3 4 Viewing and Playing Out With 3D material prepared and available in the timeline see section Preparing the Edit Tool for 3D on page 5 3 you can start to work with it This can be easily controlled via the video overlay or a monitor connected to the outputs of the DVS system For example an anaglyph emulation mode allows you to control the 3D depth of the material on the fly in the video overlay and afterwards it can be played out in all common 3D methods The material that will be displayed in the video overlay and at the out puts can be configured with the output mode and left eye right eye combo boxes These items will be available when the stereoscopic output i mode is activated see section Configuring the Output on page 5 12 and or video tracks are merged to a 3D stereo track in the timeline Stereoscopic DCP output mode left eye right eye Atstat end Intemaltimecode Y 00 00 American Beauty Pap02 Figure 5 10 3D items in the timeline area Furthermore the stereoscopic output mode and the output ports can be configured with the timeline output settings All these items are de scribed in the following Output Mode Combo Box With the output mode combo box you determine what will be dis played in the video overlay and at the outputs of the system After se lecting it a drop down list will be displayed on the screen offering you the
99. s two or more video tracks are displayed in the timeline see also section Preparing the Edit Tool for 3D on page 5 3 video tracks can be merged as well as unmerged For this you have to use the track mode item right in front of a video track Please observe also section Particulars about Merging and l Unmerging on page 5 8 1 2 M Single track A Single track h Stereoscopic 3D track Figure 5 7 The track mode item When clicking on the triangle to the right on the track mode item a drop down menu will be displayed that can be used to configure the tracks Single track Configures the respective track to a standard single video track of the Edit Tool If a 3D track already it will be unmerged to two single tracks again each holding the left eye right eye clip When unmerging a track containing an inter leaved 3D clip it will also be split into two sep arate clips Stereoscopic 3D Configures the respective track and its partner track track if it was a 3D track previously to a 3D stereo track again If the respective track was not a 3D track before the properties window of the respective track will be opened see be low 5 7 PVs Stereoscopic DCP A direct click on the track mode item always opens the properties win dow of the respective track t4 Track 1 properties EJ Track mode Single track scopic 3D track am 1 Track no 1 Y Left Eye Stream 2 Track no
100. select the material that should be encrypted In the area Recipient certifications you can select the public keys of the D Cinema players recipient certificates Encryption Key that should be able to play out the DCP For each selected key one KDM file will be created In the directory file tree to the left browse to the loca tion on your system where the public keys certificates of the D Cine ma players are stored cer or pem file Then select them and transfer them to the list field to the right by either dragging and drop ping them with the mouse or using the transfer button ED An already set key file can be removed from the list to the right by selecting it and pressing the Del key on your keyboard With the check box Create a KDM for current CLIPSTER you can activate the creation of a self KDM i e of a KDM to decrypt the con tents of the final DCP on a selectable CLIPSTER DCI Mastering system for example for a final check of the delivered content 7v Further information about the usage of the self KDM as well as i its creation can be found in chapter Using the DCP and Self KDM on page 4 1 After this the configurations for the KDMs are complete and you can go to the next configuration step with the button NEXT 3 18 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
101. show you for the video assets the sources of the left and right eye clips separately thereby allowing you to confirm the contents of the 3D DCP see also section Delivery Creation on page 3 19 Stereoscopic DCP ES E BH E Figure 5 14 The assets of a 3D DCP 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 de i scribed in chapter Using the DCP and Self KDM on page 4 1 The video track will be automatically configured to a 3D stereo track 5 4 2 Finalizing 3D Material 3D material can also be created via a finalizing for example to create digital cinema content manually see chapter Manual Creation of a DCP on page 6 1 For this your content must be appropriately pre pared with the video data in 3D stereo tracks see this chapter e g sec tion Preparing the Edit Tool for 3D on page 5 3 Then it can be finalized in 3D In the finalize dialog you can find among the optional items for a video output the setting Stereoscopic output Stereoscopic output x Interleaved stred Y Figure 5 15 Configuring the stereoscopic output for a finalizing To create stereoscopic content via finalizing the check box of the Ste reoscopic output setting must be activated With the combo box to PVs Stereoscopic DCP the right you can then configure the outpu
102. ssed with a YUV matrix beforehand the color space setting must be set to YUV Additionally the appropriate YUV matrix that was used for the material during processing must be set manually setting YUV matrix Next add the video clip s of the DCDM to the video track s of the timeline Add the audio clip s of the DCDM to the audio tracks of the time line f necessary adapt the routing of the audio tracks that now contain audio data so that they are suited for the DCP to be created see section Possible Formats for a DCI Mastering on page 2 4 With this the DCDM clips are added to the timeline of the Edit Tool and they will be used for the creation of the digital cinema content You may now continue the preparation as described later in this chapter see sec tion Setting Reels on page 2 10 2 8 DVS 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 With the button SETTINGS of the timeline area configure the timeline output settings so that they match the format of the JPEG2000 data normally the same as the final DCP format Add the required clips video as well as audio to the bin for exam ple by dragging them to th
103. steps that are not required for the se lected delivery type and cannot be made Further details about the delivery types and the required con i figuration steps can be found in section Delivery Type on page 3 5 3 3 Digital Cinema Delivery Tool The configurations that can be made for the currently displayed config uration step are shown in the settings pane in the middle of the win dow When you are finished with the configurations for the current step you can go to the next or previous configuration step with the ap propriate buttons in the button area at the bottom of the window The buttons of the button area allow you to control the digital cinema delivery tool Load settings Cancel Saves the already specified configuration settings for the digital cinema delivery tool to a file Loads previously saved configuration settings from a file Steps to the previous configuration step for the currently selected delivery type Steps to the next configuration step for the cur rently selected delivery type When the last step is reached it will be labelled Create which will then start the creation of the digital cinema content Closes the digital cinema delivery tool without cre ating digital cinema content However already specified configurations will not be lost but stored during run time Already made configuration settings are saved in a project file l as well 3 4 Digital Ci
104. t Contains hash values of the DCP s track files certificates and a signature for verification purposes as well mxf The encrypted content of the DCP track files i e for each reel one video and one audio file KDM xml Key Delivery Message containing the encrypt ed key for the content as well as certificates and a signature for verification purposes One for each playback system D Cinema player KDM self xml Key Delivery Message for a CLIPSTER DCI Mastering system The self KDM is not intend ed for D Cinema players and should only be used to administer the DCP on site e g for quality checks This file is essential to create new KDMs or load the DCP see chapter Us ing the DCP and Self KDM on page 4 1 PKL xml Packing List containing information and IDs about the files of a DCP Thus it allows for asset management of the delivered DCP Contains hash values of most of the DCP s files certifi cates and a signature for verification purposes as well VOLINDEX The Volume Index is used to differentiate vol umes in a multiple volume distribution The creation of a multi volume distribution is cur rently not supported Once these files are available you have successfully created a compli ant Digital Cinema Package DCP with the DVS software that is ready for distribution 3 22 Using the DCP and Self KDM When a DCP of a feature film is created it is us
105. t menu of bin clip Properties Then the properties window of the bin clip will be displayed on the screen n this window configure the setting Stereoscopic Clip to Interleaved Stereo and confirm this with the OK button 5 4 Stereoscopic DCP yic Clip Interl Audio Channels and eas Flags Channels __ Best take Figure 5 4 Configuring a clip to an interleaved clip The clip will now be recognized by the DVS software as interleaved 3D material and as a result it can only be added to a 3D stereo track Thus you have to provide a 3D stereo track in the Edit Tool for it Open the output settings of the timeline button SETTINGS n the Timeline output settings window set the video track size options to show a second video track in the timeline area and con firm this with the OK button Once this is done the timeline of the Edit Tool will look similar to the following figure M Timeline1 2 M Single track 1 M Single track Figure 5 5 Two timeline tracks in the timeline Then the two tracks can be merged to a single stereo track Either perform a click on one of the items labelled Single track or click on the triangle to the right and select from the drop down menu the entry Stereoscopic 3D track After this the track properties window of the respective track will be dis played on the screen For further information about the track properties window and i the
106. t depth 24 bits x Stereo 3 4 __ Stereo 11 12 Render audio in Multichannel file x Stereo 5 6 _ Stereo 13 14 Audio auto retiming Off x Stereo 7 8 _ Stereo 15 16 Figure 6 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 e 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 21 Once these are available you have successfully created a compliant DCP with the DVS software that is ready for distribution PVs Manual Creation of a DCP 6 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 with out having to generate the DCP again For this perform the following e 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 File name result kdmonly via finalize Ti Name options Render path D section31 dcikdmonly via finalize Bin hd Render from In Out M Disable gap rendering Generictimecode Timeline output TC ad Clipwise rendering Options Figure 6 13 File name and storage locatio
107. t format of the 3D material The following settings are available Interleaved The 3D stereo track will be finalized into an in stream terleaved clip see section Types of 3D Mate rial on page 5 2 Dual stream Two separate clips one for the left eye and one for the right eye will be created Anaglyph R C The two streams of the 3D track will be com stream bined to a single anaglyph stream for red cyan glasses and then finalized to a clip There are two settings available for this that can be used to select the saturation of the images colors 0 or 100 Anaglyph R G Same as Anaglyph R C stream but stream the anaglyph stream is for red green glasses With the Stereoscopic output setting activated the material will be fi nalized according to your configurations once the finalizing is initial ized 5 4 3 Recording 3D Material With the DVS software you can also capture 3D material This has to be performed in the I O Tool software module of the DVS software When configuring the input format you can find sorted under the video for mat type Other button OTHER several rasters tagged with STEREO in the column Group Stereoscopic DCP t Video format settings f EE SDI out EE DVI Analog Format Film a Type Rate G Input port 50 SMPTE 2 STEREO C Frame rate C Drop frame Pulldown Startp Variframe Head Full Internal 0 LTC 00
108. t 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 configura tion steps required The following explains shortly the available delivery types and details the configuration steps that have to be performed for each Please note that for the last two options an already created i DCP is required and if the DCP is encrypted a self KDM for the DCP DCDM This option creates a DCDM from a DSM i e a sequence of TIFF image files in 16 bit X Y Z see also section Digital Cinema Distribution Mas ter DCDM on page 2 3 For this the following configuration steps are necessary petivenyype Settee Type Delivery Format sPe lt 2000 cet kom erede gt Figure 3 3 Configuration steps fora DCDM For some particulars about the creation of a DCDM see section Color Space Conversions on page 7 2 JPEG2000 This option creates JPEG2000 compressed data optimized for the digital cinema either from a DSM or DCDM in a single step i e a sequence of JPEG2000 files in 12 bit X Y Z see also section JPEG2000 on page 2 3 For this the following configuration steps are necessary petiverytype Source Type Delivery Format neEGao90 cet kom ier tn Figure 3 4 Configuration steps for JPEG2000 data Master DC
109. te JPEG2000 encoded 12 bit X Y Z files in near or even faster than real time 1 1 PVs 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 cre ate 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 regard ing the audience this manual is written for and an explanation of the conventions used in this manual Additionally it details the abbrevia tions used and some general notes that you should observe Chapter 2 Contains basic information about a DCI Mas tering Here you can find for example infor mation about the phases that a final DCP consists of or the basic configurations that are required for the DVS system Furthermore this chapter describes how to handle and prepare the source data to be converted to digital cine ma content Chapter 3 Describes the digital cinema delivery tool which will lead you through the different steps to cre ate digital cinema content Chapter 4 Explains how to use a DCP and the self KDM after their creation for example to quality check the final result to add KDMs or to gen erate different versions of a DCP Chapter 5 Describes the 3D features of the DVS software Among others it is explained how t
110. te file size to Bit rate Mbps No limit Constant quality VBR n quality 100 00 e Limit the maximum bit rate f e compliant to the DCI spec Bitrate Mbps Y 250 Limit the maximum bit rate f Bit rate Mbps 250 No limit Save settings Load settings Figure 3 11 The JPEG2000 settings By default the settings are set to the highest quality allowed for a DCP Further details about the JPEG2000 encoding can be found in section JPEG2000 on page 2 3 3 13 DvS Digital Cinema Delivery Tool This configuration step provides the following settings items ICT Maximum quality VBR Constant quality VBR This setting enables the Irreversible Color Trans form meaning an internal conversion of the imag es colors prior to encoding With this the colors of the images will be encoded more efficiently If the check box is deactivated the original colors of the images will be used for the encoding which would normally result in a larger file size per image but with one of the Limit the maximum bit rate file size settings activated it will result in a lower quality of the finalized material With this setting activated the applied JPEG2000 encoding will get the maximum quality out of each processed image It can be specified further with the settings sorted under it Limit the maximum bit rate file size to be compliant to the DCI spec This setting enables the post compression rate contr
111. the highest quality allowed for a DCP 2 3 Getting Started Digital Cinema Package DCP During the last stage of a DCP creation the audio and JPEG2000 en coded image files will be wrapped either encrypted or unencrypted in the MXF format as the DCP s content delivery format This last phase in the creation of the final Digital Cinema Package DCP performs various steps itself It will split the video audio data into reels encrypt the data if wanted wrap the audio and video reels separately in the MXF format and generate the extra files for a DCP such as the Composition Playlist CPL Key Delivery Message KDM Packing List PKL etc see section The Generated Files on page 3 21 With this you will get a D Cinema compliant output that can then be sent to the theaters for which it has been created if encrypted All this and the steps mentioned before DCDM and JPEG2000 can be created with CLIPSTER from a DSM in a single step But of course any intermediate step towards a DCP can also be converted to a DCP with the DVS software easily For this you have to prepare your source material appropriately prior to the creation by determining reels and configuring the key for CLIPSTER This is in detail described in the following sections of this chapter 2 1 2 Possible Formats for a DCI Mastering This section describes some formats for audio and video that are suit able for a DCP They were taken from the respec
112. the in stallation directory of the CLIPSTER software on the respective system or on a separate CD ROM Because the settings on the Defaults tab are general settings of the DVS software they will be set and available for each initial ized new project This way you do not have to configure the path and file name of the public key file of the respective CLIPSTER again when creating other DCPs in the future In the KDM settings during the configurations of a DCP creation you have to activate the generation of the self KDM For this en able the check box Create a KDM for current Clipster see sec tion KDM on page 3 17 and section Finalize Settings KDM on page 6 9 x Create a KDM for current Clipster Figure 4 2 Activating the creation of the self KDM The described procedures to create a self KDM are available for i convenience reason You have to set it only once and its gen eration can be turned on or off via the check box described above However a self KDM is just another KDM only that it is made for a DVS DCI Mastering system If wanted you may create a self KDM the same way as any other KDM Once these settings are made the self KDM will be created during the generation of the DCP It will be stored at the same location as the other files of the DCP normally with the file name KDM self xml This file will then be used to load the encrypted DCP on the DVS system for which it has been created
113. tion Configuring the Output on page 5 12 and it will remain activated for this project if not deactivated manually Interleaved Video Clips A clip configured as an interleaved video clip can be added to a 3D ste reo track only see section Preparing Interleaved 3D Material on page 5 4 Its two streams are then accessible to the DVS software By unmerging a stereo track containing an interleaved video clip the two streams can be accessed separately as two individual clips one for the left and one for the right eye Track Numbers The first number in front of a video track indicates the track number If a second number is displayed with a plus sign in front it details the respective partner track of this track either if currently a 3D track or previously configured to one track no gt lt partner track no gt Synchronicity When merging two video tracks to a 3D stereo track the edit points of the timeline elements in both tracks must coincide i e the timeline el ements must be synchronous If they are not synchronous you will be informed about this and the respective elements will be particularly highlighted in the timeline area M Timeline1 07 06 15 08 2 1 M Single track Americ 08 038 1 2 M Single track Figure 5 9 Error marked clips in the timeline area To reset the highlighting you can resolve the cause for this error and then merge the two tracks or call the context menu of a video clip i
114. tive SMPTE specifica tions While the video formats listed here can be considered complete the audio channel mapping described below is only an example In the SMPTE 428 3 you can find further mappings following must be applied to a DCDM and JPEG2000 encoding if created separately as well as to the final DCP see also sec tion The DCI Mastering Steps on page 2 2 For best results the DSM should have been created in the format of the final DCP already i Please note that the formats for video and audio detailed in the 2 4 DvS Getting Started Video Formats The following lists the video formats that are suitable for a DCP No of Active No of Active Aspect Ratio Pixel Aspect Frame 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 85 1 flat 1 1 24 48 If your source material is in a different aspect ratio than the ones de tailed above the material should be scaled for the digital cinema output so that it fits either vertically or horizontally in one of the full formats thereby applying either letter or pillarboxing Audio Formats and Mapping Audio should be saved in 24 bit at 48 000 Hz and the DCI specification suggests the WAV file format For a DCI Mastering the routing of the au
115. track mode item see section Merging and Unmerging Vid eo Tracks on page 5 7 n this window activate the radio button Stereoscopic 3D track and configure the tracks so that track 1 is set to the left eye and track 2 to the right eye When finished confirm your settings with the OK button This will merge the two video tracks to a single 3D stereo track in the timeline 5 5 du Stereoscopic DCP Then add the interleaved video clip from the bin to the stereo track in the timeline Once this is done the timeline of the Edit Tool will look similar to the following figure Timeline1 BN American_Beauty_Pan02_ Figure 5 6 3D stereo track in the timeline The left eye and right eye video streams interleaved in the clip are now accessible to the DVS software With this the preparations for an inter leaved clip as 3D material are finished and you can now start your work as described later in this chapter 5 6 PVs Stereoscopic DCP 5 3 Working with 3D Material This section describes how to work with 3D material in the Edit Tool af ter it has been prepared and added correctly to the timeline see section Preparing the Edit Tool for 3D on page 5 3 First the merging and unmerging of video tracks will be described followed by some particu lars about this After this it will be explained how to view edit and play out 3D clips 5 3 1 Merging and Unmerging Video Tracks As soon a
116. try field to the right The timeline range will then be divid ed into this amount of reels of equal length PVs Getting Started Item Description Set a DC reel Use this setting and its com bo 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 time line Configure the creation of the reels according to your requirements Afterwards create the reels by clicking the OK button This will start the creation of the reels and when finished you can see them in the timeline area After this they can be edited and configured to your liking as described in section Editing and Configuring the Reels on page 2 13 2 3 2 Setting Reels Manually The reels for a DCP can also be set manually For this perform the fol lowing e If not already the case switch to the view of the DC reels by activat ing the toggle button IN OuT DC REELS of the timeline area When in the DC reels viewing mode you can use the items to set the timeline s in and outpoint to determine the DC reels They can be used in exactly the same way to set the in and outpoints of the DC ree
117. ts 2 12 2 15 certificate eseeeeee 3 18 7 8 name ssss 2 11 2 12 2 15 certificate authority CA 7 8 7 10 7 15 FOMOVE ooeeeeeeeeeeesseesseteeeeeeeeeeess 2 16 certificate chain sss 7 13 subtitle 3 16 channel mapping sa escicitiiaee tas kietas 2 5 supplemental DCP 4 9 chapter overview esscr 1 2 tab DC reels a 2 14 ciphertext 1 2 22 2 Lu deiude 7 8 DC reel mode sss 2 10 2 13 closing digital cinema delivery tool 3 4 DCDM neccen 1 5 2 3 3 20 COLD Space csi serica see xe 2 7 6 2 color profile iiw ex dk seed cuu 3 9 7 2 7 7 color space conversion 7 2 GOIOK SpAaCE uoce e betreten dun 3 9 creation sse 3 6 6 2 CONVETS ON ccce 7 2 generated files sss 3 24 DCDM ennm 2 7 6 2 preparation cecs2eceveecorocerosdcecares 2 7 DSM sccgeosestvessaneeekestnonnennics AZ d DO yann i 1 1 1 5 MR Tz E EEEE 7 3 DCI Mastering P S EE 1 1 of timeline o 7 2 start ouo touc DURS RIEN 2 20 compression 2 3 3 13 7 6 D Cinema player 3 18 configuration step 3 3 3 5 3 6 action in outpoints 2 14 KDM only E T 4 6 forensic marking a tence he 3 18 supplemental DCP 4 8 DIA MM RES 3 17 6 9 Configuration Tool 2 17 PON NUN 7 9 configuring self KDM 2 18 4 2 subtitles a 3 16 configuring tracks 3D
118. ually 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 The DCP together with a KDM and all other extra files are self contained intended only for a specific usage in a defined period of time on a particular device DVS s solution to this problem is the self KDM of CLIPSTER that can be created together with the other KDMs It has to be generated with the public key of a CLIPSTER DCI Mastering system which can be either the one used to create the DCP most probably the one you are cur rently working on or any other one This CLIPSTER DCI Mastering sys tem can then be used to load the DCP Although the self KDM carries a validity same as the other KDMs with CLIPSTER you will be able to use the content nonetheless even if the validity has expired Once the DCP is loaded into CLIPSTER with the self KDM you can for example play it out and check its content create other KDMs e g for later releases or modify it e g exchange audio Additional rendering encoding processes will only be performed where alterations were made i e the DCP will not be generated again completely v The self KDM is essential i
119. ut them see the CLIPSTER Edit Tool user guide i The settings items of the area Delivery Creation are almost x A click on the button CREATE will close the digital cinema delivery tool and start the finalizing process to generate the digital cinema content according to your settings at the specified location see section The Generated Files on page 3 21 3 20 PVs Digital Cinema Delivery Tool 3 4 The Generated Files The generation of the digital cinema content initiates a standard final izing process that will create the content according to your settings The output of DCDM or JPEG2000 files will be as described in the CLIP STER Edit Tool user guide When creating a DCP SPMTE Phase 1 the finalizing generates the JPEG2000 video files in 12 bit as well as the audio data and afterwards wraps them in separate MXF containers If reels were set in the timeline you will receive for each reel one MXF file per output format video and or audio The specified subtitle files for the reels will be sorted into subfolders Furthermore this step also creates the CPL the KDM s a PKL an Asset Map file as well as a Volume Index file dep BAX File Edit view Favorites Tools Help ay ae514edd af81 4d8a 8653 7dcfd7f4d739 ae514edd af81 4d8a 8653 7dcfd7f4d740 ae514edd af81 4d8a 8653 7dcfd7f4d741 ae514edd af81 4d8a 8653 7dcfd7f4d742 ae514edd af81 4d8a 8653 7dcfd7f4d743 si AssETMAP CPL downtown dcpexamp
120. y Format Loreznno I ce I kom Detvery Creation d yosition Play List e Automatically set DC reels for supplemental DCP Annotation Language Rating gt 9 2003 ratings PG http req qc ca 2003 ratings Subtitles D D D D D Font File D dcifarial ttf Save settings Load settings Previous Next Figure 3 12 The CPL settings In the settings pane configure the CPL to be generated to your require ments For details about the Currently set DC reels and the Auto matically set DC reels items please refer to section Modify ing a DCP Supplemental DCP on page 4 7 With the entry fields in the upper part of the window you can provide details about the DCP to be created They will be written to the CPL file As a minimum setting the Content Title is required To include a rating for the DCP to be created you have to use the two list fields Select the applicable rating agency in the list field to the left with the mouse Then drag and drop it to the list field to the right Af terwards adjust the rating with the provided combo box An already set Digital Cinema Delivery Tool rating and rating agency can be removed from the list field to the right by pressing the Del key on your keyboard mation about this can be found in section Adapting the Rat i The rating and rating agencies can be adapted Further infor 4 ing Agencies on page 7 4 If DC reels are set in the timeline of t

CLIPSTER DCI Mastering Supplement User Guide (Version 2.0)

Contents

Download Pdf Manuals

Related Search

Related Contents