4-9Using the DCP and Self KDM [608486]

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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21
3
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5CLIPSTER DCI Mastering
Supplement User Guide
Introduction
Getting Started
Digital Cinema Delivery Tool
Using the DCP and Self KDM
Creating a DCP Manually
Miscellaneous
Index

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E-mail: [anonimizat]

iC Contents
1 Introduction ………………. …………….. ……………. …………….. ………. 1-1
1.1 Overview ………. ………….. ………….. ………….. …………… ………. 1-2
1.2 Target Group ………… …………….. ……………. …………….. ………. 1-3
1.3 Conventions Used in this User Gu ide………………. ……….. …… 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 Ma stering ………… ………….. ………… …… 2-28

iiContents
3 Digital Cinema Delivery Tool …………….. ………… ………… …….. 3-1
3.1 Starting the Digital Cinema Deliver y Tool ………….. …………… 3-2
3.2 Overview ………. ………….. ………….. ………….. …………… ………. 3-3
3.3 The Configuration Step s ………….. ……………. …………… ………. 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 on ly) …………….. …………… 4-6
4.6 Modifying a DCP (Supplemental DC P) ……….. ………….. …….. 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

iiiContents
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 Certifica tes Delivered with CLIPSTER ……. 6-19
I Index …………… ……………. …………….. ……………. …………….. ……….. I-1

1-11 Introduction
This document describes the optionall y available DCI Mastering feature
of CLIPSTER and the steps that ar e 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 formul ated 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 f eature you can generate a Digital
Cinema Package (DCP) from a Digital Source Mast er (DSM) directly in
one step. However, all intermediate st eps, such as a Dig ital Cinema Dis-
tribution Master (DCDM) or JPEG2000 encoded files, can be generated
as well. For all this th e DVS software provides the comprehensive digital
cinema delivery tool which will l ead 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 fu ture releases, but you can create
different versions of a DC P , for instance, for localizations of a feature
film. Additionally, you will be able to handle 3D material in the timeline
and thus to create stereosc opic digital cinema content.
Any renderings which may be necessa ry during the creation of an inter-
mediate result or the fi nal DCP will be supporte d by additional hard-
ware (such as the CLIPSTER JP EG2000 accelerator board), enabling
you, for example, to generate JPEG 2000 encoded 12-bit X’Y’Z’ files in
near or even faster than real time.

1-2Introduction
1.1 Overview
This user guide describes the possibiliti es 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 sh ort introduction to the DCI
Mastering feature, follow ed by a note regard-
ing the audience this ma nual is written for and
an explanation of the con ventions used in this
manual. Additionally, it details the abbrevia-tions used and some ge neral notes that you
should observe.
Chapter 2 Contains basic in formation 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 co nverted 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 us e a DCP and the self KDM
after their creation, fo r example, to quality
check the final result, to add KDMs or to gen-
erate different ver sions 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 de tails 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.

1-3Introduction
1.2 Target Group
To use this manual and the DCI Ma stering feature effectively you
should be familiar with the DVS soft- and hardwa re as well as the man-
uals delivered with the DVS system. Furthermore, to create content for
digital cinemas you should have know ledge 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 sp ecifications of DCI).
Additionally, it would be beneficial to be famili ar with the SMPTE stan-
dards concerned with the creation of digital cinema content and the
specifications of DCI.

1-4Introduction
1.3 Conventions Used in this User Guide
The following typographical conventions will be used in this documen-
tation:
Texts preceded by this symbol desc ribe activities that you must per-
form in the order indicated.
– Texts preceded by this sy mbol are parts of a list.
Keyboard Shortcuts
To perform options or procedures with the keyboard often requires a si-
multaneous pressing of two keys.
Example:Texts preceded by this symbol are general notes intended to fa-
cilitate work and help avoid errors.
You must pay particular attenti on to text that follows this
symbol to avoid errors.
“ ” Texts enclosed by quotation ma rks are references to other man-
uals, guides, chapters, or sections.
’Window’ Text in bold with sing le quotation marks indi-
cates a window name
BUTTON Text in small caps a nd bold indicates a push but-
ton
Group/Menu Text in italic and bold indica tes 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 comma nd (e.g. at a command
line), a syntax or cont ents of a file/output
[Key] An individual key or a key combination on a
keyboard
[Ctrl + F1] If this is given, hold down the [Ctrl] key and
press simultaneously the [F1] key.

1-5Introduction
Screenshots
The screenshots shown in this documentation may differ from the user
interface(s) displayed on your sy stem. They may have been taken, for
example, from previous/pre-release so ftware versions or from other
systems with a similar user interf ace. 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.
1.5 General Notes
In the following you can find some general notes that may be helpful
for your work with the DCI Master ing feature or this user guide: Abbreviation Shortened Form of
CPL Composition Playlist
DCDM Digital Cinema Distribution Master
DCI Digital Cinema Initiatives, LLCDCP Digital Cinema Package
DSM Digital Source Master
KDM Key Delivery MessagePKL Packing List
SMPTE Society of Motion Pict ure and Television Engi-
neers
The DCI Mastering is available as an op tional feature. Up-
grades from previous CLIPSTER versions may be possible but
depend on the system hardware delivered to you.
For further details about user in terface items not described in
this document please refer to the other user guides delivered
with the DVS system.

2-12 Getting Started
This chapter provides basic informat ion about a DCI Mastering and de-
scribes the preliminary steps to start one. Here you can find, for exam-
ple, information about the phases th at a final DCP creation comprises
or the basic configurati ons that are required fo r 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.

2-2Getting Started
2.1 Basics
This section provides some basic info rmation 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 al lowed 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 pa ckaging 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 ca n 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 explaine d shortly in the following.
Figure 2-1: The DCP steps
Digital Source Master (DSM)
The first step to create a SMPTE/D CI compliant Distribution Package
for digital cinemas is th e 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 st ate that the Digital Source Master
(DSM) itself is not define d, i.e. it ’may consist of any color space, pixel
matrix (spatial), frame rate (tempor al), bit depth and many other met-
rics’ (SMPTE 428-1). Therefore, it li es totally in your own discretion
how to prepare a project and thus the DSM. It is this ’master project’
that can then be conver ted to different formats for various applications,
such as a Digital Cinema Distri bution 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 cl ips in the RGB color space only and
that it is set to a digital cinema compliant frame rate.

2-3Getting Started
Digital Cinema Distribution Master (DCDM)
The Digital Cinema Distribution Mast er (DCDM) as th e next phase for
a DCP is deemed the exchange form at 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 ch annel distribution of the later DCP
(see also section “Possi ble 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 orde r to get a DCP .
Nevertheless, in case a DCDM is required, it can be generated with
CLIPSTER easily.
JPEG2000
For the sake of storage space and ba ndwidth the size of a DCP must be
reduced so that it can be transp orted, saved and displayed without
great efforts. For this the image files of the DC P will be converted to
12 bit (X’Y’Z’) and then encoded with JPEG2000 (lossy compression).
For maximum efficiency CLIPSTER en codes the image data with a vari-
able bit rate (VBR). The audi o 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 includ e the JPEG2000 compression automat-
ically. However, if only the JPEG2000 encoded data is required, it can
be created with CLIPST ER without difficulty.
The DCI specification limits the data rate for a successful presentation
in a digital cinema theater to a fi le size of 1.302083 MB per 2K image
at 24 frames per second, equivalen t 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 byte s per frame (also 250 Mbit/s).DCI suggested to store the DC DM in 12 bit padded to 16 bit
that the SMPTE in their standard s reduced to 12 bit altogether.
For best results CLIPSTER will st ore the data in true 16 bit when
creating a DCDM, meaning when th e 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.
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 .

2-4Getting Started
Digital Cinema Package (DCP)
During the last stage of a DCP cr eation, the audio and JPEG2000 en-
coded image files will be wrapped (e ither encrypted or unencrypted) in
the MXF format as the DCP’ s content delivery format.
This last phase in the creation of th e final Digital Cinema Package (DCP)
performs various steps itself: It will sp lit 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 Deli very Message (KDM), Packing List
(PKL), etc. (see section “The Genera ted Files” on page 3-22). With this
you will get a D-Cinema compliant output that ca n then be sent to the
theaters for which it has b een created (if encrypted).
All this and the steps mentioned be fore (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 prep are your source material appropriately prior to
the creation by determining reels, adding subtitles and configuring the
key for CLIPSTER. This is in detail de scribed 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 fr om the respective SMPTE specifica-
tions. While the video form ats listed here can be considered complete,
the audio channel mapping described below is only an example. In the
SMPTE 428-3 you can fi nd further mappings.
Please note that the formats for vi deo and audio detailed in the
following must be applied to a DCDM and JP EG2000 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.

2-5Getting Started
Video Formats
The following lists the video form ats that are suitable for a DCP:
If your source material is in a di fferent aspect rati o than the ones de-
tailed above, the material should be scaled for the digital cinema output
so that it fits either ver tically 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):N o .o fA c t i v e
Horizontal PixelsNo. of Active
Vertical PixelsAspect RatioPixel Aspect
RatioFrame
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 242048 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
AES
Pair / Ch.Channel Label / Name Description
1/1 1 L/Left Far left screen loudspeaker
1/2 2 R/Right Far right screen loudspeaker
2/1 3 C/Center Center screen loudspeaker
2/2 4 LFE/Screen Screen low frequency effects 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 reserved6/1 11 SMPTE reserved
6/2 12 SMPTE reserved
7/1 13 SMPTE reserved7/2 14 SMPTE reserved

2-6Getting Started
2.1.3 DCP Standards
Until today, there have been several different DCP standards in use:
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 Master ing 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 Creat ion” on page 2-25).
– For MPEG Interop (i.e. SMPT E 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 furt her restrictions that must be
observed for the different standard s. They are detailed in section
“Adding Further Subtitles (via Subt itle Tracks)” on page 2-12 and
section “Delivery Format” on page 3-13.8/1 15 User defined
8/2 16 User defined
Other audio channel mappings can be found in SMPTE 428-3.
SMPTE Phase 0
(MPEG)Also called ’MPEG Interop’ or ’MXF Interop’.
This standard was originally defined by the
MPEG Interop Group a nd is based on MPEG
compressed files wrappe d in MXF containers.
SMPTE Phase 0
(JPEG)Also called ’JPEG Interop’. A transitional stan-
dard that is identical to the MPEG Interop stan-dard but applies a JP EG2000 compression as
proposed by DCI.
SMPTE Phase 1 This standard is ba sed 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.AES
Pair / Ch.Channel Label / Name Description

2-7Getting 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.
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 au dio) in the timeline.
Once the DSM is available in the ti meline, you can continue the prep-
aration as described later in this ch apter (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 DC DM for the creation of a DCP nev-
ertheless, it must be properly prepar ed 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.When creating a delivery type ot her 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 Mast er (DCDM)” on
page 2-3 and section “Color Space Conversions” on page 6-5.
It is recommended that the DS M 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 audi o data should be configured
to the final routing of the DCP . See also section “Possible
Formats for a DCI Mastering” on page 2-4.

2-8Getting Started
Afterwards the DCDM clips will be visible in the contents area of the
bin. However, because the software re gisters 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… ).
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 spac e settings of the DCDM video clip
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 th e audio tracks th at 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 descr ibed later in this chapter (see sec-
tion “Adding Subtitles” on page 2-10 and/or section “Setting Reels”
on page 2-18).The properties of several clip s can be changed in a single
step by selecting th e clips in the bin a nd then opening their
properties.
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 setti ng 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 mu st be set manually (setting YUV
matrix ).

2-9Getting 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 step s to use such data fo r 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 sa me as the fina l DCP format).
Add the required clips (video as we ll 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 cont ents area of the bin and
they will be automatically se t to the correct color space.
Next, add the JPEG2000 clip(s) to th e video track(s) of the timeline.
Add the audio clip(s) to the a udio tracks of the timeline.
If necessary adapt the routing of th e audio tracks th at 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 sect ion “Setting Reels” on page 2-18).

2-10Getting Started
2.3 Adding Subtitles
The DCI Mastering feature supports su btitles and, if wanted, you can
add them to your prepared projec t (see section “Preparing the Source
Data” on page 2-7), view them in the video over lay and edit or create
them. The DVS software supports XML subt itle files as specified by
SMPTE/DCI, PNG images as subtitles and subtiltes alr eady 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 T ool 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 time line 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 su btitles according
to your needs (e.g. as ma in subtitle, main captio ns, closed subtitle, or
closed captions).
To receive a subtitle timeline elem ent in the timeline you have several
possibilities at hand:
– You can add an MXF/XML subtitle fi le to the bin and then to an
empty timeline track or
– you can add an empty subtitle timeline elem ent 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.
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 bi n) 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.Subtitles can be placed at every position in the timeline, i.e.
gaps between subtitle time line elements are allowed.

2-11Getting 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 trac k. It will already contain the MXF/
XML subtitle file in a subtitle trac k. Then you can add further subtitles
as described in section “Adding Further Subtitles (via Subtitle Tracks)”
on page 2-12.
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 elemen t 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 ope rator ’Subtitling’ and
drag and drop it to the empty timeline track:Contrary to video or audio clip s, a subtitle timeline element
does not have a connection to a bin clip. For exam ple, the re-
spective bin clip can be deleted without influencing the subtitle
added to the timeline.

2-12Getting Started
Figure 2-4: Adding an empty subtitle timeline element
With this you will get an empty subtitle timeli ne element in the video
track. Then it can be filled with subt itles as described in section “Adding
Further Subtitles (via Subt itle Tracks)” on page 2-12.
2.3.2 Adding Further Subtitle s (via Subtitle Tracks)
The subtitle timeline elemen t visible in the timeline is just a container: It
can be used for up to seven different subtitles. These mu st be added to
subtitle tracks in the timeline element. This w ay you can add different
subtitle types to your project (e.g. main subtitle, main captions, closed
subtitle, or closed capt ions), all via a single timeline element. This sec-
tion describes how to add a new subtitle track to a subtit le timeline el-
ement as well as how to refe rence it to a subtitle file.
To add a subtitle via a subtitle tr ack you have to use the timeline ele-
ment properties of the s ubtitle timeline element:The subtitle effects operator can also be used as the other ef-
fects operators, i.e. it can be a dded 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 th e subtitles are trimmed as well.
The subtitle tracks of a subtitle timeline element should not be
used for different languages. Fo r further information about this
see section “The Area ’Subtit le tracks’” on page 2-15.

2-13Getting Started
Either double-click the subtitle ti meline 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 properti es of subtitles (first 2 areas of 4)
When an MXF/XML subtitle has b een added via the bin (see section
“Adding a Subtitle via the Bin” on page 2-10), you will find the MXF/
XML subtitle file alr eady entered in the area Subtitle tracks (column
’Subtitle file’). Otherwise this table may be empty.
Use the button NEW TRACK to add a subtitle tr ack to the subtitle
timeline element.
Then double-click the fi eld ’Subtitle file’ and enter the path to the
MXF/XML subtitle file or use the button to the right to browse
for it.
Afterwards, if necessary, adapt th e fields ’Track type’ and ’Lan-
guage’ to your requirements.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.
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 language s will be identical (see also
section “The Area ’Subtitle tracks’” on page 2-15).

2-14Getting Started
The subtitle types (field ’Track type’) must be assigned with regard to
the standard that the final DCP shoul d be created in (see section “DCP
Standards” on page 2-6):
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 time line 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 le ngth as determined by the MXF/
XML subtitle file. When using an em pty 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.
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 me nu of a timeline
element you can display the timeline element properties of the respec-
tive subtitle. Additionally, the subtit le currently displayed in the video
overlay (position of the timeline cu rsor) 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 S ubtitles (via Subtitle Tracks)” on page 2-12)
can be operated from left to right: First select the subtitle track that
should be displayed in th e properties then select the subtitle in the
Track subtitle area. The respective subtitle images or li nes will be dis-SMPTE Phase 0 ’Main subtitle’ and ’Closed captions’ are al-
lowed only
SMPTE Phase 1 Same as SMPTE Phase 0SMPTE Phase 2 All four types are allowed
All phases Only one shall be of the type ’Main subtitle’
The length of the subtitle timeli ne 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 time line elements are allowed.

2-15Getting 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 us ed to edit the subtitle tracks.
The concept of subtitles an d subtitle tracks in th e timeline of the Edit
Tool is to have different subtitle types of a single language in a project.
Thus, when using more than one subt itle timeline element in the time-
line (e.g. for different reels), eac h 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.
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 automaticall y 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 subt itle 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 possibi lities besides the ones already men-
tioned:For subtitles in different languages you should exchange the
subtitles and create supplementa l DCPs for each language (see
section “Modifying a DCP (Suppl emental DCP)” on page 4-7).

2-16Getting Started
Figure 2-6: The subtitles of the track
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 PN G image(s). Addition ally, 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 subtitleSlip subtitle… Allows you to adjust th e 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 th e middle of a subtitle).
Select all Selects all subtitles in a single step.
A mixing of MXF/XML subtitles with PNG images at one posi-
tion is not allowed.
Currently only PNG images ca n be added to a subtitle.

2-17Getting Started
The Areas ’Appearance settin gs’ and ’Posit ion settings’
When a subtitle element has b een 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 elemen t, for example, you can set its posi-
tion with the items of the area Position settings .
Figure 2-8: Appearance and po sition of a subtitle element
Currently the items of the area Appearance settings are for
information reasons only.

2-18Getting Started
2.4 Setting Reels
To split the loaded or created proj ect (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 sectio n “The DCI Mastering Steps” on
page 2-2), the finalized file s will be automatically di vided at the reel edit
points in the timeline, re sulting each in one MXF file per output format
(video and audio).
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:
To set reels in the timeline you h ave two possibilities at hand: You can
set them automatically or manually. Both possibilities will be described
in this section. Furtherm ore, it will be describe d how to edit and config-
ure the reels.
2.4.1 Setting Reels Automatically
The reels for a DCP can be set auto matically which is the most conve-
nient way to do this. Afterwards the reels can be altered and configured The setting of DC reels is not re quired in case you want to cre-
ate an intermediate step towa rds 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. Ho wever, apart from that, there
are no restrictions where to pl ace DC reels or to what length
they should be set.
According to DCI it is common pr actice to divide a feature film
into reels of a length between 10 and 20 minutes. According
to SMPTE a reel must have a du ration of at least one second.
Some digital cinema players may be unable to display reels that
are shorter than 5 seconds.
In its deactivated state th e 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 activat ed, 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 reel s and set their in- and outpoints.

2-19Getting 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 followi ng window will be di splayed 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 fiel d to the right (start
number of the numbering).
DC reel position
mode Determines the way the reels should be gener-
ated. Via the radio butto ns you can select be-
tween one of the foll owing 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 divide d 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/ra nge will then be divid-
ed into this amount of reels of equal length.

2-20Getting Started
Configure the creation of the reel s according to your requirements.
Afterwards create the reels by clicking the OK button.
This will start the creati on 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 descr ibed in section “Editi ng and Configuring the
Reels” on page 2-21.
2.4.2 Setting Reels Manually
The reels for a DCP can al so be set manually. Fo r this perform the fol-
lowing:
If not already the case switch to th e 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 determ ine the DC reels. Th ey 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 cr eate a DC reel in the ti meline with the name
Reel name_<no.> . By performing the same procedure repeatedly Set a DC reel … : Use this setting and its com-
bo box to specify that the video and/or audio
clips available in the ti meline should determine
the reels. The reels’ in- and outpoints will then
be set at the edit point s (cuts) of the clips.
Apply to This setting allows you to limit the procedure.
You can perform it eith er on all clips of the
timeline or on the clips of a timeline range only,
i.e. between a set in- a nd outpoint for the time-
line.Item Description

2-21Getting Started
you can create DC reels manually in the timeline. They can be created
and edited in the following ways:
– 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 afterw ards pressing [Enter].
– Already determined reels can be al tered by either setting a new in-/
outpoint within an already defined reel (shortens the reel), or by
setting a new in-/outpoint and de leting 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 timeli ne’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 creat ion and setting of the DC reels,
they can be edited and conf igured 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 th is mode you can view the
DC reels as well as edit and confi gure them. The timeline area will then
show you already set DC reels:
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 showi ng the name of the reel right above
it. Once the timeline cursor is plac ed inside a reel, the respective time-
line stretch between its in- and outpoi nt will be highlighted in blue.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).
DC reels
action duration

2-22Getting Started
With the timeline area switched to the DC reels mode you can set new
DC reels manually or ed it already determined one s 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 alread y determined reels manu ally 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 defi ned DC reels as they can
be seen in the timeline. When select ing a reel, for example, with a click
of the mouse, the DVS so ftware will switch to the viewing mode for DC
reels (if not already activated) and hi ghlight the respective reel in the
timeline. Additionally, th e timeline cursor will be positioned at the in-
point of the selected reel.
The entries on this tab provide in formation about the exact in- and out-
points of the reels as well as thei r 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 di gital cinema player requires some-
thing similar to pre- or postroll time s. 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 ci nema 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.

2-23Getting 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 expande d contents of a reel
With this you can easily confirm the c ontents 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 scal e provides some menu options to
help you during the configuration a nd editing of DC reels. Most of
them will be available when the DC reels viewing mode is activated:

2-24Getting Started
Figure 2-14: The context menu of the timeline scale
The following menu options are availa ble to configure and edit DC
reels:
Remove DC reel This menu option removes the DC reel that is
currently selected (high lighted) in the timeline
area.
Remove all DC
reels Removes all DC reels defi ned for the timeline in
a single step.
Set DC reels
automatically… With this menu option you can set reels auto-
matically. Further information about this can be found in section “Setti ng Reels Automatically”
on page 2-18.

2-25Getting 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).
Because the settings on the tab Defaults are general settings for the
CLIPSTER software, they will be se t and available for each initialized
new project. This way y ou do not have to config ure them again when
creating other DCPs in the future:
Open the DCI settings in the CL IPSTER Configuration Tool (menu
Options » Configuration defaults… » group DCI).
Figure 2-15: DCI configuration settingsThese 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 K eys and Certificates Delivered
with CLIPSTER” on page 6-19.

2-26Getting Started
Configure these settings acco rding to your requirements:
– Use the area Self KDM with the field Certificate to select the
public key of a DVS DCI Masteri ng system that should be able
to load the DCP , e.g. for qua lity checks. Thi s 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 wi ll be able to
load the DCP on the respective DCI Mastering system (e.g. to
view it, to create ad ditional KDMs of the same DCP at a later
time, or to modify it ). Select the file ( *.cer ) that holds the
public key of this DC I Mastering system with the button to
the right of the field Certificate . For further information about
the usage of the self KDM as we ll as its creation see chapter
“Using the DCP and Sel f KDM” on page 4-1.
– 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). Fo r this you may have to enter a
password to authenticate your us age 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.
– 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 in formation about this see section
“Signing Key” on page 6-12.
–W i t h t h e DCI Phase combo box you select the standard that
the DCP should be created in. Fu rther 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.This public key file can be fou nd either already stored in
the installation directory of the CLIPSTER software on
the respective system or on a separate CD-ROM.
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 pe rforming a DCI Mastering
again, you will be asked automatically by the software
to enter the password once more.

2-27Getting 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 ti me as described in section “How
to Start a DCI Mast ering” on page 2-28.

2-28Getting Started
2.6 How to Start a DCI Mastering
As soon as the preparations appropria te for your source material and
the general configurations are perfor med as described in this chapter,
you can start a DCI Mast ering and create materi al for digital cinema
workflows. There are two ways to create such material:
How to use the digital cinema deliver y tool to create DC Ps or an inter-
mediate result is described in chap ter “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.digital cinema
delivery toolWith the digital cinema delivery tool you can
create MPEG or JPEG2000 compressed DCPs or an intermediate stat e towards one. This tool
is the recommended w ay to create D-Cinema
material because it will lead you step by step
through the different co nfigurations necessary
to create digital cinema content.
manual creation Every state toward s a DCP or the final DCP it-
self can also be created manually via finaliz-
ing(s) with the Edit T ool. 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 create a 3D/stereoscopic DCP is described in section
“Stereoscopic DCP” on page 6-2.

3-13 Digital Cinema Delivery Tool
The digital cinema delivery tool is the recommended way to create
DCPs or an intermediate state to wards 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 de livery tool started, followed by an
overview of its user in terface. After this the individual configuration
steps will be described.
Because some of the configuration st eps are not required for certain de-
livery types, the section where you ha ve to select the delivery type will
also summarize the steps that are ne cessary for a delivery type. Subse-
quently all available configuration step s will be described (e.g. as they
have to be specified when creating an encrypted DCP).
Once you are through with the step s/screens of the digital cinema de-
livery tool, the chosen delivery type can be created. This chapter will be
concluded with a descripti on of the resulting output.

3-2Digital Cinema Delivery Tool
3.1 Starting the Digital Cinema Delivery Tool
To get the digital cinema delivery tool started perf orm the following:
Configure the system and prepare yo ur source data in the timeline
of the Edit Tool as describe d 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 th e keyboard shortcut [Ctrl + D].
This will start the digital cinema deli very tool and the first configuration
step is displayed on the screen (see section “Overview” on page 3-3
and section “Deliver y Type” on page 3-5).

3-3Digital Cinema Delivery Tool
3.2 Overview
After starting the digital cinema deli very tool (see section “Starting the
Digital Cinema Delivery Tool” on page 3-2) its user in terface is dis-
played on the screen, sh owing you the first configuration step:
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 configurat ion steps that have to be performed for the
currently selected deli very type. Depending on the selected delivery
type there are different configurat ion steps required and the arrow in-
dicates them with different colors:
yellow The current configuration step.
orange Configuration steps whic h 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 delive ry types and the required con-
figuration steps can be found in section “Delivery Type” on
page 3-5.
configuration steps
settings pane
button area

3-4Digital Cinema Delivery Tool
The configurations that can be made for the currently displayed config-
uration step are shown in the settin gs pane in the middle of the win-
dow. When you are finished with th e configurations for the current
step, you can go to the next or prev ious configuration step with the ap-
propriate buttons in the button ar ea at the bottom of the window.
The buttons of the button area allow you to control the digital cinema
delivery tool:
Saves the already specifie d configuration settings
of the digital cinema de livery tool to a file.
Loads previously saved configuratio n settings from
a file.
Steps to the previous co nfiguration step for the
currently selected delivery type.
Steps to the next confi guration 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 cont ent. However, already
specified configurations will not be lost but stored
during run-time.
Already made configurat ion settings are save d in a project file
as well.

3-5Digital Cinema Delivery Tool
3.3 The Configuration Steps
This section explains the settings possibi lities of the co nfiguration steps
in detail. Depending on the selected delivery type (see section “Deliv-
ery Type” on page 3-5) th ere are different confi guration step s required
and this section explains them all. The configuration steps that are re-
quired for a delivery type are summar ized 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 T ool” on page 3-2), th e very first con-
figuration step will be displayed. Wi th it you determine the type of
content that should be creat ed, i.e. the delivery type.
Figure 3-2: The delivery type settings

3-6Digital Cinema Delivery Tool
In the settings pane select the deli very type that you want to create by
activating one of the available radi o buttons. When finished you can go
to the next configurati on step with the button NEXT.
Depending on the selected delivery ty pe there are different configura-
tion steps required. The following exp lains shortly the available delivery
types and shows the configuration st eps that have to be performed for
each.
’DCDM’
This option creates a DCDM from a DS M, i.e. a sequence of TIFF image
files in 16 bit X’Y’Z’ (see also sect ion “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
’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’ (s ee also section “JPEG2000” on
page 2-3). For this the following configuration steps are necessary:
Figure 3-4: Configuratio n steps for JPEG2000 data
’Master DCP without KDM’
This option creates an unencrypted DC P (e.g. for trailers or advertise-
ments) either from a DSM, a D CDM or digital cinema compliant
JPEG2000 data in a single step (see also section “Digit al Cinema Pack-
age (DCP)” on page 2-4). Afterwards th is DCP can be used as a master For the last three options an al ready created DCP is required
and, in case the DCP is encr ypted, a self KDM for the DCP .
If an MPEG compression is select ed, the step to set a source
type is not required.
For some particulars about the creation of a DCDM see section
“Color Space Conversions” on page 6-5.

3-7Digital Cinema Delivery Tool
for later adaptations (supplementa l DCP). For a DCP without KDM the
following configuratio n 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 ci nema 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.
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 load ed 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
With this delivery type you can create additional KDMs as well (see
’KDM only’ below).An unencrypted DCP can also be encrypted via a finalizing (see
section “Modifying a DCP Manually” on page 5-14).
Whether the configurat ion step for KDMs is required depends
on whether an encrypted or une ncrypted DCP has been load-
ed.

3-8Digital 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 availabl e when an encrypted DCP has been loaded into
CLIPSTER (see section “Creati ng 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 addi tional material for an already gen-
erated DCP (master DCP), if feasib le without generating the DCP again
completely (e.g. for localizations of a feature film). It will be available
when a DCP (encrypted or unencrypt ed) 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 configurat ion step for KDMs is required depends
on whether an encrypted or une ncrypted DCP has been load-
ed.
An unencrypted DCP can be encr ypted later either with the op-
tion Master DCP with KDM or via a finali zing (see section
“Modifying a DCP Manually” on page 5-14).

3-9Digital Cinema Delivery Tool
3.3.2 Compression
With the compression configurati on 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 ca n also select an MPEG compres-
sion.
The JPEG2000 compression settings are already set to the highest qual-
ity allowed for a DCP . Further deta ils about the JPEG2000 encoding can
be found in section “J PEG2000” on page 2-3.The available MPEG compression settings are the default ones.
Explanations for them can be fo und, for example, at http://
www.mpeg.org.

3-10Digital Cinema Delivery Tool
The JPEG2000 compression type provid es the following settings items:
When everything is set up correctly, you can go to the next configura-
tion step with the button NEXT.ICT This setting enables th e 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 enc oding, which would
normally result in a larger file size per image, but
with one of the Limit the maximu m bit rate/file
size… settings activated it wi ll result in a lower
quality of the finalized material.
Maximum
quality VBR With this setting acti vated the applied JPEG2000
encoding will get the maximum quality out of each
processed image. It can be specified further with
the settings sorted under it:
–Limit the maximum bit ra te/file size to be
compliant to the DCI spec : This setting
enables the post compression rate contro l. It is
available for convenience purposes, already providing the optimum se ttings 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 activat ed, 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 contro l, 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
VBR The constant quality VBR setting operates near the
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 so rted under it, which oper-
ate the same way as for the maximum quality VBR
(see above).

3-11Digital Cinema Delivery Tool
3.3.3 Source Type
With the source type co nfiguration step you de termine the color space
and color profile (type) of your source material in the timeline:
Figure 3-11: The source type settings
Via the radio buttons at the top of the settings area you have to select
the color space of your sour ce material in the timeline:Further information about colo r space conversions can be
found in section “Color Sp ace Conversions” on page 6-5.
This step is not required if an MPEG compression has been se-
lected (see section “Com pression” on page 3-9).
RGB If the timeline contains clips in the RGB color
space, you have to acti vate this radio button.
XYZ Select this setting if the clips in the timeline are
all in the X’Y’Z’ color space.

3-12Digital Cinema Delivery Tool
Depending on the selected color space the options (radio buttons) in
the middle of the settings area w ill 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/ty pe of the selected color space:
When everything is set up correctly, you can go to the next configura-
tion step with the button NEXT.Table 3-1: Settings for color space ’RGB’
RGB REC 709 Activate this radio butto n 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 ca nnot be adjusted) to
another setting, the slider will be made avail-
able. Then the gamma value can be changed
via the slider or the en try field to the right.
RGB DLP P3 Activate this radio butto n 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 gamm a (luminance) of the
output.
RGB DLP P7 Activate this radio butto n 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 gamm a (luminance) of the
output.
RGB with applied
3D LUT… This setting will be available when a user-de-
fined 3D LUT has been ap plied 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 butto n 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 pr ocessed 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 th e appropriate YUV matrix
selected that was used to process the material
(see also section “The Steps to Prepare a
DCDM” on page 2-7).

3-13Digital Cinema Delivery Tool
3.3.4 Delivery Format
The delivery format configuration step is used to determine the output
format of the digi tal cinema content.
Figure 3-12: The deli very format settings
Depending on the type of material that is available in the timeline (vid-
eo and/or audio) the respective output types will alr eady 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 Format s for a DCI Mastering” on page 2-4).

3-14Digital Cinema Delivery Tool
Additionally, specify the audio format for the digital cinema content ac-
cording to your needs, for exa mple, select the WAV (DCDM or
JPEG2000) or MXF (DCP) file format in 24 bits as a multi-channel file.
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 th e top. If activated, you
can select the subtitle tracks that a file should be created for (see also
section “Adding Further S ubtitles (via Subtitle Tracks)” on page 2-12)
with the additional check boxes in the list box. Th e file format of the
subtitle files to be creat ed should be set with rega rd to the standard of
the final DCP (see section “DCP Standards” on page 2-6):Audio retiming should be activa ted when the output frame
rate differs from the one selected for the timeline.
These settings items are almost id entical to the ones used in the
finalize dialog. For further in formation 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.
SMPTE Phase 0/SMPTE Phase 1 XML ( *.xml )
SMPTE Phase 2 MXF ( *.mxf )

3-15Digital Cinema Delivery Tool
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.
Once the subtitles are set up corr ectly confirm this with the button OK.
After this the configurations for th e delivery format are complete and
you can go to the next confi guration step with the button NEXT.When activating this option, de select the respective subtitle
track in the upper list box, i.e. deselect it from a separate file
creation (if separate file creati on has been activated as well).

3-16Digital Cinema Delivery Tool
3.3.5 CPL
When creating a DCP , you also have to perform the configuration step
for a Composition Playlist (CPL).
Figure 3-14: The CPL settings
In the settings pane configure the CP L to be generated to your require-
ments:
With the entry fields in the upper pa rt of the window you can provide
details about the DCP to be created (e.g. language or ki nd 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 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.

3-17Digital 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.
After this the configurations for th e CPL are complete and you can go
to the next configurati on step with the button NEXT.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.

3-18Digital Cinema Delivery Tool
3.3.6 KDM
If you create an encrypted DCP , on e or more Key Delivery Messages
(KDMs) have to be created as well . They will contain the encrypted AES
key to decrypt the conten t 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-Ci nema 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.
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 a bout the KDM(s) to be created as
well as their validity. For the genera tion of a KDM a correct time setting 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.

3-19Digital Cinema Delivery Tool
is essential. Date/time entries are st andardized 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 th e 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 ce rtificates, 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 li st 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 th e 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 se lectable DVS DCI Mast ering system, for exam-
ple, for a final check of the delivered content.
After this the configurations for the KDMs are complete and you can
go to the next configurat ion step with the button NEXT.Further information about the usag e of the self KDM as well as
its creation can be found in chap ter “Using the DCP and Self
KDM” on page 4-1.

3-20Digital Cinema Delivery Tool
3.3.7 Delivery Creation
The delivery creation configuration step is the last step to be performed
before the digital cinema content is created. With it you can check the
material of a DCP as well as specify further output settings such as the
path where the content should be stored:
Figure 3-16: The delivery creation settings
The area DCP audio/video assets will provide info rmation 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 defi ned 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 collapse d, 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 conten t further and determine, for exam-

3-21Digital 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 ….
A click on the button CREATE will close the digita l cinema delivery tool
and start the finalizing process to ge nerate the digital cinema content
according to your settings at the specified location (see section “The
Generated Files” on page 3-22).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.

3-22Digital Cinema Delivery Tool
3.4 The Generated Files
The generation of the digital cinema content initiates a standard final-
izing process that will create the content accordin g to your settings. The
output of the intermediate steps for a DCDM or JPEG2000 files will be
as described in the “CLIPS TER Edit Tool” user guide.
When creating a DCP , the finalizing ge nerates the video files as well as
the audio data according to your se ttings (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 sp ecified subtitle files for the reels
will be sorted into subfolders. Fo r 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 we ll as a Volume Index file are cre-
ated.
For a SMPTE DCP you can exp ect the following output:
Figure 3-17: The resulting DCP
The following table list s 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 su btitles have been speci-
fied, they will be wrappe d in MXF as well, i.e.
for each reel one MXF fi le per subtitle track
(generated only if subtit les were present in the
reel/subtitle track).

3-23Digital Cinema Delivery Tool
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.CPL_*.xml The Composition Playl ist specifying the se-
quence of the track files and thus the order of
the play-out. Contains ha sh values of the DCP’s
track files, cert ificates and a signature for veri-
fication purpos es as well.
ASSETMAP The Asset Map details th e 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 containi ng information and IDs
about the files of a DCP . Th us 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 verificat ion 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 on ly 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).File/Folder Explanation

4-14 Using the DCP and Self KDM
When a DCP of a feature fi lm is created, it is us ually encrypted with the
decryption key stored in the KDMs. The decryption key in each KDM is
also encrypted, and it can be decr ypted 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 occu rred 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 th e 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 Mast ering 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 ca n then be used to load the DCP .
Although the self KDM carr ies a validity same as the other KDMs, with
the DVS DCI Mastering system you w ill be able to use the content
nonetheless even if th e validity has expired.
Once a DCP is loaded with the self KDM, you can, for example, play it
out and check its content, create othe r 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.
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 creat e additional KDMs, and how to modify a DCP
(e.g. for localized versions).The self KDM is essential if y ou want to create new KDMs for
an already generated DCP .
DCPs can also be created unencry pted, for example, for trailers
or advertisements. Then, of co urse, 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.

4-2Using the DCP and Self KDM
4.1 Configurations for a Self KDM
The necessary configurations to cr eate a self KDM h ave to be made
during the preparations of th e system and its software:
Once these settings are made, the se lf 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 (normall y with the file name KDM_self_*.xml ). This
file will then be used when load ing the encrypted DCP on the DVS sys-
tem for which it has been created , for example, for quality checks.1. During the general preparations for a DCI Master ing (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 th e DVS DCI Mastering sy stem where the DCP
should be loaded.
Figure 4-1: Setting the public key for a self KDM
This public key file can be found eith er 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 co nfigurations 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 sect ion “Finalize Settings – KDM”
on page 5-10).
Figure 4-2: Activating th e creation of the self KDM
The described procedures to cr eate 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.

4-3Using 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 feat ure. Encrypted DCPs, however, require a self
KDM and can be loaded only on the sy stem for which th e self KDM has
been intended, i.e. on the DCI Mast ering system that holds the com-
plementary key (private RS A key) to the public key that was entered in
the Configuration Tool (see section “Configurati ons for a Self KDM” on
page 4-2).
To load a DCP perform the following:
In the DVS software open the di alog 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 DCPWhen loading a DCP the DCP sta ndard 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.

4-4Using 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 en crypted content. When
this is the case, the DVS software w ill 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 di alog 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 DC P 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 projec t file. Therefore, certain set-
tings may not be conf igured 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 c onversion from X’Y’Z’ to RGB
of the DVS software. For this y ou have to alter the color spaces
of the clips in the bin of the Edit Tool and set them to RGB. For
further hints about how to do this see section “The Steps to
Prepare a DCDM” on page 2-7.

4-5Using 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 ca n be added withou t 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 th e encrypted clips can be added to
the bin and you can use them in your project.
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 scree n warning you that the selected
KDM is not intended for th e 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 fi le available in the DVS software
and you can use it 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 lo aded at a time is limited. A
single KDM usually c ontains several keys (one for each track
file) and up to 256 different keys can be loaded.
You can also work the other way around: First load the en-
crypted track file a nd then the self KDM.
When using this function, encr ypted material may sometimes
provide no thumbnails or wavef orms in the DVS software.
However, the material is decryp ted and can be used as usual
(e.g. video can be s een in the overlay).

4-6Using the DCP and Self KDM
4.4 Creating the Extra Files Again (CPL only)
When an already generated DCP is lo aded in the Edit Tool (see section
“Loading the DCP” on page 4-3), y ou can create the extra files (e.g.
CPL, KDMs and PKL) of the DCP agai n, for example, to correct typos
in the extra files or other delivery issues. This way y ou do not have to
generate the DCP again completely. To create only the extra files the
digital cinema delivery t ool 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).
After finishing the configuration of the extra files they can be saved at
any location you want in the configur ation step for the delivery creation
(see section “Delivery Creation” on pa ge 4-10). When saving in the di-
rectory of the loaded DCP , all alr eady existing extra f iles (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 lo aded 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 releas es. 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 thei r 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 th e configuration step for the delivery
creation (see section “Deli very Creation” on page 4-10).Whether the configurat ion step for KDMs is required depends
on whether an encrypted or une ncrypted DCP has been load-
ed.
This way you can create addition al KDMs (see section “Creat-
ing Additional KDMs (KDM onl y)” on page 4-6) as well.

4-7Using the DCP and Self KDM
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 vide o. 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 localiza tions 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 supplementa l DCP will contain all th e 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 th e same package and to reduce its
overall size. All cinemas worldwide receive the same international ver-
sion (master DCP) with identical r eels and extra files. Depending on the
country a supplemental DCP is provid ed in addition (normally in a sub-
directory of the master DCP) contai ning only the relevant changes. To
load the localized version of the DCP the extra files of the supplemental
DCP have to be used. Whenever nece ssary they reference to the orig-
inal material of the master DCP .
This section describes how to use th e supplemental DCP feature of the
digital cinema delivery tool.
4.6.1 Preparations
After loading an already genera ted DCP (see section “Loading the
DCP” on page 4-3) it can be modified in the time line 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.

4-8Using the DCP and Self KDM
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 th ey were made for the master DCP
during its creation. Therefore, to create a supplement al DCP you can
use the digital cinema de livery tool as described in chapter “Digital Cin-
ema Delivery Tool” on page 3-1. Ho wever, because the supplemental
content has to be for the most part in the same format as the master
DCP , several settings it ems will already be se t 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 addition al content (see section
“CPL” on page 3-16):
Figure 4-5: Reel configuration for a supplemental DCPVideo:
Audio 1:
Audio 2:
Audio 3:
Modified contentSubtitle:

4-9Using the DCP and Self KDM
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:
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 fo r audio and subtitles. The remain-
ing video data (parts in light grey in the figur e above) would not be
generated anew. During the creation pr ocess 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 w ill reference to them. Please note
that the total amount of reels incr eases 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 w ill be set to the reel settings of
the master DCP . By configuring th e DC reels in the timeline manually
prior to creating a supplemental DC P , you can achieve reels according
to your needs.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.
Video:
Audio 1:
Audio 2:
Audio 3:
Reels1
12 3 45
56Subtitle: 12 3 4 5 6

4-10Using the DCP and Self KDM
4.6.4 Delivery Creation
At the configuration step to specif y the delivery creation the digital cin-
ema delivery tool shows y ou the content that will be created (see also
section “Delivery Creat ion” 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 app ear dimmed and cannot be excluded
from the creation process. Assets th at are optional for the creation of
the supplemental DCP can be deselect ed. By selecting check boxes that
were initially deactivated, you can copy content from the master DCP
to the supplemental DCP during the cr eation process, e.g. to create a
DCP that is self-sustained and inde pendent from the master’s content.
If these assets are left deactivated, the master DC P 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 th at 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 as ked for their location).
After clicking on the respective button in the digital cinema delivery tool
the supplemental DCP will be creat ed according to your settings.

5-15 Manual Creation of a DCP
Every state towards a DCP or the final DCP itself can also be created
manually by using the finalizing di alog of the DVS so ftware. This way
to create digital cinema material is not as intuitive and forthcoming as
the digital cinema delivery tool (s ee 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 fo llowing 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 al so section “Digital Cinema Dis-
tribution Master (D CDM)” 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’ (s ee also section “JPEG2000” on
page 2-3).
3. How to create a DCP either unencry pted (e.g. for trailers or adver-
tisements) or encrypted (e.g. fo r a feature film) from a DSM, a
DCDM or digital cinema compli ant JPEG2000 data (see also sec-
tion “Digital Cinema Pac kage (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.

5-2Manual 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:
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 DV S software (menu
Project » Finalize… ).
Choose a name and storage location for the finalized files according
to your project’s needs. To set th e 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 fi le 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 l ook-up table (LUT) has to be ap-
plied to the DSM material which will then create the X’Y’Z’ color space
compliant with th e specifications:
To convert the DSM to X’Y’Z’ se lect the 3D LUT appropriate for
your project’s material with the button 3D LUT… () .
For this you may use one of th e available 3D LUTs provided by
DVS.For some particulars about the creation of a DCDM see section
“Color Space Conversions” on page 6-5.

5-3Manual Creation of a DCP
Figure 5-3: Window to select a 3D LUT file
After the selection and when return ed 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.
Use the settings items in the middle of the fina lize dialog to specify
the video format. Set them so th at 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 di gital 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 settingsFor 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.

5-4Manual 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 finaliz ing of the DCDM and it will be created at the
specified location.

5-5Manual Creation of a DCP
5.2 Creating JPEG2000 D-Cinema Data Manually
This section describes how to creat e JPEG2000 compressed data opti-
mized for the digital cinema either from a DSM or DCDM. For further
information about this delivery type see secti on “JPEG2000” on
page 2-3:
Prepare your source data (eithe r a DSM or a DCDM) appropriately
as described in section “Prepar ing the Source Data” on page 2-7.
Afterwards call up the finalize dialog of the DV S software (menu
Project » Finalize… ).
Choose a name and storage location for the finalized files according
to your project’s needs. To set th e 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 optio ns 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.
Use the settings items in the middle of the fina lize dialog to specify
the video format. Adjust them so th at they match the format of the 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.

5-6Manual Creation of a DCP
final DCP (see section “Possible Formats for a DCI Mastering” on
page 2-4).
Specify the audio format for the di gital 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 y ou can start the finalize process at any time:
Press the button RENDER to start the generation of the JPEG2000
data.
This will start the fina lizing process and the JP EG2000 data will be cre-
ated at the spec ified location.

5-7Manual 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 advertisement s) or encrypted (e.g. fo r 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 firs t as described in
chapter “Getting Started” on page 2-1, i.e. it has to be prepared and
reels, subtitles as well as the genera l configurations h ave to be set. Af-
terwards the finalizing has to be c onfigured and as the final step the
project has to be rendered which will result in the final DCP . These last
two steps are describe d 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 na ming with the button NAME OPTIONS ….
Figure 5-8: File name and storage location
With this the file nami ng and storage location are determined. Next you
have to continue with section “Fin alize 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 th e 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 .

5-8Manual 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 en coding 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.
Make sure that the hardware finalize support is activated.
Use the settings items in the middle of the fina lize 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 finali zing by setting up the CPL (see section
“Finalize Settings – CPL” on page 5-9).The available MPEG compressi on settings are the de-
fault ones. Explanations for them can be found, for ex-
ample, at http://www.mpeg.org.

5-9Manual Creation of a DCP
5.3.3 Finalize Settings – CPL
When finalizing to a DCP you also have to generate a Composition
Playlist (CPL).
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 acco rding to your requirements.
When everything is set as desired click the OK button.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.
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.

5-10Manual Creation of a DCP
This will close the windo w 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 dur ing 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 th e public key of the D-Cinema player
is required. The generation of the KD Ms as well as the keys that should
be used can be config ured with the items D-Cinema Encryption .
To configure the generation of th e 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 configurationThe 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 s ee that the check box in front
of the KEY… button is deactivated.

5-11Manual Creation of a DCP
In this window set the generation of the KDM(s) according to your
needs.
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 th at the check box in front of the
KEY… button is activated, otherwis e an encryption will not be
made and KDM(s) will not be created.
With this the KDM(s) will be crea ted during the finalizing and you can
continue the configuration of the fina lizing by finishin g 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.
Afterwards only the audio se ttings 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).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.
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.

5-12Manual 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 fi les of the DCP will be created at
the specified location as described in section “The Generated Files” on
page 3-22. Once these are availabl e you have successfully created a
compliant DCP with the DVS software that is ready for distribution.

5-13Manual Creation of a DCP
5.4 Creating Additional KDMs Manually
With an already encrypted DCP and a self KDM you are able to create
further KDMs, for example, for later re leases of the same material with-
out having to generate the DCP again. For this perform the following:
Load the encrypted DCP as descri bed in section “Loading the DCP”
on page 4-3.
Then call up the finalize dial og of the DVS software (menu
Project » Finalize… ).
Next choose a name and stor age 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 se lf 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 win dow to configure the KDM generation (see sec-
tion “Finalize Settings – KDM” on page 5-10).
In this window configure the gene ration of the a dditional 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 th at 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 a dditional 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 addi tional KDM(s) will be written to
the specified location.

5-14Manual Creation of a DCP
5.5 Modifying a DCP Manually
An already created DCP can be used to modify its content, for example,
to exchange audio or subtitles, or fo r 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 co mpletely (i.e. unaltered track files
will not be rendere d again but copied).
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 mo dify a DCP , modifications to track
files are observed reel-wise only: For example, even if only one frame
of video is changed, this reel wi ll 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.
If required adapt the DC reels in th e timeline (see section “Setting
Reels” on page 2-18).
Then call up the finalize dial og of the DVS software (menu
Project » Finalize… ).
In the finalize dialog adjust all settings in cluding 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 ge nerated files will carry this
name.
– As a storage location c hoose a different directory.This approach to modify a DCP creates a complete DCP from
the master DCP . To create a su pplemental 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.
This can be achieved easily by setting the reels automatically at
the edit points of the exchanged material (see section “Setting
Reels Automaticall y” on page 2-18).

5-15Manual Creation of a DCP
– If required adjust the encryption or KDMs to be created in the
dialog window to confi gure the KDMs (button KEY…).
Once the settings are made you ca n 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 th e DCP: Altered or newly added track
files will be generated and wrapped in MXF, whereas all unchanged files
will be copied to the location specif ied for the DCP . Additionally, the ex-
tra files (i.e. CPL, KDMs and PKL ) will be created as well.If track files have been modi fied, you will need another
self KDM to be able to lo ad them with the DVS soft-
ware.

6-16 Miscellaneous
This chapter explains other DCP relate d topics, such as how to create a
3D/stereoscopic DCP or how to adapt the ra ting agencies. Further-
more, some background information about color space conversions as
well as keys and certif icates are provided.

6-2Miscellaneous
6.1 Stereoscopic DCP
With the DCI Mastering feature you can also cr eate 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.
6.1.1 Preparing a 3D DCP
The creation of a 3D/stereoscopic DC P has to be prepared same way
as described in chapter “Getting Started” on page 2-1. However, in-
stead of single trac ks the content of your project must be available in
3D stereo tracks (see the “CLIPSTE R 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 tr ack. With this you will get in the timeline el-
ement properties of a subtit le 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 st ereo 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 prepar ed, you can start the creation of the
DCP .The general items available for wo rking 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 ite ms described in the above men-
tioned manual may be available to you.
A stereoscopic DCP always starts with the left eye clip as the
first frame.

6-3Miscellaneous
6.1.2 Creating a 3D DCP
When your project is properly prep ared for 3D (see section “Preparing
a 3D DCP” on page 6-2), you can star t the creation of the DCP as de-
scribed in chapter “Digital Ci nema Delivery Tool” on page 3-1.
For the creation of a stereosc opic DCP there will be the Stereoscopic
output settings items available in the di gital cinema delivery tool. They
can be found in the settings pane of the delivery format configuration
step (see section “Deli very 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 y ou for the video assets the s ources 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 DCPA stereoscopic DCP can also be created manually via finalizing
(see section “Creating a DCP Ma nually” on page 5-7 as well
as the “CLIPSTER 3D/Stereos copy” supplement user guide).

6-4Miscellaneous
After clicking on the respective button in the digital cinema delivery tool
the stereoscopic DCP will be creat ed 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.

6-5Miscellaneous
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 yo u should know the source material
that you want to process. The prope rties 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 cons ists of clips in a single color space only.
Furthermore, when using the digita l cinema delivery tool or manually
finalizing to digital cinema content, the color space of your material in
the timeline has to be specified fu rther by choosing the correct color
profile (color type) for the source ma terial 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 ma nually, 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 y our video material in the timeline.
Once these two settings (i.e. the bi n clip properties and the color pro-
file) are set properly, the color sp ace 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 DCD M 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 de livery tool, you ca n 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.
To use a 3D LUT of your own it must be applied to the timeline the usu-
al way. Then, with the appropriate opt ion selected in the digital cinema
delivery tool, it will be us ed 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 pr edefined LUT files together with
the DVS software that may be suitab le for the color space conversion.
This way you can also appl y a 3D LUT of your own.With this, a 3D LUT that has b een applied to the timeline al-
ready (i.e. via the output sett ings) will be overwritten.

6-6Miscellaneous
Particulars for All Ot her Delivery Types
Contrary to a DCDM con version, 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 appl ied to the timeline will be evaluated
during the conversion as well (regar dless 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 co lor space conversion to X’Y’Z’ (see
section “Source Type” on page 3-11). The n, only this one will be used
for the conversion. To us e a 3D LUT applied to th e 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 mi xing of clips in the RGB and X’Y’Z’
color space on the timeline of the Ed it Tool is possible (only native
X’Y’Z’, not YCxCz).

6-7Miscellaneous
6.3 Adapting the Rating Agencies
During the configurati on 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 agen cies or edit the already available
ones.
The file RatingAgency.xml in the program inst allation 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 so ftware when configuring a CPL cre-
ation.
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> The name of the agency (attribute NAME of the <AGENCY>
tag) should contain a URI that uniquely iden tifies the agency
which issued the ratings.

6-8Miscellaneous
6.4 Keyboard Shortcuts
For a more easy and faster control of the DCI Mastering feature there
are various keyboard shortcuts availabl e which are listed in the tables
below:
Table 6-1: General keyboard shortcuts
Action Shortcut
Open the digital cinema delivery
tool[Ctrl + D]
Open the finalize dialog [Ctrl + F]
Table 6-2: Keyboard shortcuts for DC reels (i.e. 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]

6-9Miscellaneous
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 se lected 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 colo r space conversions can be
found in section “Color Sp ace Conversions” on page 6-5.
Further information about a JP EG2000 encoding can be found
in section “JPEG2000” on page 2-3.

6-10Miscellaneous
In detail the window to configure the JPEG2000 encoding provides the
following settings items:
Colorspace
Interpretation This setting determines th e color profile and inter-
pretation of RGB video material:
– When converting from RGB to another color
space (material in timeli ne 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 fo rmat 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 ma terial is involved in
the color space conversi on, 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 iden tical to the ones displayed at the
JPEG2000 configuration step. For furt her information about them see
section “Compression” on page 3-9.

6-11Miscellaneous
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 inform ation (normally a string) that determines the
output of a cryptographic algorithm. The key is used du ring encryption
by the cryptographic algor ithm to transform a ce rtain piece of informa-
tion (e.g. plaintext) to ciphertext, i.e. encrypted information. Vice ver-
sa, during decryption the key is used by the al gorithm to decode the
ciphertext back to th e original information.
There are two types of keys available:
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 validit y of the key/certificate. With this
the purpose of a certificate is, on th e 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 pe rson, institute or company).
Ideally the signature co mes from a certificate authority (CA) charged
with the task of checking identities before issuing certif icates that refer
to this identity. However, the mo st commonly used certificates are
those that users make fo r themselves (self-signe d certificates). Also
common are certificates that users make for others so that these can
certify validities on behalf of the us er (certificate ch ain, see section
“What’s a Certificate Chain”).
In the DCI Mastering a certificate normally contai ns a public key
(*.cer or *.pem files). A private key is usually provided in a personal symmetric If the algorithm uses the same key during en- and
decryption, it is known as a symmetric key algorithm.
asymmetric Algorithms that requir e two different keys, one for
encryption and one for decr yption, 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 yo u 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 encrypte d pieces of information
to the private key holder that only he can decode.

6-12Miscellaneous
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 ch ain 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 followi ng you can find th e 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 a nd handed to the pu rchaser of the
player:
–T h e 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.
–T h e 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 recipi ent’s site and will not be distribut-
ed. Thus it can be disregarded beca use 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, whil e the recipient will be able to ver-
ify that the DCP was dist ributed by the creator/distribut or and not al-
tered in the meantime:

6-13Miscellaneous
–T h e private key of the Signing Key is us ed to create a signature
for the files of a DCP , i.e. it is used to encrypt ha sh values of the
files.
–T h e 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. Norma lly, it is stored en-
crypted in a PFX file an d will require a password to be opened. The cre-
ator of a DCP has to provide th is key (i.e. his own Signing Key).
Alternatively, you can use a system specific (unique) Signing Key that
DVS generates for each DCI Masteri ng system. It can be used instead
of your own key if you are sure that it meets the safety requirements of
your distributi on chain (setting Use System Signing Key , see section
“Configuring the System for a DCP Creation” on page 2-25).
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 th e origin and valid ity of the DCP .
Self KDM Key
This key is not necessarily required. A DCP can be created without it,
but afterwards it would be impossibl e to load it agai n with a DVS DCI
Mastering system.
The key for a self KDM is in most respects iden tical 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 eith er already stored
in the installation directory of th e DVS software on the respective sys-
tem or on a separate CD-ROM. How ever, compared to the Encryption
Key this key has to be set diff erently in the DVS software.The most appropriate way to receive a Signing Key is to order
it from a certificate authorit y (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).
DVS grants you usage of this Signing Key under the provision
that you shall be directly and exclusively liable for its applica-
tion.
Further information about a self KDM and where it can be set
in the DVS software can be found in ch apter “Using the DCP
and Self KDM” on page 4-1.

6-14Miscellaneous
Summary
The following lists shortly the most important points ab out the different
keys:
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.
The Keys on CLIPSTER
This diagram shows the keys applie d on a DVS DCI Ma stering system:AES key – Generated automatically by CLIPSTER
Encryption Key – Certificate with pu blic 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 availabl e 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.
Please note that the explanations of the keys at the recipient
side are detailed for clarification only.

6-15Miscellaneous
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 th e 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 th e Encryption Key. Afte rwards 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 signe d 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 ar e applied at the Recipient’s site:

6-16Miscellaneous
Figure 6-7: The keys and where th ey are used on the Recipient side
At the Recipient the received DCP has to be validated with the help of
the public Signing Key th at is attached to each extra file of the DCP
(e.g. CPL, KDM or PKL). Whether th e 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 A ES keys with the private key of the Encryption
key. After this the AES keys will be us ed to decrypt the track files of the
DCP .
6.6.5 What’s a Certificate Chain
Certificates (see section “What’s a Cert ificate”) can be distributed in a
chain, where the last certificate (the leaf certificate that cannot create

6-17Miscellaneous
other certificates) certifie s that it comes from another certificate (the in-
termediate certificate), this certifyi ng that it comes from a further cer-
tificate (another intermediate), and so on until the last certificate in the
chain is reached (the root certificat e 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-i ssued 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 (intermedi ates), that enable other users to
digitally sign items in th e name of the root via their private keys. Addi-
tionally, from intermediate certificat es further certificates can be creat-
ed (either other intermediates or leaf certificates). The last link in the
chain is the leaf certif icate that can only be us ed for signing, meaning
other certificates cannot be created from a leaf.
All certificates in a cert ificate chain refer back to the identity that is
bound to the root certificate and thus inherit the trustworthiness of the
root.

6-18Miscellaneous
Figure 6-9: Certificate chain validation
In a public-key certificate no certificate chain is st ored. So, in order to
validate a leaf certificate at the end of a certificate chain, the complete
chain up to the root certif icate 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 ce rtificates can be created from root
and intermediate certificates.
When setting up a certificate hierar chy take care that only trusted users
receive certificates (i.e. the private key of these certificates). This applies
especially to intermediate certificat es 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 remaini ng question is, how
can a receiver be sure about the origin of the signed files.
If the certificate was i ssued by a certificate au thority, 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 cert ificate, there is only one way: You
should have received a duplicate of th e respective public- key certificate

6-19Miscellaneous
in a trusted communication and compar e this with the certificate deliv-
ered with the signed files.
To validate a certificate chain the co mplete certificate chain has to be
available to you. Nevertheless, alt hough you need the certificate chain
to verify the origin of a leaf or inte rmediate certificate, only its root cer-
tificate has to be verif ied via a secure communica tion because the chain
leads to it (see also section “What’ s a Certificate Chain” on page 6-16).
6.6.7 The Keys and Certifica tes Delivered with CLIPSTER
In the delivery of the DCI Master ing feature you can find on the en-
closed CD-ROM and/or in the instal lation directory of the DVS soft-
ware the following keys and certificates:
Test Keys
You may use the following files fo r 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 file s of a DCP . Contains the
complete chain of test ce rtificates. 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 K ey for testing. With this
file and the certificate chai n the DCP can be validated.

6-20Miscellaneous
Live Keys
The following keys can be used for th e creation of digital cinema con-
tent: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 certificat e of the private Signing Key
for testing (intermediate and root) for verification.
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 cert ificate/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 r oot) 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 “Si gning 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 DC P . SHA-1 will be used for
SMPTE Phase 0 compliant DCPs, and SHA-256 for
SMPTE Phase 1 and 2.

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

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

I-3Index
E
editing DC reels …………….. ………. 2-21
effects operator (subtitle) ………….. 2-11
encrypted DCP …………… ……3-7, 3-19
finalizing ………………. …………. 5-10
Encryption Key ………. 6-12, 6-14, 6-15
setting …………. ………….. …….. 3-19
EntryPoint …………. ………….. …….. 2-22
exchange format ……………. ………… 2-3
extra files of a DCP …………… ………. 2-4
creating again ……………. …3-7, 4-6
F
file size ……………. ………….. …2-3, 3-10
finalizing …………… ………….. ………. 5-1
DCDM ………….. ………….. …….. 5-2
DCP ……………. ………….. ………. 5-7
encrypted DCP …………… …….. 5-10
further KDMs …………… ………. 5-13
JPEG2000 …………….. …………… 5-5
unencrypted DCP …………. …… 5-10
forensic marking ……………. ………. 3-19
format ……………. ……………. ………. 2-4
of subtitles ………… ……….. …… 2-10
frame rate …………. ……… 2-2, 2-3, 2-7
G
general settings ……….. ……….. …… 2-25
H
hardware finalize support . 5-2, 5-5, 5-8
hierarchy …………… ………….. …….. 6-17
I
ICT………….. ………….. ……….. …… 3-10
interleaved ………….. ………….. …….. 6-3
intermediate certificate ……….. …… 6-17
intermediate step …………… ………… 2-2
J
JP2………….. ………….. …………5-5, 6-9
JPC………….. ………….. ……….. …….. 6-9
JPEG Interop ………………. …………… 2-6
JPEG2000 ……………. 2-3, 3-9, 5-8, 6-9
audio format ……………. …3-14, 5-6creation …………. ………….. .3-6, 5-5
generated files ……………. ……..3-22
preparation …………….. ………….2-9
K
KDM ……………. ……………. ……1-5, 2-4
creating further KDMs ……4-6, 5-13
creation ……………… ……3-18, 5-10
file…………… …………….. ……..3-23
KDM only …………. …………… …3-8, 4-6
configuration steps ………… ……..4-6
key…………. ………….. ………… ……6-11
L
language ………….. …. 2-13, 2-15, 3-16
leaf certificate ………… ………… ……6-17
letterboxing …………. ………….. ……..2-5
load settings ………….. ………… ……..3-4
loading
of CPL ……………….. ……….. ……4-3
of DCP ………….. ………….. ……..4-3
of self KDM …………….. ……4-4, 4-5
of supplemental DCP ……….. ……4-7
localization of a DCP …………..4-7, 5-14
loudspeaker …………. ………….. ……..2-5
M
main captions ……….. ………..2-10, 2-12
main subtitle …………. 2-10, 2-12, 2-14
manual creation ……………. ….2-28, 5-1
mapping …………… …………… ……….2-5
master DCP … 3-6, 3-7, 3-8, 4-7, 5-14
master project ………… ………… ……..2-2
matrix ……………. …………….. ……….6-6
maximum quality VBR …………. ……3-10
MPEG ……………. ………… 2-6, 3-9, 5-8
MPEG Interop ………… ………… ……..2-6
multi-channel file ……….. 3-14, 5-3, 5-6
MXF ……………. ……………. ………….2-4
audio ………….. …. 3-14, 3-22, 5-11
reels …………… …………… ……..2-18
subtitle ………….. ………..2-10, 3-14
video ………….. …………… .3-22, 5-7
MXF Interop ………….. ………… ……..2-6
N
name of DC reel …….. 2-19, 2-20, 2-23

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

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