Mercurial > mplayer.hg
annotate DOCS/tech/encoding-guide.txt @ 27594:2a014f30d031
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author | syrjala |
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date | Mon, 15 Sep 2008 20:46:43 +0000 |
parents | 13061a6174b6 |
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1 Topics: |
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2 |
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3 |
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4 I. Preparing to encode |
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5 1. Identifying source material and framerate |
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6 2. Selecting the quality you want |
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7 3. Constraints for efficient encoding |
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8 4. Cropping and scaling |
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9 5. Choosing resolution and bitrate |
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10 |
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11 II. Containers and codecs |
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12 1. Where the movie will be played |
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13 2. Constraints of DVD, SVCD, and VCD |
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14 3. Limitations of AVI container |
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15 |
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16 III. Basic MEncoder usage |
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17 1. Selecting codecs & format |
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18 2. Selecting input file or device |
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19 3. Loading video filters |
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20 4. Notes on A/V sync |
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21 |
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22 IV. Encoding procedures |
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23 1. Encoding progressive video |
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24 2. Two-pass encoding |
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25 3. Encoding interlaced video |
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26 4. Deinterlacing |
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27 5. Inverse telecine |
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28 6. Capturing TV input |
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29 7. Dealing with mixed-source content |
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30 8. Low-quality & damaged sources |
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31 |
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32 V. Optimizing encoding quality |
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33 1. Noise removal |
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34 2. Pure quality-gain options |
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35 3. Questionable-gain options |
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36 4. Advanced MPEG-4 features |
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37 |
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38 |
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39 |
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40 |
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41 II. Containers and codecs |
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42 |
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43 II.1. Where the movie will be played |
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44 |
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45 Perhaps the most important factor to choosing the format in which you |
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46 will encode your movie is where you want to be able to play it. |
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47 Usually this involves a tradeoff between quality and features, since |
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48 the formats supported by the widest variety of players are also the |
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49 worst in regards to compression. |
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50 |
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51 If you want to be able to play your encode on standalone/set-top |
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52 players, your primary choices are DVD, VCD, and SVCD. There are also |
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53 extensions such as KVCD and XVCD which violate the standards but work |
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54 on many players and deliver higher quality. Modern players are |
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55 beginning to support MPEG-4 ("DivX") movies in AVI and perhaps other |
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56 containers as well, but these are often buggy and require you to |
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57 restrict your encodes to certain subsets of the full MPEG-4 |
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58 functionality. |
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59 |
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60 If you wish to be able to share your movies with Windows or Macintosh |
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61 users, without them having to install additional software, your |
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62 choices are very limited. The ancient MPEG-1 format with MP2 or PCM |
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63 audio is probably the only choice that is universally supported. |
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64 Interoperability with Windows/Mac also comes into play when deciding |
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65 how to encode and whether to scale to preserve aspect, since popular |
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66 media player applications for these systems do not honor the aspect |
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67 ratio encoding stored in MPEG-4 avi files. |
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68 |
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69 |
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70 |
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71 IV.2. Two-pass encoding |
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72 |
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73 The complexity (and thus the number of bits) required to compress the |
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74 frames of a movie can vary greatly from one scene to another. Modern |
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75 video encoders can adjust to these needs as they go and vary the |
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76 bitrate. However, they cannot exceed the requested average bitrate for |
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77 long stretches of time, because they do not know the bitrate needs of |
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78 future scenes. |
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79 |
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80 Two-pass encoding solves this problem by encoding the movie twice. |
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81 During the first pass, statistics are generated regarding the number |
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82 of bits used by each frame and the quantization level (quality) at |
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83 which it was encoded. Then, when the second pass begins, the encoder |
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84 reads these statistics and redistributes the bits from frames where |
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85 they are in excess to frames that are suffering from low quality. |
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86 |
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87 In order for the process to work properly, the encoder should be given |
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88 exactly the same sequence of frames during both passes. This means |
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89 that the same filters must be used, the same encoder parameters must |
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90 be used (with the possible exception of bitrate), and the same frame |
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91 drops and duplications (if any) must take place. |
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92 |
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93 In theory it's possible to use -oac pcm or -oac copy during the first |
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94 pass to avoid spending time encoding the audio. However, this can |
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95 result in slight variations in which frames get dropped or duplicated, |
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96 so it may be preferable to encode the audio during the first pass as |
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97 well as the second. This also allows you to examine the final audio |
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98 bitrate and filesize, and to adjust the audio or video bitrate |
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99 slightly between passes if you don't meet your target size. |
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100 |
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101 Here is an example: |
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102 |
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103 Encoding from an existing AVI file |
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104 500 kbit/sec MPEG-4 video |
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105 96 kbit/sec average-bitrate MP3 audio |
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106 |
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107 mencoder bar.avi -vf scale=448:336 -mc 0 -oac mp3lame -lameopts \ |
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108 abr:br=96 -ovc lavc -lavcopts vcodec=mpeg4:vbitrate=500:vpass=1 |
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109 |
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110 mencoder bar.avi -vf scale=448:336 -mc 0 -oac mp3lame -lameopts \ |
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111 abr:br=96 -ovc lavc -lavcopts vcodec=mpeg4:vbitrate=500:vpass=2 |
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112 |
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113 If you do not want to overwrite the output from the first pass when |
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114 you begin the second, you can use the -o option to choose a different |
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115 output filename. Note the addition of the vpass option in this |
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116 example. If vpass is not specified, single-pass encoding is performed. |
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117 If vpass=1, a log file is written with statistics from the first pass. |
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118 If vpass=2, the log file is read and the second pass is encoded based |
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119 on those statistics. If you are short on disk space or don't want the |
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120 extra disk wear from writing the file twice, you can use -o /dev/null |
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121 during the first pass. However, sometimes it is beneficial to watch |
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122 the first-pass file before beginning the second pass to make sure |
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123 nothing went wrong in the encoding. |
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124 |
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125 Next, an example using Xvid instead of libavcodec: |
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126 |
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127 Encoding from an existing AVI file |
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128 500 kbit/sec MPEG-4 video |
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129 Copying the existing audio stream unmodified |
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130 |
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131 mencoder foo.avi -vf scale=320:240 -mc 0 -oac copy -ovc xvid \ |
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132 -xvidencopts bitrate=400:pass=1 |
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133 |
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134 mencoder foo.avi -vf scale=320:240 -mc 0 -oac copy -ovc xvid \ |
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Encoding guide featured by Richard Felker III, and updated by Jeff Clagg.
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135 -xvidencopts bitrate=400:pass=2 |
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Encoding guide featured by Richard Felker III, and updated by Jeff Clagg.
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136 |
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Encoding guide featured by Richard Felker III, and updated by Jeff Clagg.
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137 The options used are slightly different, but the process is otherwise |
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Encoding guide featured by Richard Felker III, and updated by Jeff Clagg.
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138 the same. |