CLIPSTER DCI Mastering Supplement User Guide (Version 3.

7)

CLIPSTER
DCI Mastering

Supplement User Guide

Supplement User Guide: CLIPSTER DCI Mastering
Document Version 3.7 for the CLIPSTER Software Version 3.5 and higher

Copyright © 2008-2011 by DVS Digital Video Systems GmbH, a Rohde & Schwarz company, Ha-
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CLIPSTER DCI Mastering
Supplement User Guide

Introduction 1
Getting Started 2
Digital Cinema Delivery Tool 3
Using the DCP and Self KDM 4
Creating a DCP Manually 5
Miscellaneous 6
Index I
Headquarters:

DVS Digital Video Systems GmbH

Krepenstr. 8
30165 Hannover
GERMANY
Phone: +49-511-67807-0
Fax: +49-511-630070
E-mail: info@dvs.de
Internet: http://www.dvs.de

Support:

Phone: +49-511-67807-125
Fax: +49-511-371985
E-mail: support@dvs.de

For the Americas:

U.S. Headquarters:
DVS Digital Video, Inc.
300 East Magnolia Boulevard, Suite 102
Burbank, CA 91502
USA
Phone: +1-818-846-3600
Fax: +1-818-846-3648
E-mail: info@dvsus.com
Internet: http://www.dvsus.com

Support:

E-mail: support@dvsus.com
Contents C
1 Introduction ............................................................................... 1-1
1.1 Overview ............................................................................. 1-2
1.2 Target Group ........................................................................ 1-3
1.3 Conventions Used in this User Guide .................................... 1-4
1.4 Abbreviations ....................................................................... 1-5
1.5 General Notes ...................................................................... 1-5

2 Getting Started .......................................................................... 2-1

2.1 Basics ................................................................................... 2-2
2.1.1 The DCI Mastering Steps ............................................. 2-2
2.1.2 Possible Formats for a DCI Mastering ............................ 2-4
2.1.3 DCP Standards ............................................................ 2-6
2.2 Preparing the Source Data .................................................... 2-7
2.2.1 The Steps to Prepare a DSM ......................................... 2-7
2.2.2 The Steps to Prepare a DCDM ...................................... 2-7
2.2.3 The Steps to Prepare JPEG2000 Data ............................. 2-9
2.3 Adding Subtitles ................................................................. 2-10
2.3.1 Adding Subtitles to the Timeline .................................. 2-10
2.3.2 Adding Further Subtitles (via Subtitle Tracks) ................ 2-12
2.3.3 The Subtitle Timeline Element ..................................... 2-14
2.3.4 Timeline Element Properties ........................................ 2-14
2.4 Setting Reels ...................................................................... 2-18
2.4.1 Setting Reels Automatically ........................................ 2-18
2.4.2 Setting Reels Manually ............................................... 2-20
2.4.3 Editing and Configuring the Reels ............................... 2-21
2.5 Configuring the System for a DCP Creation ....................... 2-25
2.6 How to Start a DCI Mastering ............................................ 2-28

i
 Contents

3 Digital Cinema Delivery Tool ................................................. 3-1

3.1 Starting the Digital Cinema Delivery Tool ............................. 3-2
3.2 Overview ............................................................................. 3-3
3.3 The Configuration Steps ....................................................... 3-5
3.3.1 Delivery Type .............................................................. 3-5
3.3.2 Compression .............................................................. 3-9
3.3.3 Source Type .............................................................. 3-11
3.3.4 Delivery Format ........................................................ 3-13
3.3.5 CPL ......................................................................... 3-16
3.3.6 KDM ....................................................................... 3-18
3.3.7 Delivery Creation ...................................................... 3-20
3.4 The Generated Files ............................................................ 3-22

4 Using the DCP and Self KDM ................................................ 4-1

4.1 Configurations for a Self KDM ............................................. 4-2
4.2 Loading the DCP .................................................................. 4-3
4.3 The Menu Option ’Load KDM...’ ......................................... 4-5
4.4 Creating the Extra Files Again (CPL only) ............................. 4-6
4.5 Creating Additional KDMs (KDM only) ................................ 4-6
4.6 Modifying a DCP (Supplemental DCP) ................................. 4-7
4.6.1 Preparations ............................................................... 4-7
4.6.2 The Configuration Steps .............................................. 4-8
4.6.3 Reel Settings ............................................................... 4-8
4.6.4 Delivery Creation ...................................................... 4-10

5 Manual Creation of a DCP ..................................................... 5-1

5.1 Creating a DCDM Manually ................................................. 5-2
5.2 Creating JPEG2000 D-Cinema Data Manually ...................... 5-5
5.3 Creating a DCP Manually ..................................................... 5-7
5.3.1 Finalize Settings – Naming and Storage Options ............. 5-7
5.3.2 Finalize Settings – File and Video Format ........................ 5-7
5.3.3 Finalize Settings – CPL ................................................. 5-9
5.3.4 Finalize Settings – KDM ............................................. 5-10
5.3.5 Further Finalize Settings and Rendering ....................... 5-11
5.4 Creating Additional KDMs Manually .................................. 5-13
5.5 Modifying a DCP Manually ................................................ 5-14

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 Contents

6 Miscellaneous ........................................................................... 6-1

6.1 Stereoscopic DCP ................................................................. 6-2
6.1.1 Preparing a 3D DCP .................................................... 6-2
6.1.2 Creating a 3D DCP ...................................................... 6-3
6.2 Color Space Conversions ...................................................... 6-5
6.3 Adapting the Rating Agencies .............................................. 6-7
6.4 Keyboard Shortcuts .............................................................. 6-8
6.5 JPEG2000 Options ............................................................... 6-9
6.6 Keys and Certificates Explained .......................................... 6-11
6.6.1 What’s a Key ............................................................ 6-11
6.6.2 What’s a Certificate ................................................... 6-11
6.6.3 The Key Players of the DCI Mastering ......................... 6-12
6.6.4 The Keys Applied ...................................................... 6-14
6.6.5 What’s a Certificate Chain .......................................... 6-16
6.6.6 Validating Certificates ................................................ 6-18
6.6.7 The Keys and Certificates Delivered with CLIPSTER ....... 6-19

I Index ............................................................................................ I-1

iii
Introduction 1
This document describes the optionally available DCI Mastering feature
of CLIPSTER and the steps that are required to create a DCP successful-
ly.
The 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 to 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 generate JPEG2000 encoded 12-bit X’Y’Z’ files in
near or even faster than real time.

1-1
 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 steps how to manually create the
final DCP or an intermediate result with the
DVS software via finalizing.
Chapter 6 Provides further details and information that
may be useful for a DCI Mastering. Among
others it is explained how to create a stereo-
scopic DCP.
Index This chapter facilitates the search for specific
terms.

1-2
 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
 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-

cilitate work and help avoid errors.

You must pay particular attention 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 a push but-
ton
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 Indicates parameters or variables, as well as se-
lections or entries made in a program; it may
also indicate a command (e.g. at a command
line), a syntax or contents of a file/output
[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
 Introduction

Screenshots
The screenshots shown in this documentation may differ from the user
interface(s) displayed on your system. They may have been taken, for
example, from previous/pre-release software versions or from other
systems with a similar user interface. However, they should contain the
items required to understand the described actions.

1.4 Abbreviations
The following lists the abbreviations used in this document. Most are
from the SMPTE standards and/or the specifications of DCI.

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 Society 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:
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.
For further details about user interface items not described in
this document please refer to the other user guides delivered
with the DVS system.

1-5
Getting Started 2
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
 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
one 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.

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 ’master 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
in the Edit Tool consists of clips in the RGB color space only and
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.
DCI suggested to store the DCDM in 12 bit padded to 16 bit
that the SMPTE in their standards 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.

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/s. 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/s).
In CLIPSTER the settings of a JPEG2000 encoding are config-
ured by default to this maximum data rate specified by DCI, i.e.
to 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 3-22). 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, adding subtitles 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 respective 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.
Please note that the formats for video and audio detailed in the
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.

2-4
 Getting Started

Video Formats
The following lists the video formats that are suitable for a DCP:

No. of Active No. of Active Pixel Aspect Frame

Aspect Ratio
Horizontal Pixels Vertical Pixels Ratio Rate
4096 2160 1.90:1 (full) 1:1 24
4096 1716 2.39:1 (scope) 1:1 24
3996 2160 1.85:1 (flat) 1:1 24
2048 1080 1.90:1 (full) 1:1 24/48
2048 858 2.39:1 (scope) 1:1 24/48
1998 1080 1.85:1 (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
audio 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):

AES
Channel Label / Name Description
Pair / Ch.
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 subwoof-
er 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 loudspeaker
4/2 8 Rc/Right center Mid-right to center screen loudspeaker
5/1 9 Cs/Center surround Rear wall surround loudspeakers
5/2 10 SMPTE reserved
6/1 11 SMPTE reserved
6/2 12 SMPTE reserved
7/1 13 SMPTE reserved
7/2 14 SMPTE reserved

2-5
 Getting Started

AES
Channel Label / Name Description
Pair / Ch.
8/1 15 User defined
8/2 16 User defined

Other audio channel mappings can be found in SMPTE 428-3.

2.1.3 DCP Standards

Until today, there have been several different DCP standards in use:

SMPTE Phase 0 Also called ’MPEG Interop’ or ’MXF Interop’.

(MPEG) This standard was originally defined by the
MPEG Interop Group and is based on MPEG
compressed files wrapped in MXF containers.
SMPTE Phase 0 Also called ’JPEG Interop’. A transitional stan-
(JPEG) dard that is identical to the MPEG Interop stan-
dard but applies a JPEG2000 compression as
proposed by DCI.
SMPTE Phase 1 This standard is based on JPEG Interop but uses
different KDMs (i.e. SHA-256 instead of
SHA-1).
SMPTE Phase 2 Also called ’SMPTE DCP’. Full compliance with
SMPTE standards.

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:
– The respective SMPTE phase has to be selected with the combo box
DCI Phase of the Configuration Tool (see section “Configuring the
System for a DCP Creation” on page 2-25).
– For MPEG Interop (i.e. SMPTE Phase 0 (MPEG)) an MPEG com-
pression has to be selected.
– For all other standards normally the JPEG compression must be
selected.
– When using subtitles there are further restrictions that must be
observed for the different standards. They are detailed in section
“Adding Further Subtitles (via Subtitle Tracks)” on page 2-12 and
section “Delivery Format” on page 3-13.

2-6
 Getting Started

2.2 Preparing the Source Data

In order to create a DCP or one of its intermediate steps the available
source data has to be prepared. Depending on the step from which to
create the digital cinema content (see section “The DCI Mastering
Steps” on page 2-2) the source data has to be prepared differently.
When creating a delivery type other than a DCDM, all prepro-
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 Distribution Master (DCDM)” on
page 2-3 and section “Color Space Conversions” on page 6-5.

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
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.
Once the DSM is available in the timeline, you can continue the prep-
aration as described later in this chapter (see section “Adding Subtitles”
on page 2-10 and/or section “Setting Reels” on page 2-18).

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:
 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
DCDM (normally the same as the final DCP format).
 Add the 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 con-
text 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…).
The properties of several clips can be changed in a single
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.
 In this window set the color space settings to X’Y’Z’ (XYZ) and con-
firm your alteration with the OK button.

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-
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 processed 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.
 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 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 “Adding Subtitles” on page 2-10 and/or section “Setting Reels”
on page 2-18).

2-8
 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 the contents area of the bin from a file
manager or by using the menu option Add clip… of the bin’s con-
text 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 “Adding
Subtitles” on page 2-10 and/or section “Setting Reels” on page 2-18).

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 Getting Started

2.3 Adding Subtitles

The DCI Mastering feature supports subtitles and, if wanted, you can
add them to your prepared project (see section “Preparing the Source
Data” on page 2-7), view them in the video overlay and edit or create
them. The DVS software supports XML subtitle files as specified by
SMPTE/DCI, PNG images as subtitles and subtiltes already wrapped in
MXF. This section describes how to use subtitles in the Edit Tool.

2.3.1 Adding Subtitles to the Timeline

Working with subtitles in the Edit Tool is different from working with
clips in the timeline: Subtitles have to be present in the timeline as a
subtitle timeline element in an empty timeline track above the video
timeline track(s). The subtitle timeline element, however, is just a con-
tainer: It can be used for different subtitles, i.e. it may contain more
than just one subtitle. For this, each subtitle timeline element provides
up to seven subtitle tracks, where you can add the subtitles according
to your needs (e.g. as main subtitle, main captions, closed subtitle, or
closed captions).
To receive a subtitle timeline element in the timeline you have several
possibilities at hand:
– You can add an MXF/XML subtitle file to the bin and then to an
empty timeline track or
– you can add an empty subtitle timeline element to an empty time-
line track and then reference it to one or more MXF/XML subtitle
files.

This section describes these ways to add a subtitle to the timeline.

Subtitles can be placed at every position in the timeline, i.e.
gaps between subtitle timeline elements are allowed.

Adding a Subtitle via the Bin

An available MXF/XML subtitle file can be added to the bin and then
to the timeline just as any other clip in the Edit Tool. For this perform
the following:
 Add the MXF/XML subtitle file to the bin, for example, via the Add
MXF/XML subtitle file menu option on the Project menu (or on
the context menu of the bin) or drag and drop it to the bin from a
file manager.
 Configure the timeline to show another empty video track, for
example, via the timeline output settings or by using the menu
option Add track on the context menu of a video track.

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 Getting Started

 Then add the subtitle from the bin to the timeline by dragging and
dropping it into the empty timeline track:

Figure 2-3: Adding a subtitle bin clip

Once the subtitle bin clip has been added to the timeline, you will see
its timeline element in the video track. It will already contain the MXF/
XML subtitle file in a subtitle track. Then you can add further subtitles
as described in section “Adding Further Subtitles (via Subtitle Tracks)”
on page 2-12.
Contrary to video or audio clips, a subtitle timeline element
does not have a connection to a bin clip. For example, the re-
spective bin clip can be deleted without influencing the subtitle
added to the timeline.

Adding a Subtitle via an Empty Timeline Element

To add subtitles you can also use an empty timeline element. You can
find the empty subtitle timeline element in the effects pane of the tool
area:
 Configure the timeline to show another empty video track, for
example, via the timeline output settings or by using the menu
option Add track on the context menu of a video track.
 In the tool area activate the tab Effects.
 Select from the folder ’titling’ the effects operator ’Subtitling’ and
drag and drop it to the empty timeline track:

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 Getting Started

Figure 2-4: Adding an empty subtitle timeline element

With this you will get an empty subtitle timeline element in the video
track. Then it can be filled with subtitles as described in section “Adding
Further Subtitles (via Subtitle Tracks)” on page 2-12.
The subtitle effects operator can also be used as the other ef-
fects operators, i.e. it can be added to the effects list of a video
clip. However, then the subtitles will be valid for the clip only
and when the clip is trimmed the subtitles are trimmed as well.

2.3.2 Adding Further Subtitles (via Subtitle Tracks)

The subtitle timeline element visible in the timeline is just a container: It
can be used for up to seven different subtitles. These must be added to
subtitle tracks in the timeline element. This way you can add different
subtitle types to your project (e.g. main subtitle, main captions, closed
subtitle, or closed captions), all via a single timeline element. This sec-
tion describes how to add a new subtitle track to a subtitle timeline el-
ement as well as how to reference it to a subtitle file.
The subtitle tracks of a subtitle timeline element should not be
used for different languages. For further information about this
see section “The Area ’Subtitle tracks’” on page 2-15.
To add a subtitle via a subtitle track you have to use the timeline ele-
ment properties of the subtitle timeline element:

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 Getting Started

 Either double-click the subtitle timeline element or call up its con-

text menu and select the menu option Show properties.
This will display the timeline element properties of the subtitle timeline
element:

Figure 2-5: Timeline element properties of subtitles (first 2 areas of 4)

When an MXF/XML subtitle has been added via the bin (see section
“Adding a Subtitle via the Bin” on page 2-10), you will find the MXF/
XML subtitle file already entered in the area Subtitle tracks (column
’Subtitle file’). Otherwise this table may be empty.
 Use the button NEW TRACK to add a subtitle track to the subtitle
timeline element.
 Then double-click the field ’Subtitle file’ and enter the path to the
MXF/XML subtitle file or use the button to the right to browse
for it.
The button will be available when the field is double-clicked.
For MXF subtitles you may have to select *.mxf from the
Files of type combo box.
 Afterwards, if necessary, adapt the fields ’Track type’ and ’Lan-
guage’ to your requirements.
The fields ’Track type’ and ’Language’ must be filled in.
When using more than one subtitle timeline element in the
timeline, each will provide the same number of tracks, and
the track types as well as languages will be identical (see also
section “The Area ’Subtitle tracks’” on page 2-15).

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 Getting Started

The subtitle types (field ’Track type’) must be assigned with regard to
the standard that the final DCP should be created in (see section “DCP
Standards” on page 2-6):

SMPTE Phase 0 ’Main subtitle’ and ’Closed captions’ are al-

lowed only
SMPTE Phase 1 Same as SMPTE Phase 0
SMPTE Phase 2 All four types are allowed
All phases Only one shall be of the type ’Main subtitle’

By performing the above mentioned steps repeatedly you can add the
subtitles for your project to the subtitle timeline element.

2.3.3 The Subtitle Timeline Element

Once a subtitle timeline element has been added to the timeline, it can
be handled just as any other timeline element (e.g. moved, cut or
trimmed). A subtitle timeline element that has been added via a subtitle
bin clip to the timeline (see section “Adding a Subtitle via the Bin” on
page 2-10) will already have the length as determined by the MXF/
XML subtitle file. When using an empty subtitle timeline element (see
section “Adding a Subtitle via an Empty Timeline Element” on
page 2-11), it must be adjusted (trimmed) to the correct length.
The length of the subtitle timeline element can also be set with
the field Dur of the timeline element properties.
Subtitles can be placed at every position in the timeline, i.e.
gaps between subtitle timeline elements are allowed.
Any subtitles whose in- or outpoint are not available in the timeline
(e.g. due to cutting or trimming) will be marked in orange in the area
Track subtitles (timeline element properties).
Via the menu option Match subtitle on the context menu of a timeline
element you can display the timeline element properties of the respec-
tive subtitle. Additionally, the subtitle currently displayed in the video
overlay (position of the timeline cursor) will be highlighted in the prop-
erties.

2.3.4 Timeline Element Properties

The timeline element properties of a subtitle timeline element (see also
section “Adding Further Subtitles (via Subtitle Tracks)” on page 2-12)
can be operated from left to right: First select the subtitle track that
should be displayed in the properties then select the subtitle in the
Track subtitle area. The respective subtitle images or lines will be dis-

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 Getting Started

played in the area Subtitle elements. When you select one of the sub-
title elements, its appearance will be shown in the areas Appearance
settings and Position settings.

The Area ’Subtitle tracks’

A new subtitle track can be added as already described in section “Add-
ing Further Subtitles (via Subtitle Tracks)” on page 2-12 and it can be
deleted with the button Delete track. Additionally, this area provides a
context menu that can also be used to edit the subtitle tracks.
The concept of subtitles and subtitle tracks in the timeline of the Edit
Tool is to have different subtitle types of a single language in a project.
Thus, when using more than one subtitle timeline element in the time-
line (e.g. for different reels), each will provide the same number of
tracks. Moreover, they will be set to the same track type(s) and lan-
guage(s) and will affect each other if a track is altered for one subtitle
timeline element.
For subtitles in different languages you should exchange the
subtitles and create supplemental DCPs for each language (see
section “Modifying a DCP (Supplemental DCP)” on page 4-7).

The Area ’Track subtitles’

The area Track subtitles lists the in- and outpoints of the subtitles.
Any subtitles whose in- or outpoint are not available in the timeline will
be marked in orange. When a subtitle is selected with the mouse, the
timeline cursor will automatically be positioned on the subtitle.
A subtitle can be deleted or a new one can be created with the buttons
DELETE SUBTITLE and NEW SUBTITLE at the bottom right of this area.
Furthermore, most values of a subtitle shown in the table can be
changed after double-clicking a field.
The context menu of this area can also be used to edit the subtitles. It
provides even further editing possibilities besides the ones already men-
tioned:

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 Getting Started

Figure 2-6: The subtitles of the track

Slip subtitle… Allows you to adjust the in- and outpoints of

subtitles in a single step. It can be used either
on one subtitle, a selection of subtitles or on all.
Positioning Determines where the timeline cursor will be
positioned when a subtitle is selected from the
list (e.g. at time in/out, after its fade in, before
its fade out, or in the middle of a subtitle).
Select all Selects all subtitles in a single step.

The Area ’Subtitle elements’

Once a subtitle has been selected from the table Track subtitles, its
elements are displayed in the area Subtitle elements: Either the sub-
title text(s) or the path to the PNG image(s). Additionally, you can use
this area to add further elements to a subtitle with the button NEW IM-
AGE.

Figure 2-7: The elements of a subtitle

A mixing of MXF/XML subtitles with PNG images at one posi-

tion is not allowed.
Currently only PNG images can be added to a subtitle.

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 Getting Started

The Areas ’Appearance settings’ and ’Position settings’

When a subtitle element has been selected from the table Subtitle el-
ements, its appearance is shown in the areas Appearance settings
and Position settings. Then you can use these areas to change the
appearance of the selected element, for example, you can set its posi-
tion with the items of the area Position settings.

Figure 2-8: Appearance and position of a subtitle element

Currently the items of the area Appearance settings are for

information reasons only.

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 Getting Started

2.4 Setting Reels

To split the loaded or created project (see section “Preparing the Source
Data” on page 2-7) during the creation of the DCP into reels to comply
with the requirements of a DCP, you have to define reels in the timeline:
When wrapping to MXF (see section “The DCI Mastering Steps” on
page 2-2), the finalized files will be automatically divided at the reel edit
points in the timeline, resulting each in one MXF file per output format
(video and audio).
The setting of DC reels is not required in case you want to cre-
ate an intermediate step towards a DCP. DC reels are evaluated
during the generation of a DCP only.
If creating a DCP with subtitles, you should place the reel edit
points between two subtitles. However, apart from that, there
are no restrictions where to place DC reels or to what length
they should be set.
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.
When the button is activated, it will be labelled DC
REELS and the timeline area will show you the al-
ready 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.

2.4.1 Setting Reels Automatically

The reels for a DCP can be set automatically which is the most conve-
nient way to do this. Afterwards the reels can be altered and configured

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 Getting Started

to your liking manually. To set reels automatically in the timeline do as

described in the following:
 Select from the context menu of the timeline scale the menu option
Set DC reels automatically….
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:

Figure 2-9: 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 entry field to
the right. The timeline/range will then be divid-
ed into this amount of reels of equal length.

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 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 2-21.

2.4.2 Setting Reels Manually

The reels for a DCP can also be set manually. For this perform the fol-
lowing:
 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 reels:

Figure 2-10: 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

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 Getting Started

you can create DC reels manually in the timeline. They can be created
and edited in the following ways:
To set reel in-/outpoints and to move within a reel you can also
use the provided shortcuts (see section “Keyboard Shortcuts”
on page 6-8).
– The reels will be formed by setting an inpoint as well as an outpoint.
– The nearest, free and unobstructed (no already defined reel inbe-
tween) in-/outpoint will be used to form a reel.
– In-/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, i.e. by
using the toggle button DELETE.
– The number <no.> of the reel name will increase by one (1) with
each created reel.

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 2-21.

2.4.3 Editing and Configuring the Reels

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:

DC reels

action duration

Figure 2-11: 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.

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 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 2-20. Newly created reel in- and
outpoints, when not assigned to a reel already, will be shown in the
timeline with an in-/outpoint marker without the blue line.
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:

Figure 2-12: 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 cinema 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
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.

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 Getting Started

You can change the values of a reel displayed on the tab DC reels, i.e.
the names of the reels as well as their in-/outpoints, by double-clicking
a particular entry with the mouse and entering a new one.
Further information about a reel can be viewed by clicking on the plus/
minus (+/-) signs in front of a reel entry. It will expand or collapse the
contents of the reel:

Figure 2-13: 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).

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:

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 Getting Started

Figure 2-14: The context menu of the timeline scale

The following menu options are available to configure and edit DC

reels:

Remove DC reel This menu option removes the DC reel that is

currently selected (highlighted) in the timeline
area.
Remove all DC 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 2-18.

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 Getting Started

2.5 Configuring the System for a DCP Creation

For the creation of a DCP you have to make some general settings on
the tab Defaults of the Configuration Tool of the DVS software and
set, for example, the private key to sign the extra files of the DCP (i.e.
CPL, KDMs and PKL).
These settings are not required in case you want to create an
intermediate step towards a DCP. They are applied during the
generation of a DCP only.
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 6-11, 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 6-19.
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 do 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 DCI).

Figure 2-15: DCI configuration settings

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 Getting Started

 Configure these settings according to your requirements:

– Use the area Self KDM with the field Certificate to select the
public key of a DVS DCI Mastering system that should be able
to load the DCP, e.g. for quality checks. This public key will
then be used during the creation of a DCP to generate a special
KDM file (the self KDM). With this KDM you will be able to
load the DCP on the respective DCI Mastering system (e.g. to
view it, to create additional KDMs of the same DCP at a later
time, or to modify it). Select the file (*.cer) that holds the
public key of this DCI Mastering system with the button to
the right of the field Certificate. For further information about
the usage of the self KDM as well as its creation see chapter
“Using the DCP and Self KDM” on page 4-1.
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.
– Use the button on the right-
hand side of the field Private
Signing Key to select your own
private key file (*.pfx) that
should be 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. It will
be applied if the check box Use System Signing Key is deac-
tivated. For further information about the Signing Key see sec-
tion “Signing Key” on page 6-12.
Your authentication for the private key will be valid for
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.
– By activating the check box Use System Signing Key you
can override the setting Private Signing Key. Then the DVS
system will use a system specific Signing Key to sign the extra
files of the DCP. For further information about this see section
“Signing Key” on page 6-12.
– With the DCI Phase combo box you select the standard that
the DCP should be created in. Further information about this
can be found in section “DCP Standards” on page 2-6.
– 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_<UUID>.xml). If deactivated, the file name of the DCP
will be used.

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 Getting Started

 After these settings are determined confirm them by clicking on the

OK button.
With this the project and system are properly prepared for a DCI Mas-
tering and you can start one at any time as described in section “How
to Start a DCI Mastering” on page 2-28.

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 Getting Started

2.6 How to Start a DCI Mastering

As soon as the preparations appropriate for your source material and
the general configurations are performed as described in this chapter,
you can start a DCI Mastering and create material for digital cinema
workflows. There are two ways to create such material:

digital cinema With the digital cinema delivery tool you can
delivery tool create MPEG or JPEG2000 compressed DCPs
or an intermediate state towards one. This tool
is the recommended way to create D-Cinema
material because it will lead you step by step
through the different configurations necessary
to create digital cinema content.
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. But, as
the name suggests, this way of creating digital
cinema material is not as intuitive and forth-
coming as when using the digital cinema deliv-
ery 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 5-1.
How to create a 3D/stereoscopic DCP is described in section
“Stereoscopic DCP” on page 6-2.

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Digital Cinema Delivery Tool 3
The digital cinema delivery tool is the recommended way to create
DCPs or an intermediate state towards one. Its usage is most conve-
nient because it will lead you step by step through the different config-
urations required to create a DCP.
This chapter explains the digital cinema delivery tool in detail. First, it
will be described how to get the delivery tool started, followed by an
overview of its user interface. 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 available configuration steps will be described (e.g. as they
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.

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3.1 Starting the Digital Cinema Delivery Tool

To get the digital cinema delivery tool started perform the following:
 Configure the system and prepare your source data in the timeline
of the Edit Tool as described in chapter “Getting Started” on
page 2-1.
 Then select Project » Digital Cinema Delivery Tool… from the
menu bar of the DVS software.
Alternatively, you can use the keyboard shortcut [Ctrl + D].
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).

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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:

configuration steps

settings pane

button area

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 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 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-
figuration steps can be found in section “Delivery Type” on
page 3-5.

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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:
Saves the already specified configuration settings
of 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

as well.

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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 all. The configuration steps that are re-
quired 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.

Figure 3-2: The delivery type settings

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 Digital Cinema Delivery Tool

In the settings pane select the delivery type that you want to create by
activating one of the available radio buttons. When finished you can go
to the next configuration step with the button NEXT.
Depending on the selected delivery type there are different configura-
tion steps required. The following explains shortly the available delivery
types and shows the configuration steps that have to be performed for
each.
For the last three options an already created DCP is required
and, in case the DCP is encrypted, a self KDM for the DCP.
If an MPEG compression is selected, the step to set a source
type is not required.

’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:

Figure 3-3: Configuration steps for a DCDM

For some particulars about the creation of a DCDM see section

“Color Space Conversions” on page 6-5.

’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:

Figure 3-4: Configuration steps for JPEG2000 data

’Master DCP 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

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for later adaptations (supplemental DCP). For a DCP without KDM the
following configuration steps are necessary:

Figure 3-5: Configuration steps for a DCP without KDM

’Master DCP with KDM’

This option creates an encrypted DCP (e.g. for a feature film) either
from a DSM, a DCDM or digital cinema compliant JPEG2000 data in a
single step (see also section “Digital Cinema Package (DCP)” on
page 2-4). 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 5-14).
For an encrypted DCP the following configuration steps are necessary:

Figure 3-6: Configuration steps for a DCP with KDM

’CPL only’
This option allows you to create the extra files of a DCP again without
generating the DCP again completely (e.g. to correct typos or other de-
livery issues in the extra files). It will be available when a DCP (encrypt-
ed or unencrypted) has been loaded into CLIPSTER (see section
“Creating the Extra Files Again (CPL only)” on page 4-6). Then the fol-
lowing configuration steps are necessary:

Figure 3-7: Configuration steps for a CPL only

Whether the configuration step for KDMs is required depends

on whether an encrypted or unencrypted DCP has been load-
ed.
With this delivery type you can create additional KDMs as well (see
’KDM only’ below).

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 Digital Cinema Delivery Tool

’KDM only’
This option allows you to create additional KDMs without generating
the DCP again completely (e.g. for later releases of the same encrypted
DCP). It will be available when an encrypted DCP has been loaded into
CLIPSTER (see section “Creating Additional KDMs (KDM only)” on
page 4-6). For this the following configuration steps are necessary:

Figure 3-8: Configuration steps for a KDM only

’Supplemental DCP’
This option allows you to create additional material for an already gen-
erated DCP (master DCP), if feasible without generating the DCP again
completely (e.g. for localizations of a feature film). It will be available
when a DCP (encrypted or unencrypted) has been loaded into CLIP-
STER (see section “Modifying a DCP (Supplemental DCP)” on
page 4-7). For this the following configuration steps are necessary:

Figure 3-9: Configuration steps for a supplemental DCP

Whether the configuration step for KDMs is required depends

on whether an encrypted or unencrypted DCP has been load-
ed.
An unencrypted DCP can be encrypted later either with the op-
tion Master DCP with KDM or via a finalizing (see section
“Modifying a DCP Manually” on page 5-14).

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3.3.2 Compression
With the compression configuration step you configure the compres-
sion rate of the digital cinema content.

Figure 3-10: The compression settings

At the very top of these settings you can change the compression type.
By default the JPEG2000 compression is activated. However, to support
alternative D-Cinema players you can also select an MPEG compres-
sion.
The available MPEG compression settings are the default ones.
Explanations for them can be found, for example, at http://
www.mpeg.org.
The JPEG2000 compression settings are already set to the highest qual-
ity allowed for a DCP. Further details about the JPEG2000 encoding can
be found in section “JPEG2000” on page 2-3.

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The JPEG2000 compression type provides the following settings items:

ICT 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.
Maximum With this setting activated the applied JPEG2000
quality VBR 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 control. It is
available for convenience purposes, already
providing the optimum settings for digital cin-
ema content. It 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).
Constant quality The constant quality VBR setting operates near the
VBR maximum quality VBR (when set to 100%). During
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.

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3.3.3 Source Type

With the source type configuration step you determine the color space
and color profile (type) of your source material in the timeline:

Figure 3-11: The source type settings

Further information about color space conversions can be

found in section “Color Space Conversions” on page 6-5.
This step is not required if an MPEG compression has been se-
lected (see section “Compression” on page 3-9).
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 contains clips in the RGB color

space, you have to activate this radio button.
XYZ Select this setting if the clips in the timeline are
all in the X’Y’Z’ color space.

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 Digital Cinema Delivery Tool

Depending on the selected color space the options (radio buttons) in

the middle of the settings area will be displayed. With them you have
to specify how to interpret the color space of the source material in the
timeline, i.e. the color profile/type of the selected color space:
Table 3-1: Settings for color space ’RGB’

RGB REC 709 Activate this radio button if your material is

stored in the REC 709 color profile.
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 adjust 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 This setting will be available when a user-de-
3D LUT… fined 3D LUT has been applied to the timeline.
When activated, this 3D LUT will be used for
the color conversion.
Table 3-2: Settings for color space ’XYZ’

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.

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3.3.4 Delivery Format

The delivery format configuration step is used to determine the output
format of the digital cinema content.

Figure 3-12: The delivery format settings

Depending on the type of material that is available in the timeline (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).

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Additionally, specify the audio format for the digital cinema content ac-
cording to your needs, for example, select the WAV (DCDM or
JPEG2000) or MXF (DCP) file format in 24 bits as a multi-channel file.
Audio retiming should be activated when the output frame
rate differs from the one selected for the timeline.
These settings items are almost identical to the ones used in the
finalize dialog. For further information about them see the
“CLIPSTER Edit Tool” user guide.
For details about the Stereoscopic output item refer to sec-
tion “Creating a 3D DCP” on page 6-3.
In case the digital cinema content should provide subtitles, the check
box Subtitle output must be activated. With the button SUBTITLING…
to the right you can specify the output of the subtitles further. It opens
the following window:

Figure 3-13: The options for subtitles

In the window ’Subtitling options’ you can determine whether or not

to create subtitle files with the check box at the top. If activated, you
can select the subtitle tracks that a file should be created for (see also
section “Adding Further Subtitles (via Subtitle Tracks)” on page 2-12)
with the additional check boxes in the list box. The file format of the
subtitle files to be created should be set with regard to the standard of
the final DCP (see section “DCP Standards” on page 2-6):

SMPTE Phase 0/SMPTE Phase 1 XML (*.xml)

SMPTE Phase 2 MXF (*.mxf)

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If one of the subtitles should be rendered into the images, you can ac-
tivate this with the check box Render subtitle track into image. Then
you can select the subtitle track that should be rendered into the images
with the combo box to the right.
When activating this option, deselect the respective subtitle
track in the upper list box, i.e. deselect it from a separate file
creation (if separate file creation has been activated as well).
Once the subtitles are set up correctly confirm this with the button OK.
After this the configurations for the delivery format are complete and
you can go to the next configuration step with the button NEXT.

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3.3.5 CPL
When creating a DCP, you also have to perform the configuration step
for a Composition Playlist (CPL).

Figure 3-14: The CPL settings

In the settings pane configure the CPL to be generated to your 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 (e.g. language or kind of content).
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

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 Digital Cinema Delivery Tool

rating and rating agency can be removed from the list field at the right
by selecting it and pressing the [Del] key on your keyboard.
The rating and rating agencies can be adapted. Further infor-
mation about this can be found in section “Adapting the Rat-
ing Agencies” on page 6-7.
After this the configurations for the CPL are complete and you can go
to the next configuration step with the button NEXT.

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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 step.
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 6-11.

Figure 3-15: 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

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 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 select the material
that should be encrypted.
In the area Recipient certifications you can determine the D-Cinema
players that should be able to play out the DCP. They have to be select-
ed via their public keys (recipient certificates, Encryption Key). Use the
button ADD… to select one or more keys (*.cer or *.pem) via a stan-
dard dialog window. Alternatively, you can use a file manager of Win-
dows and drag and drop the keys directly to the list box of this area.
Afterwards they will be detailed in the list box and for each selected key
file one KDM file will be created. Already set players/keys can be re-
moved by selecting them from the list box and pressing the button
DELETE.
With the check box Create a KDM for current Clipster you can acti-
vate the creation of a self KDM, i.e. of a KDM to decrypt the contents
of the final DCP on a selectable DVS DCI Mastering system, for exam-
ple, for a final check of the delivered content.
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.
After this the configurations for the KDMs are complete and you can
go to the next configuration step with the button NEXT.

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3.3.7 Delivery Creation

The delivery creation configuration step is the last step to be performed
before the digital cinema content is created. With it you can check the
material of a DCP as well as specify further output settings such as the
path where the content should be stored:

Figure 3-16: The delivery creation settings

The area DCP audio/video assets will provide information when you
create a DCP and at least one DC reel is specified in the timeline. 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.
With the settings in the area Delivery Creation you can specify the
output of the digital cinema content further and determine, for exam-

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 Digital Cinema Delivery Tool

ple, its storage location and name. To set the file name(s) you can also
use a variable naming with the button NAME OPTIONS….
The settings items of the area Delivery Creation are almost
identical to the ones used in the finalize dialog. For further in-
formation about them see the “CLIPSTER Edit Tool” user
guide.
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 3-22).

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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 the intermediate steps for a DCDM or JPEG2000 files will be
as described in the “CLIPSTER Edit Tool” user guide.
When creating a DCP, the finalizing generates the video files as well as
the audio data according to your settings (e.g. the chosen DCP stan-
dard, see section “DCP Standards” on page 2-6) 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).
For a DCP in SMPTE Phase 0 or 1 the specified subtitle files for the reels
will be sorted into subfolders. For a SMPTE DCP (SMPTE Phase 2) they
will be wrapped in MXF containers as well. Additionally, the CPL, the
KDM(s), a PKL, an Asset Map file, as well as a Volume Index file are cre-
ated.
For a SMPTE DCP you can expect the following output:

Figure 3-17: The resulting DCP

The following table lists shortly the generated files and their purpose:

File/Folder Explanation
*.mxf The (encrypted) content of the DCP (track
files), i.e. for each reel one video and one audio
file. Additionally, if subtitles have been speci-
fied, they will be wrapped in MXF as well, i.e.
for each reel one MXF file per subtitle track
(generated only if subtitles were present in the
reel/subtitle track).

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File/Folder Explanation
CPL_*.xml The Composition Playlist specifying the se-
quence of the track files and thus the order of
the play-out. Contains hash values of the DCP’s
track files, certificates and a signature for veri-
fication purposes as well.
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.
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 map the assets of
a DCP when they are stored across several stor-
age volumes (e.g. if the DCP is larger than a
single storage medium). The creation of a
multi-volume distribution is currently not sup-
ported.
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 DVS DCI Mastering
system. The self KDM is not intended for D-Cin-
ema players and should only be used to admin-
ister the DCP on site (e.g. for quality checks).
This file is essential to create new KDMs or load
an encrypted DCP (see chapter “Using the
DCP and Self KDM” on page 4-1).

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.

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Using the DCP and Self KDM 4
When a DCP of a feature film is created, it is usually encrypted with the
decryption key stored in the KDMs. The decryption key in each KDM is
also encrypted, and it can be decrypted only with the private key of the
respective D-Cinema player for whom it was created. The conclusion of
this is that, once an encrypted DCP is created, it cannot be modified or
checked for flaws that may have occurred during the encoding and/or
wrapping processes. 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 that can be created to-
gether with the other KDMs. It has to be generated with the public key
of a DVS DCI Mastering system, which can be either the one used to
create the DCP or any other one (e.g. another CLIPSTER DCI Mastering
system). This DCI Mastering system can then be used to load the DCP.
Although the self KDM carries a validity same as the other KDMs, with
the DVS DCI Mastering system you will be able to use the content
nonetheless even if the validity has expired.
Once a DCP is loaded 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 pro-
cesses will only be performed where alterations were made, i.e. the
DCP will not be generated again completely.
The self KDM is essential if you want to create new KDMs for
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).

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 Using the DCP and Self KDM

4.1 Configurations for a Self KDM

The necessary configurations to create a self KDM have to be made
during the preparations of the system and its software:

1. During the general preparations for a DCI Mastering (see section

“Configuring the System for a DCP Creation” on page 2-25)
some settings have to be made in the Configuration Tool (tab
Defaults » group DCI): In the field Certificate of the area Self
KDM you have to enter the path to the file (*.cer) that holds
the public key of the DVS DCI Mastering system where the DCP
should be loaded.

Figure 4-1: Setting the public key for a self KDM

This public key file can be found either already stored in the in-
stallation directory of the DVS 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 system again
when creating other DCPs in the future.
2. 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 3-18 and section “Finalize Settings – KDM”
on page 5-10).

Figure 4-2: Activating the creation of the self KDM

The described procedures to create a self KDM are available for

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. Anyway, 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 when loading the encrypted DCP on the DVS sys-
tem for which it has been created, for example, for quality checks.

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 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:
When loading a DCP the DCP standard configured for the sys-
tem (see section “DCP Standards” on page 2-6) should be set
to the same that the DCP was created in. Otherwise you may
receive error messages.
 In 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):

Figure 4-3: Loading the Composition Playlist (CPL) of a DCP

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 Using the DCP and Self KDM

The extra files of the DCP (in *.xml format) will be displayed in the
dialog window.
 Select the CPL of the DCP that you want to load and open it with
the DVS software by clicking the button OPEN.
This will check the CPL if the DCP contains encrypted content. When
this is the case, the DVS software will search for an appropriate KDM
for the DCP (i.e. the self KDM) in the directory level of the extra files of
the DCP. 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.
A loaded CPL is not a DVS project file. Therefore, certain set-
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 your work’s prog-
ress, 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.

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 Using the DCP and Self KDM

4.3 The Menu Option ’Load KDM...’

When working on other projects on a DVS DCI Mastering system, you
may want to add parts of video or audio from already created DCPs.
While unencrypted DCP track files can be added without further ado,
for encrypted material you have to use the menu option Load KDM….
It allows you to load the keys of a self KDM into the hardware of the
DCI Mastering system. Afterwards the encrypted clips can be added to
the bin and you can use them in your project.
The self KDM must have been created for the DVS system
where you are working on (see also section “Configurations for
a Self 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:
 On the Project menu select the menu option Load KDM….
This will open the dialog window to open a file.
 In 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.
A message will appear on the screen warning you that the selected
KDM is not intended for the currently opened project.
 In the message window click on the button IGNORE.
This will load the keys of the self KDM into the DCI Mastering system.
 Afterwards add the wanted track file (video, audio or subtitles) 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-
crypted track file and then the self KDM.
When using this function, encrypted material may sometimes
provide no thumbnails or waveforms in the DVS software.
However, the material is decrypted and can be used as usual
(e.g. video can be seen in the overlay).

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 Using the DCP and Self KDM

4.4 Creating the Extra Files Again (CPL only)

When an already generated DCP is loaded in the Edit Tool (see section
“Loading the DCP” on page 4-3), you can create the extra files (e.g.
CPL, KDMs and PKL) of the DCP again, for example, to correct typos
in the extra files or other delivery issues. This way you do not have to
generate the DCP again completely. To create only the extra files the
digital cinema delivery tool provides the option CPL only (see section
“Delivery Type” on page 3-5). It will lead you straight to the configu-
ration steps where you can set up their creation (see from section
“CPL” on page 3-16 onwards).
Whether the configuration step for KDMs is required depends
on whether an encrypted or unencrypted DCP has been load-
ed.
This way you can create additional KDMs (see section “Creat-
ing Additional KDMs (KDM only)” on page 4-6) as well.
After finishing the configuration of the extra files 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). When saving in the di-
rectory of the loaded DCP, all already existing extra files (including all
KDMs) will be deleted and the new ones will be saved in their stead.

4.5 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, for example, for later releases. This way you do not have to gen-
erate the DCP again completely. To create additional KDMs the digital
cinema delivery tool provides the option KDM only (see section “De-
livery Type” on page 3-5). It will lead you straight to the configuration
step where you can set up their creation (see section “KDM” on
page 3-18).
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).

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4.6 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 versions 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 extra files. Depending on the
country a supplemental DCP is provided in addition (normally in a sub-
directory of the master DCP) containing only the relevant changes. To
load the localized version of the DCP the extra files of the supplemental
DCP have to be used. Whenever necessary they reference to the orig-
inal material of the master DCP.
This section describes how to use the supplemental DCP feature of the
digital cinema delivery tool.

4.6.1 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, the subtitles, certain frames of vid-
eo and the audio reels:
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.
A loaded DCP can be saved as a project file. This way you can
work on an already finished DCP and save your work’s prog-
ress, e.g. when modifying it.

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 Using the DCP and Self KDM

Subtitle:

Video:

Audio 1:

Audio 2:

Audio 3:

Modified content

Figure 4-4: Example of a timeline with modified content

Afterwards, by using the digital cinema delivery

tool with the option Supplemental DCP (see sec-
tion “Delivery Type” on page 3-5) you can create additional supple-
menting content for this DCP.

4.6.2 The Configuration Steps

The configuration steps that must be performed when creating a sup-
plemental DCP are the same as they were 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 Cin-
ema Delivery Tool” on page 3-1. However, because the supplemental
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.

4.6.3 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 creation of the additional content (see section
“CPL” on page 3-16):

Figure 4-5: Reel configuration for a supplemental DCP

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 Using the DCP and Self KDM

According to SMPTE a reel must have a duration of at least one

second.
Some digital cinema players may be unable to display reels that
are shorter than 5 seconds.
For further information about DC reels see section “Setting
Reels” on page 2-18.
The option Automatically set DC reels… sets virtual DC reels for the
timeline which will include only the changed material. For the example
timeline shown in figure 4-4 on page 4-8 this would mean reels like the
following:

Subtitle: 1 2 3 4 5 6

Video: 1 5

Audio 1:

Audio 2: 1 2 3 4 5 6

Audio 3:

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 audio and subtitles. The remain-
ing video data (parts in light grey in the figure above) would not be
generated anew. During the creation process they can be either 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.
When using the option Currently set DC reels, the reels as currently
configured for 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.

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 Using the DCP and Self KDM

4.6.4 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 3-20):

Figure 4-7: The content that will be created

When creating a supplemental DCP, the list box in the area DCP audio/
video assets indicates the reels and assets that will be generated with
activated check boxes. 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 DCP 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.

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Manual Creation of a DCP 5
Every state towards a DCP or the final DCP itself can also be created
manually by using the finalizing dialog of the DVS software. This way
to create digital cinema material is not as intuitive and forthcoming as
the digital cinema delivery tool (see chapter “Digital Cinema Delivery
Tool” on page 3-1), but it is to some extent more flexible regarding the
created output.
This section describes how to create digital cinema material manually
via finalizing(s), i.e. 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 (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 to use the finalizing dialog to cre-

ate additional KDMs or to modify a DCP manually.

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 Manual Creation of a DCP

5.1 Creating a DCDM Manually

This section describes how to create a DCDM from a DSM. For further
information about this delivery type see section “Digital Cinema Distri-
bution Master (DCDM)” on page 2-3:
For some particulars about the creation of a DCDM see section
“Color Space Conversions” on page 6-5.
 Prepare the DSM as described in section “The Steps to Prepare a
DSM” on page 2-7.
 Afterwards call up the finalize dialog of the DVS software (menu
Project » Finalize…).
 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….

Figure 5-1: File name and storage location

 As the file format select the TIFF file format with the file type
16 bit RGB big endian.
 Make sure that the hardware finalize support is activated.

Figure 5-2: 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… ( ).
For this you may use one of the available 3D LUTs provided by
DVS.

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 Manual Creation of a DCP

Figure 5-3: Window to select a 3D LUT file

 After the selection and when returned to the finalize dialog, make
sure that the check box in front of the 3D LUT… button is acti-
vated, otherwise the 3D LUT will not be applied and no color space
conversion to X’Y’Z’ takes place.
 In case your source data provides 3D material or subtitles use the
Stereoscopic output and the Subtitle output settings items and
configure them accordingly.
For details about 3D and the Stereoscopic output item re-
fer to section “Stereoscopic DCP” on page 6-2 as well as
the “CLIPSTER 3D/Stereoscopy” supplement user guide.
Further information about the Subtitle output items can be
found in section “Delivery Format” on page 3-13.
 Use the settings items in the middle of the finalize dialog to specify
the video format. Set them so that they match the format of the
final DCP (see section “Possible Formats for a DCI Mastering” on
page 2-4).
 Specify the audio format for the digital cinema content according to
your project’s needs, for example, select the WAV file format in
24 bits as a multi-channel file.

Figure 5-4: Audio settings

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 Manual Creation of a DCP

After this the settings to create a DCDM are complete and you can start
the finalize process at any time:
 Press the button RENDER to start the generation of the DCDM.
This will start the finalizing of the DCDM and it will be created at the
specified location.

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 Manual Creation of a DCP

5.2 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…).
 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….

Figure 5-5: File name and storage location

 As the file format select the JP2 file format with the file type
12 bit XYZ.
 Configure the JPEG2000 encoding options as described in section
“JPEG2000 Options” on page 6-9.
 Make sure that the hardware finalize support is activated.

Figure 5-6: File format settings

 In case your source data provides 3D material or subtitles use the

Stereoscopic output and the Subtitle output settings items and
configure them accordingly.
For details about 3D and the Stereoscopic output item re-
fer to section “Stereoscopic DCP” on page 6-2 as well as
the “CLIPSTER 3D/Stereoscopy” supplement user guide.
Further information about the Subtitle output items can be
found in section “Delivery Format” on page 3-13.
 Use 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

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 Manual Creation of a DCP

final DCP (see section “Possible Formats for a DCI Mastering” on

page 2-4).
 Specify the audio format for the digital cinema content according to
your project’s needs, for example, select the WAV file format in
24 bits as a multi-channel file.

Figure 5-7: Audio settings

After this the settings to create JPEG2000 encoded digital cinema con-
tent are complete and you can start the finalize process at any time:
 Press the button RENDER to start the generation of the JPEG2000
data.
This will start the finalizing process and the JPEG2000 data will be cre-
ated at the specified location.

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 Manual Creation of a DCP

5.3 Creating a DCP Manually

This section describes how to create a DCP either unencrypted (e.g. for
trailers or advertisements) or encrypted (e.g. for a feature film) from a
DSM, a DCDM or digital cinema compliant JPEG2000 data. For further
information about this see section “Digital Cinema Package (DCP)” on
page 2-4:
To create a DCP the source data has to be prepared first as described in
chapter “Getting Started” on page 2-1, i.e. it has to be prepared and
reels, subtitles as well as the general configurations have to be set. Af-
terwards 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.

5.3.1 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….

Figure 5-8: 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 5-7 and set the video format for the DCP.

5.3.2 Finalize Settings – File and Video Format

In this step you have to configure the file and video format of the DCP:
 If not already set select DC MXF as the file format.
This will automatically set the file type to 12 bit XYZ and the audio
file format to DC MXF.

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 Manual Creation of a DCP

 Next, you have to refine the compression type and set it according
to the DCP standard that the DCP should be created in (see section
“DCP Standards” on page 2-6):
– Either configure the JPEG2000 encoding options as described in
section “JPEG2000 Options” on page 6-9 or
– select MPEG2 VES (instead of 12 bit XYZ) as the file type to
create an MPEG compressed DCP. This can also be configured
further same way as the JPEG2000 options.
The available MPEG compression settings are the de-
fault ones. Explanations for them can be found, for ex-
ample, at http://www.mpeg.org.

 Make sure that the hardware finalize support is activated.

 Use the settings items in the middle of the finalize dialog to specify
the video format. If not already set correctly adjust them to the for-
mat that the final DCP should provide (see also section “Possible
Formats for a DCI Mastering” on page 2-4).

Figure 5-9: 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 5-9).

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 Manual Creation of a DCP

5.3.3 Finalize Settings – CPL

When finalizing to a DCP you also have to generate a Composition
Playlist (CPL).
The items for a CPL will be available only when in at least one
activated finalize output DC MXF is selected as the file format.
 To activate the generation of a CPL enable the check box D-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:

Figure 5-10: CPL configuration

 Configure the settings according to 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 3-16.
 When everything is set as desired click the OK button.

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 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 5-10).

5.3.4 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:

Figure 5-11: KDM generation configuration

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 Manual Creation of a DCP

 In this window set the generation of the KDM(s) according to your

needs.
These settings items are identical to the ones used in the dig-
ital cinema delivery tool. For further information about them
see section “KDM” on page 3-18.
 When everything is set as desired click the OK button.
This will close the window to configure the KDM(s) and you will be 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 5-11).

5.3.5 Further Finalize Settings and Rendering

Via the remaining finalize settings you can determine the digital cinema
content that should be created further:
 In case your source data provides 3D material or subtitles use the
Stereoscopic output and the Subtitle output settings items and
configure them accordingly.
For details about 3D and the Stereoscopic output item re-
fer to section “Stereoscopic DCP” on page 6-2 as well as
the “CLIPSTER 3D/Stereoscopy” supplement user guide.
Further information about the Subtitle output items can be
found in section “Delivery Format” on page 3-13.
Afterwards only the audio settings remain to be set:
 If necessary enable the output of audio.
 In 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 3-13).

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 Manual Creation of a DCP

Figure 5-12: Audio format settings

After this the settings to create a DCP should be complete and you can
start the finalize process at any time:
 Press the button RENDER to start the generation of the DCP.
This will start the finalizing and the files of the DCP will be created at
the specified location as described in section “The Generated Files” on
page 3-22. Once these are available you have successfully created a
compliant DCP with the DVS software that is ready for distribution.

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5.4 Creating Additional KDMs Manually

With an already encrypted DCP and a self KDM you are able to create
further KDMs, for example, for later releases of the same material with-
out having to generate the DCP again. For this perform the following:
 Load the encrypted DCP as described in section “Loading the DCP”
on page 4-3.
 Then call up the finalize dialog of the DVS software (menu
Project » Finalize…).
 Next choose a name and storage location for the KDM(s).

Figure 5-13: File name and storage location

 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.
 As the file format select DC KDM.
 Afterwards click on the KEY… button.
This will open the window to configure the KDM generation (see sec-
tion “Finalize Settings – KDM” on page 5-10).
 In this window configure the generation of the additional KDM(s)
(see section “KDM” on page 3-18). 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.
 In 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.

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5.5 Modifying a DCP Manually

An already created DCP can be used to modify its content, for example,
to exchange audio or subtitles, or for a later encryption of the content.
With this you are able to create different versions of the same DCP
without having to generate it again completely (i.e. unaltered track files
will not be rendered again but copied).
This approach to modify a DCP creates a complete DCP from
the master DCP. 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 and/or subtitle 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.
This can be achieved easily by setting the reels automatically at
the edit points of the exchanged material (see section “Setting
Reels Automatically” on page 2-18).
 If required adapt the DC reels in the timeline (see section “Setting
Reels” on page 2-18).
 Then call up the finalize dialog of the DVS software (menu
Project » Finalize…).
 In the finalize dialog adjust all settings including the ones for CPL
and KDMs so that they match the master DCP (see section “Creat-
ing a DCP Manually” on page 5-7), 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.
– As a storage location choose a different directory.

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 Manual Creation of a DCP

– If required adjust the encryption or KDMs to be created in the

dialog window to configure the KDMs (button KEY…).
If track files have been modified, you will need another
self KDM to be able to load them with the DVS soft-
ware.
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.

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Miscellaneous 6
This chapter explains other DCP related topics, such as how to create a
3D/stereoscopic DCP or how to adapt the rating agencies. Further-
more, some background information about color space conversions as
well as keys and certificates are provided.

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 Miscellaneous

6.1 Stereoscopic DCP

With the DCI Mastering feature you can also create a stereoscopic DCP
and thus material to be screened in 3D. This section explains the items
that are specifically available for a stereoscopic DCP and how to create
one.
The general items available for working with 3D material are
not described in this manual. A description of them can be
found in the “CLIPSTER 3D/Stereoscopy” supplement user
guide accessible via the software’s online help. Please note that
for a DCI Mastering not all items described in the above men-
tioned manual may be available to you.

6.1.1 Preparing a 3D DCP

The creation of a 3D/stereoscopic DCP has to be prepared same way
as described in chapter “Getting Started” on page 2-1. However, in-
stead of single tracks the content of your project must be available in
3D stereo tracks (see the “CLIPSTER 3D/Stereoscopy” supplement user
guide for further information about this).
This applies to subtitles as well: In order to have subtitles in 3D in the
DCP the subtitle timeline elements have to be placed in a 3D stereo
track instead of a single track. With this you will get in the timeline el-
ement properties of a subtitle timeline element for the Position set-
tings the Z position slider. It can be used to adjust the 3D effect of the
selected subtitle(s):

Figure 6-1: Z position setting of subtitles

Apart from this subtitles in a 3D stereo track can be used same as the
standard subtitles in the Edit Tool (see section “Adding Subtitles” on
page 2-10 for further information).
Once your project is properly prepared, you can start the creation of the
DCP.
A stereoscopic DCP always starts with the left eye clip as the
first frame.

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 Miscellaneous

6.1.2 Creating a 3D DCP

When your project is properly prepared for 3D (see section “Preparing
a 3D DCP” on page 6-2), you can start the creation of the DCP as de-
scribed in chapter “Digital Cinema Delivery Tool” on page 3-1.
A stereoscopic DCP can also be created manually via finalizing
(see section “Creating a DCP Manually” on page 5-7 as well
as the “CLIPSTER 3D/Stereoscopy” supplement user guide).
For the creation of a stereoscopic DCP there will be the Stereoscopic
output settings items available in the digital cinema delivery tool. They
can be found in the settings pane of the delivery format configuration
step (see section “Delivery Format” on page 3-13):

Figure 6-2: Configuring the stereoscopic output for a DCP

To create a stereoscopic DCP the check box of the Stereoscopic out-

put settings items must be activated. With the combo box to the right
you can then configure the output type of the 3D DCP. Because the in-
terleaved 3D clip is the native format for a stereoscopic DCP, it must be
set to 3D Interleaved stream. With this the DCP will be created
as a stereoscopic DCP.
At the delivery creation configuration step the digital cinema delivery
tool will 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 3-20):

Figure 6-3: The assets of a 3D DCP

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 Miscellaneous

After clicking on the respective button in the digital cinema delivery tool
the stereoscopic DCP will be created according to your settings.
A stereoscopic DCP can be loaded in the DVS software as de-
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.

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 Miscellaneous

6.2 Color Space Conversions

According to the specifications a DCDM/DCP should be converted and
saved in the X’Y’Z’ color space. The most important concept about a
color space conversion is, that you should know the source material
that you want to process. The properties of the clips added to the bin
and used in the timeline (context menu of bin clip » Properties…)
must reflect these, i.e. they have to match the properties of the material
on the storage. For a DCI Mastering DVS recommends that the timeline
of the Edit Tool consists 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 configuration step for the
source type (see section “Source Type” on page 3-11). When convert-
ing to digital cinema content manually, it can be found among the
JPEG2000 encoding parameters (see section “JPEG2000 Options” on
page 6-9). 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 a DCDM is performed via a 3D look-up
table (LUT). For this the clips in the timeline of the Edit Tool must be in
a single color space only.
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 3-11). 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 5-2) the usual way to
set a 3D LUT. DVS delivers several 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.

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 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 well (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 3-11). Then, only this one will be used
for the conversion. To use a 3D LUT applied to the timeline the clips on
the timeline of the Edit Tool should be of a single color space only.
In case a 3D LUT is not used, the mixing of clips in the RGB and X’Y’Z’
color space on the timeline of the Edit Tool is possible (only native
X’Y’Z’, not YCxCz).

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 Miscellaneous

6.3 Adapting the Rating Agencies

During the configuration of the CPL (see section “CPL” on page 3-16
and section “Finalize Settings – CPL” on page 5-9) you can set one or
more rating agencies. Ex factory the software already offers a few 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 (x86)\DVS\Clip-
ster) 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 adap-
tations will be displayed in the software when configuring a CPL cre-
ation.
The name of the agency (attribute NAME of the <AGENCY>
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:
<?xml version="1.0" encoding="utf-8"?>
<RA>
<AGENCY NAME="http://www.classification.gov.au/
2007-ratings">
<RATING>G</RATING>
<RATING>PG</RATING>
<RATING>M</RATING>
<RATING>MA 15+</RATING>
<RATING>R 18+</RATING>
<RATING>X 18+</RATING>
</AGENCY>
</RA>

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 Miscellaneous

6.4 Keyboard Shortcuts

For a more easy and faster control of the DCI Mastering feature there
are various keyboard shortcuts available which are listed in the tables
below:

Table 6-1: General keyboard shortcuts

Action Shortcut
Open the digital cinema delivery [Ctrl + D]
tool
Open the finalize dialog [Ctrl + F]

Table 6-2: 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]

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 Miscellaneous

6.5 JPEG2000 Options

With the JPEG2000 options you can set its encoding parameters. They
can be accessed via the OPTIONS button to the right of the File format
field in the finalize dialog window (Project » Finalize…). The button
will be available as soon as a JPEG2000 format is selected as the file for-
mat for video (e.g. JP2, JPC or DC MXF):

Figure 6-4: Accessing the JPEG2000 options

Then the following window will be displayed on the screen:

Figure 6-5: Configuring the JPEG2000 encoding

Further information about color space conversions can be

found in section “Color Space Conversions” on page 6-5.
Further information about a JPEG2000 encoding can be found
in section “JPEG2000” on page 2-3.

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 Miscellaneous

In detail the window to configure the JPEG2000 encoding provides the

following settings items:
Colorspace This setting determines the color profile and inter-
Interpretation 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, finalized 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.
The timeline material is handled clip-wise,
meaning each clip in the timeline is evalu-
ated separately and converted with re-
gard 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 “Compression” on page 3-9.

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 Miscellaneous

6.6 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.

6.6.1 What’s a Key

A key is a piece of information (normally a string) that determines the
output of a cryptographic algorithm. The key is used during encryption
by the cryptographic algorithm to transform a certain piece of 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 are 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.

6.6.2 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 Certificate Chain”).
In the DCI Mastering a certificate normally contains a public key
(*.cer or *.pem files). A private key is usually provided in a personal

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 Miscellaneous

information exchange file (*.pfx) 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.

6.6.3 The Key Players of the DCI Mastering

Detailed in the following you can find the key pairs that are used during
a DCI Mastering.

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 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:

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 Miscellaneous

– The private key of the Signing Key is used to create a signature

for the files of a DCP, i.e. it is used to encrypt hash values of the
files.
– The public key of the Signing Key will be part of a certificate
that will be attached to the extra files (if required, the certificate
chain will be attached).

The private key has to be set on CLIPSTER. Normally, it is stored en-

crypted in a PFX file and will require a password to be opened. The cre-
ator of a DCP has to provide this key (i.e. his own Signing Key).
The most appropriate way to receive a Signing Key is to order
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).
Alternatively, you can use a system specific (unique) Signing Key that
DVS generates for each DCI Mastering system. It can be used instead
of your own key if you are sure that it meets the safety requirements of
your distribution chain (setting Use System Signing Key, see section
“Configuring the System for a DCP Creation” on page 2-25).
DVS grants you usage of this Signing Key under the provision
that you shall be directly and exclusively liable for its applica-
tion.
The public key of the Signing Key will be attached to the extra files of
the DCP via certificates. Thus, it will be distributed with them to the
D-Cinema player automatically. 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 can be set
in the DVS software can be found in chapter “Using the DCP
and Self KDM” on page 4-1.

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 Miscellaneous

Summary
The following lists shortly the most important points about the different
keys:

AES key – Generated automatically by CLIPSTER

Encryption Key – Certificate with public key must have been sent
to you by the theater (i.e. the public key of a
specific D-Cinema player)
– Has to be set on CLIPSTER
Signing Key – Normally, you must provide this key pair (i.e.
your own Signing Key) and its private key has
to be set on CLIPSTER
– Alternatively, you may use a system specific
Signing Key provided by DVS if it meets your
safety requirements
– The public key of the Signing 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 DVS sys-
tem
– Requires a different setting than the Encryption
Key in the DVS software
See chapter “Using the DCP and Self KDM” on
page 4-1.

6.6.4 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.
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:

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 Miscellaneous

Figure 6-6: The keys and where they are used on the Creator side

The generated track file of the DCP is encrypted with an AES key that
has been randomly generated by the DVS system. For each track file
one AES key will be created and used. The AES keys are then encrypted
with the public key of the Encryption Key. Afterwards the encrypted
AES keys are written to the KDM file. Of each encrypted track file a
hash value is created which is then written to the PKL file. 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:

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 Miscellaneous

Figure 6-7: The keys and where they are used on the Recipient side

At the Recipient the received DCP has to be validated with the help of
the public Signing Key that is attached to each extra file of the DCP
(e.g. CPL, KDM or PKL). Whether the track files were received 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.

6.6.5 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

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 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.

Figure 6-8: 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.

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 Miscellaneous

Figure 6-9: Certificate chain validation

In a public-key certificate no certificate chain is stored. So, in order to

validate a leaf certificate at the end of a certificate chain, the complete
chain up to the root certificate has to be available.
The maximum path depth from root to leaf that is allowed in a 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 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.

6.6.6 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

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 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 6-16).

6.6.7 The Keys and Certificates Delivered with CLIPSTER

In the delivery of the DCI Mastering feature you can find on the en-
closed CD-ROM and/or in the installation directory of the DVS soft-
ware the following keys and certificates:

Test Keys
You may use the following files for testing purposes only. They should
not be used to create a DCP for distribution:

File: TestSigningCertificateLeafSHA*.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. Use SHA-1 for
SMPTE Phase 0 compliant DCPs, and SHA-256 for
SMPTE Phase 1 and 2.
Password: DVS

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 DCP can be validated.

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 Miscellaneous

File: TestSigningCertificateRoot.pem
TestSigningCertificateIntermediate.pem
Path: DVS\CLIPSTER\Certificate Store\DVS
Test\
Explanation: For testing only: Test certificates. The certificate chain
for the public key certificate of the private Signing Key
for testing (intermediate and root) for verification.

Live Keys
The following keys can be used for the creation of digital cinema con-
tent:

File: DvsClipsterDCI_*.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 here.

File: DvsClipsterDCIRoot.cer
DvsClipsterDCIDvsAG.cer
Path: DVS\CLIPSTER\Certificate Store\DVS\
Explanation: The certificate chain of the public key for a self KDM
(intermediate and root) for verification.

DVS grants you usage of the Signing Key under the provision
that you shall be directly and exclusively liable for its applica-
tion. See also section “Signing Key” on page 6-12.

File: DvsClipsterDCISigningSHA*.pfx
Path: DVS\CLIPSTER\Key Store\
Explanation: Private Signing Key (leaf certificate). It can be used to
sign the extra files of a DCP. SHA-1 will be used for
SMPTE Phase 0 compliant DCPs, and SHA-256 for
SMPTE Phase 1 and 2.

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Index I
Numerics Delete track ............................ 2-15
In/Out / DC reels . 2-18, 2-20, 2-21
3D ................................................ 6-2 inpoint ................................... 2-20
creating DCP ............................ 6-3 Key .................... 5-10, 5-13, 5-15
interleaved ............................... 6-3 Load settings ............................ 3-4
preparing DCP ......................... 6-2 Name options ...3-21, 5-2, 5-5, 5-7
preparing subtitles .................... 6-2 New image ............................. 2-16
z-position (subtitle) ................... 6-2 New subtitle ........................... 2-15
3D LUT ................. 3-12, 5-2, 6-5, 6-6 New track .............................. 2-13
3D stereo tracks ............................. 6-2 Next ........................................ 3-4
Options ................................... 6-9
A outpoint ................................. 2-20
Playlist ..................................... 5-9
abbreviations ................................. 1-5 Previous ................................... 3-4
action in-/outpoints ...................... 2-22 Render . 5-4, 5-6, 5-12, 5-13, 5-15
D-Cinema player .................... 2-22 Save settings ............................ 3-4
AES key .................... 6-12, 6-14, 6-15 Settings ............................2-7, 2-9
arrow (configuration steps) .............. 3-3 Subtitling ............................... 3-14
aspect ratio .................................... 2-5
asset ........................................... 3-20
3D DCP ................................... 6-3
C
supplemental DCP .................. 4-10 captions .............................2-10, 2-12
Asset Map ................................... 3-23 certificate ...........................3-19, 6-11
audio channel mapping ................... 2-5 certificate authority (CA) .....6-11, 6-13,
audio format .2-5, 3-14, 5-3, 5-6, 5-11 6-18
audio retiming ............................. 3-14 certificate chain ............................ 6-16
audio routing ......... 2-7, 2-8, 2-9, 2-23 channel mapping ............................ 2-5
chapter overview ............................ 1-2
B ciphertext .................................... 6-11
closed captions ....................2-10, 2-12
bit rate ................................. 2-3, 3-10 closed subtitle .....................2-10, 2-12
blue line (DC reel) ........................ 2-21 closing digital cinema delivery tool ... 3-4,
button 3-21
3D LUT ................................... 5-2 color profile ................ 3-11, 6-5, 6-10
Add ...................................... 3-19 color space .................................. 3-11
Cancel ..................................... 3-4 conversion ............................... 6-5
Create ............................ 3-4, 3-21 DCDM ..............................2-7, 5-2
Delete ..........................2-21, 3-19 DSM ..................2-2, 2-7, 6-5, 6-6
Delete subtitle ........................ 2-15 matrix ...................................... 6-6

I-1
 Index

compression ................... 2-3, 3-9, 6-9 color space conversion ............... 6-5
configuration step ........... 3-3, 3-5, 3-6 creation ............................3-6, 5-2
CPL (extra files) only ................. 4-6 generated files ........................ 3-22
KDM only ................................ 4-6 preparation .............................. 2-7
supplemental DCP .................... 4-8 DCI ........................................1-1, 1-5
Configuration Tool ................ 2-6, 2-25 DCI Mastering ................................ 1-1
configuring self KDM .............2-26, 4-2 start ...................................... 2-28
configuring the system .................. 2-25 DCI Phase .............................2-6, 2-26
constant quality VBR .................... 3-10 D-Cinema player .......................... 3-19
container ............................2-10, 2-12 action in-/outpoints ................ 2-22
conventions of user guide ............... 1-4 forensic marking ..................... 3-19
conversion (color space) .................. 6-5 KDM ............................3-18, 5-10
CPL ....................................... 1-5, 2-4 key ........................................ 6-12
creation .......................... 3-16, 5-9 DCP .......................................1-5, 2-4
file ........................................ 3-23 3D .......................................... 6-2
load ........................................ 4-3 audio format ......... 2-5, 3-14, 5-11
UUID .................................... 2-26 creation .................... 3-6, 3-7, 5-7
CPL only ................................ 3-7, 4-6 encrypted .............. 3-7, 3-19, 5-10
configuration steps ................... 4-6 extra files .................. 2-4, 3-7, 4-6
creating formats .................................... 2-4
3D DCP ................................... 6-3 generated files ........................ 3-22
CPL ................................ 3-16, 5-9 load ......................................... 4-3
DCDM .............................3-6, 5-2 localization ......................4-7, 5-14
DCP .................................3-6, 5-7 master ..... 3-6, 3-7, 3-8, 4-7, 5-14
extra files only ...................3-7, 4-6 name ..................................... 3-21
further KDMs .................. 4-6, 5-13 unencrypted .......... 3-6, 3-19, 5-10
JPEG2000 ......................... 3-6, 5-5 versions ..........................4-7, 5-14
KDMs ...........................3-18, 5-10 video format ............................. 2-5
self KDM ........................3-19, 4-2 DCP phases ................................... 2-2
supplemental DCP .................... 3-8 DCP standards ........................2-6, 5-8
see also SMPTE phases
select ..................................... 2-26
D
delivery creation ........................... 3-20
data rate ....................................... 2-3 3D .......................................... 6-3
DC KDM ..................................... 5-13 supplemental DCP .................. 4-10
DC MXF ....................... 5-7, 5-11, 6-9 delivery format ............................. 3-13
DC reel ....................................... 2-18 delivery type .................................. 3-5
action in-/outpoints ................ 2-22 digital cinema delivery tool .....2-28, 3-1
assets ................... 3-20, 4-10, 6-3 3D .......................................... 6-3
automatic setting .............2-18, 4-9 close ...............................3-4, 3-21
editing ................................... 2-21 configuration steps ..... 3-3, 3-5, 3-6
in-/outpoints .................2-20, 2-23 load settings ............................. 3-4
name ................. 2-19, 2-20, 2-23 overview .................................. 3-3
remove .................................. 2-24 save settings ............................. 3-4
subtitles ................................. 2-18 start ........................................ 3-2
supplemental DCP .................... 4-9 DLP P3 ........................................ 3-12
tab ’DC reels’ ......................... 2-22 DLP P7 ........................................ 3-12
DC reel mode .....................2-18, 2-21 DSM ......................................1-5, 2-2
DCDM ................................... 1-5, 2-3 color space .........2-2, 2-7, 6-5, 6-6
audio format ................... 3-14, 5-3 preparation .............................. 2-7
color space ........................2-7, 5-2 Duration ...................................... 2-22

I-2
 Index

E creation ............................3-6, 5-5

generated files ........................ 3-22
editing DC reels ........................... 2-21 preparation .............................. 2-9
effects operator (subtitle) .............. 2-11
encrypted DCP ..................... 3-7, 3-19
finalizing ................................ 5-10 K
Encryption Key .......... 6-12, 6-14, 6-15 KDM ......................................1-5, 2-4
setting ................................... 3-19 creating further KDMs ......4-6, 5-13
EntryPoint ................................... 2-22 creation ........................3-18, 5-10
exchange format ............................ 2-3 file ........................................ 3-23
extra files of a DCP ......................... 2-4 KDM only ...............................3-8, 4-6
creating again ...................3-7, 4-6 configuration steps .................... 4-6
key ............................................. 6-11
F
file size ................................. 2-3, 3-10 L
finalizing ....................................... 5-1 language .................. 2-13, 2-15, 3-16
DCDM .................................... 5-2 leaf certificate .............................. 6-17
DCP ........................................ 5-7 letterboxing ................................... 2-5
encrypted DCP ....................... 5-10 load settings .................................. 3-4
further KDMs ......................... 5-13 loading
JPEG2000 ................................ 5-5 of CPL ..................................... 4-3
unencrypted DCP ................... 5-10 of DCP .................................... 4-3
forensic marking .......................... 3-19 of self KDM .......................4-4, 4-5
format .......................................... 2-4 of supplemental DCP ................. 4-7
of subtitles ............................. 2-10 localization of a DCP ..............4-7, 5-14
frame rate ...................... 2-2, 2-3, 2-7 loudspeaker ................................... 2-5

G M
general settings ............................ 2-25 main captions ......................2-10, 2-12
main subtitle ............. 2-10, 2-12, 2-14
H manual creation ....................2-28, 5-1
mapping ........................................ 2-5
hardware finalize support . 5-2, 5-5, 5-8 master DCP ... 3-6, 3-7, 3-8, 4-7, 5-14
hierarchy ..................................... 6-17 master project ................................ 2-2
matrix ........................................... 6-6
I maximum quality VBR ................... 3-10
MPEG ............................ 2-6, 3-9, 5-8
ICT ............................................. 3-10 MPEG Interop ................................ 2-6
interleaved .................................... 6-3 multi-channel file ........... 3-14, 5-3, 5-6
intermediate certificate ................. 6-17 MXF ............................................. 2-4
intermediate step ........................... 2-2 audio .................. 3-14, 3-22, 5-11
reels ...................................... 2-18
subtitle .........................2-10, 3-14
J video ..............................3-22, 5-7
JP2 ........................................5-5, 6-9 MXF Interop .................................. 2-6
JPC ............................................... 6-9
JPEG Interop .................................. 2-6 N
JPEG2000 ................ 2-3, 3-9, 5-8, 6-9
audio format ................... 3-14, 5-6 name of DC reel ........ 2-19, 2-20, 2-23

I-3
 Index

name of DCP ............................... 3-21 S

next step ....................................... 3-4
notes ............................................ 1-5 save settings .................................. 3-4
screenshots .................................... 1-5
self KDM ....................................... 4-1
O configuration ...................2-26, 4-2
option ........................................... 1-5 creation ..........................3-19, 4-2
orange ........................................ 2-15 file .................................3-23, 4-2
orange line (DC reel) .................... 2-22 key ...............................6-13, 6-14
overview key setting ............................. 2-26
of chapters ............................... 1-2 load ..................................4-4, 4-5
of DCP phases .......................... 2-2 loading DCP ............................. 4-3
of digital cinema delivery tool ..... 3-3 public key .............................. 6-20
validity ..................................... 4-1
verification ............................. 6-20
P setting Encryption Key ................... 3-19
setting Signing Key ....................... 2-26
path depth .................................. 6-18
shortcuts ....................................... 6-8
PFX file .................... 2-26, 6-12, 6-13
signature .................. 3-23, 6-11, 6-13
phases of a DCP ............................. 2-2
signing extra files ....... 2-26, 6-12, 6-15
pillarboxing ................................... 2-5
Signing Key ............... 6-12, 6-14, 6-15
PKL ....................................... 1-5, 2-4
setting ................................... 2-26
file ........................................ 3-23
System Signing Key ........2-26, 6-13
plaintext ...................................... 6-11
SMPTE ...................................1-1, 1-5
PNG ..................................2-10, 2-16
SMPTE DCP ..........................2-6, 3-22
post compression rate control ........ 3-10
SMPTE phases ................................ 2-6
preparing
keys .............................6-19, 6-20
3D DCP ................................... 6-2
result ..................................... 3-22
3D subtitles .............................. 6-2
select ..................................... 2-26
DCDM .................................... 2-7
subtitle output format .............. 3-14
DSM ....................................... 2-7
subtitle track type ................... 2-14
JPEG2000 ................................ 2-9
source data .............................2-7, 6-5
previous step ................................. 3-4
source type .................................. 3-11
profile ........................ 3-11, 6-5, 6-10
standards ....................................... 2-6
properties
starting
of bin clip ................................ 2-8
DCI Mastering ........................ 2-28
of subtitle .....................2-12, 2-14
digital cinema delivery tool ......... 3-2
stereoscopy
R see 3D
storage location ......3-21, 5-2, 5-5, 5-7
rating ................................... 3-16, 6-7 supplemental DCP .................. 4-10
rating agency ........................3-16, 6-7 subtitle ...............................2-10, 2-12
REC 709 ...................................... 3-12 3D .......................................... 6-2
reel ............................................... 2-4 appearance ............................ 2-17
see also DC reel bin clip ................................... 2-11
MXF ...................................... 2-18 DC reels ................................. 2-18
removing DC reel ......................... 2-24 effects operator ...................... 2-11
retiming (audio) ........................... 3-14 gap ..............................2-10, 2-14
RGB ............................................ 3-11 in- and outpoints .................... 2-15
root certificate ............................. 6-17 in the timeline ......................... 2-10
routing .................. 2-7, 2-8, 2-9, 2-23 language ................................ 2-15
length .................................... 2-14

I-4
 Index

output format ........................ 3-14 user interface ................................. 1-5

output settings ....................... 3-14 UUID .......................................... 2-26
position ................................. 2-17
properties .....................2-12, 2-14
V
render into image ................... 3-15
result ..................................... 3-22 validation ................. 6-12, 6-16, 6-18
slip ........................................ 2-16 validity ........................................ 6-11
subtitle track ....... 2-10, 2-12, 2-15 of DCP .................................. 3-18
supplemental DCP ............. 4-7, 4-9 of self KDM .............................. 4-1
supported formats .................. 2-10 VBR .....................................2-3, 3-10
timeline element .. 2-10, 2-11, 2-14 verification ................ 3-23, 6-12, 6-19
track type .....................2-14, 2-15 versions of a DCP ..................4-7, 5-14
z-position ................................ 6-2 video format .. 2-5, 3-13, 5-3, 5-5, 5-8
supplemental DCP .......................... 4-7 virtual DC reel ................................ 4-9
assets .................................... 4-10 Volume Index .............................. 3-23
configuration steps ................... 4-8
creation ................................... 3-8
DC reels .................................. 4-9 W
delivery creation ..................... 4-10 watermarking ............................... 3-19
load ........................................ 4-7 WAV .....................2-5, 3-14, 5-3, 5-6
storage location ...................... 4-10
subtitles ............................ 4-7, 4-9
supported subtitle formats ............. 2-10 X
System Signing Key .............2-26, 6-13
X’Y’Z’ ... 2-3, 2-7, 3-11, 3-12, 5-2, 6-5
XML
T extra files ........................3-23, 4-4
subtitle .........................2-10, 3-14
tab ’DC reels’ ............................... 2-22 XYZ projector ................................. 4-4
target group .................................. 1-3
TIFF ........................ 2-3, 2-7, 3-6, 5-2
timeline element properties ..2-12, 2-14 Y
trusted communication ................. 6-19
YCxCz .......................... 2-8, 3-12, 6-6
typographical conventions ............... 1-4
YUV matrix ...........................2-8, 3-12

U Z
unencrypted DCP .................. 3-6, 3-19
z-position (subtitle) ......................... 6-2
finalizing ................................ 5-10

I-5