Am 22.10.2015 um 16:35 schrieb Jonathan K. F. Jensen via DCPomatic:

1. Upload the material for conversion (still/video/separate audio).
2. Create project and Input metadata (dcp name, kind, bitrate, etc)
3. Be able to choose Audio Analyse and get either just the peak or maybe even a graphical representation (like in DOM).
4. Choose to put the DCP in queue (that doesn't start until you tell it to) or encode it right away. (transfer DCP to FTP/SFTP)
Encoding would happen on local machines on the LAN or on just one machine. It would basically be a web frontend for DOM

But they can do all this already now by running their local copy of DCP-o-matic? Yes, you would say that with a web-frontend, no local installation would be necessary. But who would think of a work scenario where multiple people would routinely do DCP creation/conversion, but would not be allowed a local installation of a DCP conversion software (and one that is more or less free of side-effects like DOM is)?

Dynamic render node allocation would be an interesting task, but I think we are getting into a VERY professional scenario here. I can hardly imagine why so many people would routinely do so many DCPs?

Regarding Jims approach of unattended batch conversion - sorry, but we DO already have the issue of so many festival films being in weird formats suffering from unprofessional mastering. How could an automated approach for a DCP conversion improve that situation? No, if one is converting all festival films into DCP for ease of presentation, it should naturally go with a quality check before the conversion that makes sure every major aspect of the film and its conversion is controlled by a trained person. Yes, 300 is a lot, but that is just what festivals are about. A festival should pay respect to the artwork it is aiming to present, and should not deal with it like canned beans for reasons of efficiency.

Settting these projects up for conversion is not such a big deal and HAS to be done manually, the J2k coding is still the major time consuming part of this job.

Preparing 300 films for presentation simply needs time. Shooting them took it's time as well. That's just the way it goes - after all, an all-DCP presentation scheme does save a lot of time and hassle already, that can be invested in proper preparation.

Create a festival database, feed it, setup DOM for every film, check format, color conversion, audio channels, levels, etc. send it to a batch conversion queue.