Hi Carl,
I have received a video in AVI container, DV codec, so, pretty standard. However, it is anamorphic, so no square pixels. Various media players on my machine detect it properly as 16:9, but DCP-o-matic 1.76.7 detects it as 720x576 (1.25:1) and squeezes it when choosing 'no scale'. No big deal to correct this manually in the scaling options, but maybe you can fix that. Since the media players display it correctly, there must be a flag the DCP-o-matic currently ignores when analyzing it.
The same happens when importing 16:9 VOBs from e.g. DVDs.
Hmm, I understand that there is some interpretation necessary. DCP-o-matic first follows Default Scale To in prefs. While that is correct, and some options chosen have to result in wrong aspect ratio scaling, I think that at least the 'no scale/no stretch' options should follow the original content AR, if it is clearly indicated in the file metadata. At least the content description should indicate that the files is flagged 16:9/anamorphic.
Aside from what the fact that in this case I can create a proper upscaled video - there is no way I could create an unscaled version of this file with the correct aspect ratio. When I choose 16:9, it get's uprezz'd, when I choose unscaled, I get a square 720/576 in a flat frame, when I choose NoStretch, I get a square 1350x1080. There is no way I can assign a 16:9 reference to this file.
I think the proper way to handle this is to find a 16:9/non-square pixel flag in the file and act accordingly, that is, display it stretched and with a 16:9/anamorphic indication.
I think that fight for all necessary yet straightfordward arranging of scaling options will never end...
- Carsten
I just did a test with separate video/audio clips. Imported them, video source is 24fps. DCP-o-matic reports source and DCP will have same frame rate. No mention of audio. I then adjust the DCP frame rate to 25 fps. DCP-o-matic tells me that the frame rate will be adjusted to 25 fps. However, there is no indication what it will now do anything with the audio? I think we discussed this before shortly, but didn't come to a proper conclusion. With separate audio files, will DCP-o-matic simply assume that the separate audio has to be in sync to the chosen DCP frame rate? Because with a different frame rate for video, it could just as well resample the audio to 25 fps as well - but it needs to be instructed to do so - which includes that there is a frame rate/sampling rate relation established before and a change being notified.
The question is - with separate audio, how/where do you establish it's frame rate reference at first so that DCP-o-matic knows to what framerate the audio is referenced? With interleaved audio, this is clear, upon loading it, the audio/video timing reference is established, but with separate video and audio files?
Did I make my issue clear?
- Carsten
---------- Forwarded message ----------
Date: Wed, 15 Oct 2014 14:47:14 +0100
From: A. R. Madabushi <armadabushi(a)gmail.com>
To: Carl Hetherington <cth(a)carlh.net>
Subject: Re: [DCP-o-matic] P3 to XYZ conversion matrix (fwd)
Hi Carl thanks for the info!
The film is currently a DPX sequence in Resolve that was rendered in P3 colour space already. My DCP program doesn’t allow me to passthrough the file as
is, without performing an XYZ transform…which means I just need to make sure the DCP output looks the same as the DPX sequence.
If I export TIFFs from Resolve with an XYZ LUT applied, the DCP program will end up doing it again - so that’s XYZ conversion done TWICE, which I want to
avoid.
I found this site:
http://www.brucelindbloom.com/index.html?Eqn_RGB_XYZ_Matrix.html
…and given the info Carsten sent through I could make it…IF I understood how to do this kind of maths!
If I can figure out the maths - I could make it work! So CLOSE!!!
On 15 Oct 2014, at 14:38, Carl Hetherington <cth(a)carlh.net> wrote:
---------- Forwarded message ----------
Date: Wed, 15 Oct 2014 15:03:08 +0200
From: Carsten Kurz <audiovisual(a)t-online.de>
To: DCP-o-matic carlh net <DCPomatic(a)carlh.net>
Subject: Re: [DCP-o-matic] P3 to XYZ conversion matrix
Maybe this helps in creating a matrix:
DCI-P3
Gamma 2.6
White point
x 0.314
y 0.351
Red
x 0.680
y 0.320
Green
x 0.265
y 0.690
Blue
x 0.150
y 0.060
From what I understand now, xyz is the storage format within the DCP, while P3 is the color space used by DCI projector itself. When a server
plays a DCP,
it transmits xyz to the projector. The projector will convert to and show P3.
In a grading situation with a projector connected directly to the grading workstation for realtime playout, the xyz conversion is omited and P3
is played
directly from the grading workstation into the projector. A DCI projector therefore needs at least two different input profiles - P3 1:1, or
xyz->P3.
Now if you say you have a file sitting in P3 color space - what does that mean? Is it the color space associated with the editing project, or
do you have a
file rendered out in P3 - if so, which container/codec?
- Carsten
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I guess the intention of the 'Show DCP' menu entry under 'Jobs' ist to show the path/directory of the currently generated DCP? I think this never worked in the Mac version, or did it? Currently, it does nothing.
A lot of unexperienced users ask which of the various files and directories DCP-o-matic creates should be copied to the transfer drive. While this is essentially a training/knowledge problem, I think choosing 'Show DCP' should result in the display of the parent folder of the DCP directory, with the DCP folder selected/highlighted so it can be easily identified. It nearly works in the windows version ;-)
- Carsten
Attached the spanish translation files for v2.
I suspect that here you wanted to put 14fl and not 4 fl
"Mastered luminance (e.g. 4fl)" [src-wx-po]
Thanks!
Manuel AC
Hi Carl,
I recently received a few questions from users which wanted to import image sequences for video. I had to pinpoint them towards the fact that you can select multiple images with 'Add file' as well as with 'Add directory'. They didn't understand that by using 'Add file', the images would be interpreted as single objects, creating a sequence of slides, and by using 'add directory', they would be interpreted as an image sequence for moving image.
I would like to make this more clear in the naming/translation of the 'add directory' - however - which consequence will it have when using 'add directory' with other media types, can you tell us which interpretation is behind that option in contrast to add file with a multi-file selection? Because if it only works with image sequences for video, we could just as well name it that way.
- Carsten
Someone I know had a problem when trying to convert an iTunes music video file using DCP-o-matic. When adding the file, the summary shows a content frame rate of 90000.0000, that every other frame will be used, and the DCP will run at 0.133333% of the content speed. The timing tab shows a play length of over 38 hours (this is a 3 minute music video) and a video frame rate of 90000.0000.
I was able to duplicate this in 1.76 and 1.76.2 with an iTunes music video I have.
These files are not DRMd.
Any suggestions as to what may be the problem?
-David
Hi all,
DCP-o-matic 1.76.0 is now available from:
http://dcpomatic.com/download
It includes various internationalisation improvements and some assorted
bug fixes:
Update to nl_NL translation from Cherif Ben Brahim.
Fixes to some i18n on OS X.
Fix discovery of encoding servers to work more reliably.
Fix loading of Targa files.
Fix non-update of audio gain when changing the content selection.
Fix crash on exit when the preferences dialog is open (on OS X).
Fix server certificate downloads on OS X (#376).
Allow separate X and Y scale of subtitles.
Copy current ISDCF name into the film name when ‘Use ISDCF name’ is un-ticked.
Fix hidden advanced preferences button in some locales (e.g. de_DE).
Improve behaviour of batch converter window when it is shrunk (#338).
Write <Creator> tags to CPLs with the creating DCP-o-matic's version number.
Drop a hint when there is may be a better DCP container option than that currently selected (#392).
Add a copy button to the preset colour conversions dialogue (#399).
Fix missing ‘no stretch’ and ‘no scale’ options in defaults preferences.
Allow drag and drop of files onto the content panel (#395).
Possibly fix OS X crashes when doing audio plots.
A couple of other small fixes.
Thanks to Carsten Kurz, Cherif Ben Brahim, Raymond Steers and Lilian Lefranc.
Best regards,
Carl
Here's a question for the list! :) Any suggestions, anyone?
---------- Forwarded message ----------
Date: Tue, 14 Oct 2014 16:16:10 +0100
From: Anand Madabushi <armadabushi(a)gmail.com>
To: carl(a)dcpomatic.com
Subject: P3 to XYZ conversion matrix
Hi Carl,
I've got a feature film that's currently sitting in DCI-P3 colour space. I'd like to use a custom matrix to convert this space to XYZ using your awesome software.
You currently have 3 presets, but not a P3 one. I've scoured the web trying to find a 3x3 matrix to do this conversion and even tried to calculate one
mathematically - with no success. I would assume others have tried to do something similar.
Any idea where I can find a conversion matrix for P3 to XYZ?
Many thanks,
Anand Madabushi
Outsight Films, London
I recently had to correct the hash value on one of the reels of an Interop DCP, which was also signed. I changed the hash values of the reel in the cpl and pkl files and also had to change the hash value of the modified cpl asset in the pkl. I was lucky to be able to test this on a few different systems:
1. Christie IMB
2. Dolby IMB
3. Doremi DCP 2K4
4. Doremi IMB
All 4 systems ingested the content successfully. Apart from the Christie IMB, the remaining three systems had no issues playing back the modified DCP. The Christie IMB came up with a 'CPL Validation Issue' when I tried to play it.
Sumit
On Oct 14, 2014 8:55 AM, Carsten Kurz <audiovisual(a)t-online.de> wrote:
>
>
>
> > I tend to do it unsigned, so I can later modify the xml files by hand
> > if needed. Wondering if there is any advantage on signing (not
> > encrypting) a DCP.
>
>
> As far as I know, at some point unsigned SMPTE DCPs will be rejected by servers. I don't know which server currently enforces that already. Signing usually will prevent others from doing changes to the DCP. That could be a benefit or not.
>
> I have yet to do some testing of signed/unsigned Interop and SMPTE content on different servers to find out what happens. I did some test previously on our Sony which shows various validation indicators for ingested content. I haven't been able to find out exactly what they are based on, because they vary even for 'commercially' generated content - trailers, features, etc.
>
>
> I follow the ISDCF maling list for a while now and the ISDCF's struggle in the transition from Interop to SMPTE formatting. It's a simple technical, but complex behavioural process, which in turn makes it a complex technical matter again because of a necessary transitional process in order have no lost shows.
>
> Also we should not take for granted that the DCP-o-matic is doing it is completely right or the only way to implement it.
>
> We recently had an issue with a commercial DCP that was one of our first tests of an IP based download from a german content provider. We were able to ingest it okay, it would show up in the list of ingested features, but we couldn't select the CPL for playback, it simply didn't turn up in that CPL list. So there was obviously something wrong with it. Another download fixed it, but we weren't even sure wether they had changed something in the file now or if it was a download issue (a dedicated download client is used).
>
> As far as I know, 'Signing' is for authorative preventing of intentional or unintentional manipulation, while 'file hashes' provide some technical means to assure proper transmission and storage.
>
> Then a server could do some additional checks to make sure the content is correct, e.g. checking for valid audio or J2k file structures. I don't know which server applies which strategies. Most do some checking while or after ingesting.
>
> - Carsten
>
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