Mercurial > mplayer.hg
annotate DOCS/xml/en/mencoder.xml @ 14958:85546d215f6e
precise framerate values everywhere
patch by Corey Hickey <bugfood-ml at fatooh dot org>
author | diego |
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date | Sat, 19 Mar 2005 16:55:26 +0000 |
parents | 37112d48fb50 |
children | aec21cf429cb |
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9675 | 1 <?xml version="1.0" encoding="iso-8859-1"?> |
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2 <!-- $Revision$ --> |
9675 | 3 <chapter id="mencoder"> |
11540 | 4 <title>Encoding with <application>MEncoder</application></title> |
9675 | 5 |
6 <para> | |
7 For the complete list of available <application>MEncoder</application> options | |
8 and examples, please see the man page. For a series of hands-on examples and | |
9 detailed guides on using several encoding parameters, read the | |
10 <ulink url="../../tech/encoding-tips.txt">encoding-tips</ulink> that were | |
11 collected from several mailing list threads on mplayer-users. Search the | |
12 <ulink url="http://mplayerhq.hu/pipermail/mplayer-users/">archives</ulink> | |
13 for a wealth of discussions about all aspects of and problems related to | |
14 encoding with <application>MEncoder</application>. | |
15 </para> | |
16 | |
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17 <sect1 id="menc-feat-mpeg4"> |
14421 | 18 <title>Encoding two pass MPEG-4 ("DivX")</title> |
9675 | 19 |
20 <para> | |
21 The name comes from the fact that this method encodes the file <emphasis>twice</emphasis>. | |
22 The first encoding (dubbed pass) creates some temporary files | |
23 (<filename>*.log</filename>) with a size of few megabytes, do not delete | |
14421 | 24 them yet (you can delete the AVI). In the second pass, the two pass output |
9675 | 25 file is created, using the bitrate data from the temporary files. The |
26 resulting file will have much better image quality. If this is the first | |
27 time you heard about this, you should consult some guides available on the | |
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28 net. |
9675 | 29 </para> |
30 | |
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31 <example> |
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32 <title>copy audio track</title> |
9675 | 33 <para> |
14421 | 34 Two pass encode of a DVD to an MPEG-4 ("DivX") AVI while copying |
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35 the audio track. |
9675 | 36 <screen> |
11710 | 37 mencoder dvd://2 -ovc lavc -lavcopts vcodec=mpeg4:vpass=1 -oac copy -o <replaceable>movie.avi</replaceable> |
38 mencoder dvd://2 -ovc lavc -lavcopts vcodec=mpeg4:vpass=2 -oac copy -o <replaceable>movie.avi</replaceable> | |
9675 | 39 </screen> |
40 </para> | |
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41 </example> |
9675 | 42 |
43 <example> | |
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44 <title>encode audio track</title> |
9675 | 45 <para> |
14421 | 46 Two pass encode of a DVD to an MPEG-4 ("DivX") AVI while encoding |
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47 the audio track to MP3. |
9675 | 48 <screen> |
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49 mencoder dvd://2 -ovc lavc -lavcopts vcodec=mpeg4:vpass=1 -oac mp3lame -lameopts vbr=3 -o <replaceable>movie.avi</replaceable> |
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50 mencoder dvd://2 -ovc lavc -lavcopts vcodec=mpeg4:vpass=2 -oac mp3lame -lameopts vbr=3 -o <replaceable>movie.avi</replaceable> |
9675 | 51 </screen> |
52 </para> | |
53 </example> | |
54 </sect1> | |
55 | |
56 <sect1 id="menc-feat-mpeg"> | |
57 <title>Encoding to MPEG format</title> | |
58 <para> | |
59 <application>MEncoder</application> can create MPEG (MPEG-PS) format output | |
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60 files. It's probably useful only with |
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61 <link linkend="ffmpeg"><systemitem class="library">libavcodec</systemitem></link>'s |
10869 | 62 <emphasis>mpeg1video</emphasis> codec, because players - except |
14024 | 63 <application>MPlayer</application> - expect MPEG-1 video, and MPEG-1 layer 2 (MP2) |
10869 | 64 audio streams in MPEG files. |
9675 | 65 </para> |
66 | |
67 <para> | |
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68 This feature is not very useful right now, aside that it probably has many bugs, |
11540 | 69 but the more importantly because <application>MEncoder</application> currently |
14024 | 70 cannot encode MPEG-1 layer 2 (MP2) audio, which all other players expect in MPEG files. |
9675 | 71 </para> |
72 | |
73 <para> | |
12578 | 74 To change <application>MEncoder</application>'s output file format, |
11540 | 75 use the <option>-of mpeg</option> option. |
9675 | 76 </para> |
77 | |
78 <para> | |
79 Example: | |
80 <screen> | |
11710 | 81 mencoder -of mpeg -ovc lavc -lavcopts vcodec=mpeg1video -oac copy <replaceable>other_options</replaceable> <replaceable>media.avi</replaceable> -o <replaceable>output.mpg</replaceable> |
9675 | 82 </screen> |
83 </para> | |
84 </sect1> | |
85 | |
86 | |
87 <sect1 id="menc-feat-rescale"> | |
88 <title>Rescaling movies</title> | |
89 | |
90 <para> | |
91 Often the need to resize movie images' size emerges. Its reasons can be | |
92 many: decreasing file size, network bandwidth,etc. Most people even do | |
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93 rescaling when converting DVDs or SVCDs to DivX AVI. If you wish to rescale, |
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94 read the <link linkend="aspect">Preserving aspect ratio</link> section. |
9675 | 95 </para> |
96 | |
97 <para> | |
98 The scaling process is handled by the <literal>scale</literal> video filter: | |
9677 | 99 <option>-vf scale=<replaceable>width</replaceable>:<replaceable>height</replaceable></option>. |
9675 | 100 Its quality can be set with the <option>-sws</option> option. |
14131 | 101 If it's not specified, <application>MEncoder</application> will use 2: bicubic. |
9675 | 102 </para> |
103 | |
104 <para> | |
105 Usage: | |
106 <screen> | |
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107 mencoder <replaceable>input.mpg</replaceable> -ovc lavc -lavcopts vcodec=mpeg4 -vf scale=640:480 -o <replaceable>output.avi</replaceable> |
9675 | 108 </screen> |
109 </para> | |
110 </sect1> | |
111 | |
112 | |
113 <sect1 id="menc-feat-streamcopy"> | |
114 <title>Stream copying</title> | |
115 | |
116 <para> | |
117 <application>MEncoder</application> can handle input streams in two ways: | |
118 <emphasis role="bold">encode</emphasis> or <emphasis role="bold">copy</emphasis> | |
119 them. This section is about <emphasis role="bold">copying</emphasis>. | |
120 </para> | |
121 | |
122 <itemizedlist> | |
123 <listitem><para> | |
124 <emphasis role="bold">Video stream</emphasis> (option <option>-ovc copy</option>): | |
125 nice stuff can be done :) Like, putting (not converting!) FLI or VIVO or | |
14024 | 126 MPEG-1 video into an AVI file! Of course only |
9675 | 127 <application>MPlayer</application> can play such files :) And it probably |
128 has no real life value at all. Rationally: video stream copying can be | |
129 useful for example when only the audio stream has to be encoded (like, | |
130 uncompressed PCM to MP3). | |
131 </para></listitem> | |
132 <listitem><para> | |
133 <emphasis role="bold">Audio stream</emphasis> (option <option>-oac copy</option>): | |
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134 straightforward. It is possible to take an external audio file (MP3, |
10429 | 135 WAV) and mux it into the output stream. Use the |
9675 | 136 <option>-audiofile <replaceable>filename</replaceable></option> option |
137 for this. | |
138 </para></listitem> | |
139 </itemizedlist> | |
140 </sect1> | |
141 | |
142 | |
143 <sect1 id="menc-feat-fix-avi"> | |
144 <title>Fixing AVIs with broken index or interleaving</title> | |
145 | |
146 <para> | |
147 Easiest thing. We simply copy the video and audio streams, and | |
148 <application>MEncoder</application> generates the index. Of course this cannot fix possible bugs in | |
149 the video and/or audio streams. It also fixes files with broken interleaving, | |
150 thus the <option>-ni</option> option won't be needed for them anymore. | |
151 </para> | |
152 | |
153 <para> | |
154 Command: | |
155 <screen> | |
156 mencoder -idx <replaceable>input.avi</replaceable> -ovc copy -oac copy -o <replaceable>output.avi</replaceable><!-- | |
157 --></screen> | |
158 </para> | |
159 | |
160 | |
161 <sect2 id="menc-feat-appending"> | |
162 <title>Appending multiple AVI files</title> | |
163 | |
164 <para> | |
11540 | 165 As a side-effect, the broken AVI fixer function enables <application>MEncoder</application> |
166 to append 2 (or more) AVI files: | |
9675 | 167 </para> |
168 | |
169 <para> | |
170 Command: | |
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171 <screen>cat <replaceable>1.avi</replaceable> <replaceable>2.avi</replaceable> > <replaceable>3.avi</replaceable> |
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172 mencoder -noidx -ovc copy -oac copy -o <replaceable>output.avi</replaceable> <replaceable>3.avi</replaceable></screen> |
9675 | 173 </para> |
174 | |
175 <note><para> | |
176 This expects <filename>1.avi</filename> and <filename>2.avi</filename> to use | |
177 the same codecs, resolution, stream rate etc, and at least <filename>1.avi</filename> | |
178 must not be broken. You may need to fix your input AVI files first, as described | |
179 <link linkend="menc-feat-fix-avi">above</link>. | |
180 </para></note> | |
181 </sect2> | |
182 </sect1> | |
183 | |
184 <sect1 id="menc-feat-enc-libavcodec"> | |
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185 <title>Encoding with the <systemitem class="library">libavcodec</systemitem> |
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186 codec family</title> |
9675 | 187 |
188 <para> | |
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189 <link linkend="ffmpeg"><systemitem class="library">libavcodec</systemitem></link> |
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190 provides simple encoding to a lot of interesting video and audio formats. |
11747 | 191 You can encode to the following codecs (more or less up to date): |
9675 | 192 |
193 <informaltable frame="all"> | |
194 <tgroup cols="2"> | |
195 <thead> | |
196 <row><entry>Codec name</entry><entry>Description</entry></row> | |
197 </thead> | |
198 <tbody> | |
199 <row><entry>mjpeg</entry><entry> | |
200 Motion JPEG | |
201 </entry></row> | |
10869 | 202 <row><entry>ljpeg</entry><entry> |
203 Lossless JPEG | |
204 </entry></row> | |
9675 | 205 <row><entry>h263</entry><entry> |
13111 | 206 H.263 |
9675 | 207 </entry></row> |
208 <row><entry>h263p</entry><entry> | |
13111 | 209 H.263+ |
9675 | 210 </entry></row> |
211 <row><entry>mpeg4</entry><entry> | |
14024 | 212 ISO standard MPEG-4 (DivX 5, XVID compatible) |
9675 | 213 </entry></row> |
214 <row><entry>msmpeg4</entry><entry> | |
14024 | 215 pre-standard MPEG-4 variant by MS, v3 (AKA DivX3) |
9675 | 216 </entry></row> |
217 <row><entry>msmpeg4v2</entry><entry> | |
14024 | 218 pre-standard MPEG-4 by MS, v2 (used in old asf files) |
9675 | 219 </entry></row> |
10869 | 220 <row><entry>wmv1</entry><entry> |
13222 | 221 Windows Media Video, version 1 (AKA WMV7) |
9675 | 222 </entry></row> |
10869 | 223 <row><entry>wmv2</entry><entry> |
13222 | 224 Windows Media Video, version 2 (AKA WMV8) |
10869 | 225 </entry></row> |
9675 | 226 <row><entry>rv10</entry><entry> |
227 an old RealVideo codec | |
228 </entry></row> | |
229 <row><entry>mpeg1video</entry><entry> | |
14024 | 230 MPEG-1 video |
10869 | 231 </entry></row> |
232 <row><entry>mpeg2video</entry><entry> | |
14024 | 233 MPEG-2 video |
9675 | 234 </entry></row> |
235 <row><entry>huffyuv</entry><entry> | |
236 lossless compression | |
237 </entry></row> | |
10869 | 238 <row><entry>asv1</entry><entry> |
239 ASUS Video v1 | |
240 </entry></row> | |
241 <row><entry>asv2</entry><entry> | |
242 ASUS Video v2 | |
243 </entry></row> | |
244 <row><entry>ffv1</entry><entry> | |
245 FFmpeg's lossless video codec | |
246 </entry></row> | |
9675 | 247 </tbody> |
248 </tgroup> | |
249 </informaltable> | |
250 | |
251 The first column contains the codec names that should be passed after the | |
252 <literal>vcodec</literal> config, like: <option>-lavcopts vcodec=msmpeg4</option> | |
253 </para> | |
254 | |
255 <informalexample> | |
256 <para> | |
257 An example, with MJPEG compression: | |
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258 <screen>mencoder dvd://2 -o title2.avi -ovc lavc -lavcopts vcodec=mjpeg -oac copy</screen> |
9675 | 259 </para> |
260 </informalexample> | |
261 </sect1> | |
262 | |
263 | |
264 <sect1 id="menc-feat-enc-images"> | |
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265 <title>Encoding from multiple input image files (JPEG, PNG, TGA, SGI)</title> |
9675 | 266 |
267 <para> | |
268 <application>MEncoder</application> is capable of creating movies from one | |
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269 or more JPEG, PNG or TGA files. With simple framecopy it can create MJPEG |
9675 | 270 (Motion JPEG), MPNG (Motion PNG) or MTGA (Motion TGA) files. |
271 </para> | |
272 | |
273 <orderedlist> | |
274 <title>Explanation of the process:</title> | |
275 <listitem><para> | |
276 <application>MEncoder</application> <emphasis>decodes</emphasis> the input image(s) with | |
277 <systemitem class="library">libjpeg</systemitem> (when decoding PNGs, it | |
278 will use <systemitem class="library">libpng</systemitem>). | |
279 </para></listitem> | |
280 <listitem><para> | |
281 <application>MEncoder</application> then feeds the decoded image to the | |
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282 chosen video compressor (DivX4, XviD, FFmpeg msmpeg4, etc.). |
9675 | 283 </para></listitem> |
284 </orderedlist> | |
285 | |
286 <formalpara> | |
287 <title>Examples</title> | |
288 <para> | |
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289 The explanation of the <option>-mf</option> option is in the man page. |
9675 | 290 |
291 <informalexample> | |
292 <para> | |
14024 | 293 Creating an MPEG-4 file from all the JPEG files in the current directory: |
9675 | 294 <screen> |
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295 mencoder mf://*.jpg -mf w=800:h=600:fps=25:type=jpg -ovc lavc -lavcopts vcodec=mpeg4 -oac copy -o <replaceable>output.avi</replaceable> |
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296 </screen> |
9675 | 297 </para> |
298 </informalexample> | |
299 | |
300 <informalexample> | |
301 <para> | |
14024 | 302 Creating an MPEG-4 file from some JPEG files in the current directory: |
9675 | 303 <screen> |
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304 mencoder mf://<replaceable>frame001.jpg,frame002.jpg</replaceable> -mf w=800:h=600:fps=25:type=jpg -ovc lavc -lavcopts vcodec=mpeg4 -oac copy -o <replaceable>output.avi</replaceable> |
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305 </screen> |
9675 | 306 </para> |
307 </informalexample> | |
308 | |
309 <informalexample> | |
310 <para> | |
311 Creating a Motion JPEG (MJPEG) file from all the JPEG files in the current | |
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312 directory: |
9675 | 313 <screen> |
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314 mencoder mf://*.jpg -mf w=800:h=600:fps=25:type=jpg -ovc copy -oac copy -o <replaceable>output.avi</replaceable> |
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315 </screen> |
9675 | 316 </para> |
317 </informalexample> | |
318 | |
319 <informalexample> | |
320 <para> | |
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321 Creating an uncompressed file from all the PNG files in the current directory: |
9675 | 322 <screen> |
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323 mencoder mf:// -mf w=800:h=600:fps=25:type=png -ovc raw -oac copy -o <replaceable>output.avi</replaceable> |
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324 </screen> |
9675 | 325 </para> |
326 </informalexample> | |
327 | |
328 <note><para> | |
329 Width must be integer multiple of 4, it's a limitation of the RAW RGB AVI format. | |
330 </para></note> | |
331 | |
332 <informalexample> | |
333 <para> | |
334 Creating a Motion PNG (MPNG) file from all the PNG files in the current | |
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335 directory: |
9675 | 336 <screen> |
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337 mencoder mf://*.png -mf w=800:h=600:fps=25:type=png -ovc copy -oac copy -o <replaceable>output.avi</replaceable> <!-- |
9675 | 338 --></screen> |
339 </para> | |
340 </informalexample> | |
341 | |
342 <informalexample> | |
343 <para> | |
344 Creating a Motion TGA (MTGA) file from all the TGA files in the current | |
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345 directory: |
9675 | 346 <screen> |
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347 mencoder mf://*.tga -mf w=800:h=600:fps=25:type=tga -ovc copy -oac copy -o <replaceable>output.avi</replaceable><!-- |
9675 | 348 --></screen> |
349 </para> | |
350 </informalexample> | |
351 | |
352 </para> | |
353 </formalpara> | |
354 </sect1> | |
355 | |
356 | |
357 <sect1 id="menc-feat-extractsub"> | |
12615 | 358 <title>Extracting DVD subtitles to VOBsub file</title> |
9675 | 359 |
360 <para> | |
361 <application>MEncoder</application> is capable of extracting subtitles from | |
12615 | 362 a DVD into VOBsub formatted files. They consist of a pair of files ending in |
9675 | 363 <filename>.idx</filename> and <filename>.sub</filename> and are usually |
364 packaged in a single <filename>.rar</filename> archive. | |
365 <application>MPlayer</application> can play these with the | |
366 <option>-vobsub</option> and <option>-vobsubid</option> options. | |
367 </para> | |
368 | |
369 <para> | |
370 You specify the basename (i.e without the <filename>.idx</filename> or | |
371 <filename>.sub</filename> extension) of the output files with | |
372 <option>-vobsubout</option> and the index for this subtitle in the | |
373 resulting files with <option>-vobsuboutindex</option>. | |
374 </para> | |
375 | |
376 <para> | |
377 If the input is not from a DVD you should use <option>-ifo</option> to | |
378 indicate the <filename>.ifo</filename> file needed to construct the | |
379 resulting <filename>.idx</filename> file. | |
380 </para> | |
381 | |
382 <para> | |
383 If the input is not from a DVD and you do not have the | |
384 <filename>.ifo</filename> file you will need to use the | |
385 <option>-vobsubid</option> option to let it know what language id to put in | |
386 the <filename>.idx</filename> file. | |
387 </para> | |
388 | |
389 <para> | |
390 Each run will append the running subtitle if the <filename>.idx</filename> | |
391 and <filename>.sub</filename> files already exist. So you should remove any | |
392 before starting. | |
393 </para> | |
394 | |
395 <example> | |
14421 | 396 <title>Copying two subtitles from a DVD while doing two pass encoding</title> |
9675 | 397 <screen> |
398 rm subtitles.idx subtitles.sub | |
12776 | 399 mencoder dvd://1 -oac copy -ovc lavc -lavcopts vcodec=mpeg4:vpass=1 -vobsubout subtitles -vobsuboutindex 0 -sid 2 |
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400 mencoder dvd://1 -oac copy -ovc lavc -lavcopts vcodec=mpeg4:vpass=2 -vobsubout subtitles -vobsuboutindex 1 -sid 5<!-- |
9675 | 401 --></screen> |
402 </example> | |
403 | |
404 <example> | |
405 <title>Copying a french subtitle from an MPEG file</title> | |
406 <screen> | |
407 rm subtitles.idx subtitles.sub | |
11710 | 408 mencoder <replaceable>movie.mpg</replaceable> -ifo <replaceable>movie.ifo</replaceable> -vobsubout subtitles -vobsuboutindex 0 -vobsuboutid fr -sid 1<!-- |
9675 | 409 --></screen> |
410 </example> | |
411 | |
412 </sect1> | |
413 | |
414 <sect1 id="aspect"> | |
415 <title>Preserving aspect ratio</title> | |
416 <para> | |
14024 | 417 DVDs and SVCDs (i.e. MPEG-1/2) files contain an aspect ratio value, which |
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418 describes how the player should scale the video stream, so humans won't |
9675 | 419 have egg heads (ex.: 480x480 + 4:3 = 640x480). However when encoding to AVI |
420 (DivX) files, you have be aware that AVI headers don't store this value. | |
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421 Rescaling the movie is disgusting and time consuming, there has to be a better |
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422 way! |
9675 | 423 </para> |
424 | |
425 <para>There is</para> | |
426 | |
427 <para> | |
14024 | 428 MPEG-4 has an unique feature: the video stream can contain its needed aspect |
429 ratio. Yes, just like MPEG-1/2 (DVD, SVCD) and H.263 files. Regretfully, there are | |
9675 | 430 <emphasis role="bold">no</emphasis> video players outside which support this |
14024 | 431 attribute of MPEG-4, except <application>MPlayer</application>. |
9675 | 432 </para> |
433 | |
434 <para> | |
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435 This feature can be used only with |
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436 <link linkend="ffmpeg"><systemitem class="library">libavcodec</systemitem></link>'s |
10869 | 437 <systemitem>mpeg4</systemitem> codec. Keep in mind: although |
438 <application>MPlayer</application> will correctly play the created file, | |
439 other players will use the wrong aspect ratio. | |
9675 | 440 </para> |
441 | |
442 <para> | |
443 You seriously should crop the black bands over and below the movie image. | |
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444 See the man page for the usage of the <systemitem>cropdetect</systemitem> and |
9675 | 445 <systemitem>crop</systemitem> filters. |
446 </para> | |
447 | |
448 <para> | |
10869 | 449 Usage |
11710 | 450 <screen>mencoder <replaceable>sample-svcd.mpg</replaceable> -ovc lavc -lavcopts vcodec=mpeg4:autoaspect -vf crop=714:548:0:14 -oac copy -o <replaceable>output.avi</replaceable></screen> |
9675 | 451 </para> |
10869 | 452 </sect1> |
453 | |
454 <sect1 id="custommatrices"><title>Custom inter/intra matrices</title> | |
455 | |
456 <para> | |
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457 With this feature of |
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458 <link linkend="ffmpeg"><systemitem class="library">libavcodec</systemitem></link> |
13022 | 459 you are able to set custom inter (I-frames/keyframes) and intra |
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460 (P-frames/predicted frames) matrices. It is supported by many of the codecs: |
10869 | 461 <systemitem>mpeg1video</systemitem> and <systemitem>mpeg2video</systemitem> |
462 are reported as working. | |
463 </para> | |
464 | |
465 <para> | |
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466 A typical usage of this feature is to set the matrices preferred by the |
10869 | 467 <ulink url="http://www.kvcd.net/">KVCD</ulink> specifications. |
468 </para> | |
469 | |
470 <para> | |
471 The <emphasis role="bold">KVCD "Notch" Quantization Matrix:</emphasis> | |
472 </para> | |
473 | |
474 <para> | |
475 Intra: | |
476 <screen> | |
477 8 9 12 22 26 27 29 34 | |
478 9 10 14 26 27 29 34 37 | |
479 12 14 18 27 29 34 37 38 | |
480 22 26 27 31 36 37 38 40 | |
481 26 27 29 36 39 38 40 48 | |
482 27 29 34 37 38 40 48 58 | |
483 29 34 37 38 40 48 58 69 | |
484 34 37 38 40 48 58 69 79 | |
485 </screen> | |
486 | |
487 Inter: | |
488 <screen> | |
489 16 18 20 22 24 26 28 30 | |
490 18 20 22 24 26 28 30 32 | |
491 20 22 24 26 28 30 32 34 | |
492 22 24 26 30 32 32 34 36 | |
493 24 26 28 32 34 34 36 38 | |
494 26 28 30 32 34 36 38 40 | |
495 28 30 32 34 36 38 42 42 | |
496 30 32 34 36 38 40 42 44 | |
497 </screen> | |
498 </para> | |
499 | |
500 <para> | |
501 Usage: | |
502 <screen> | |
11710 | 503 $ mencoder <replaceable>input.avi</replaceable> -o <replaceable>output.avi</replaceable> -oac copy -ovc lavc -lavcopts inter_matrix=...:intra_matrix=... |
10869 | 504 </screen> |
505 </para> | |
506 | |
507 <para> | |
508 <screen> | |
11710 | 509 $ mencoder <replaceable>input.avi</replaceable> -ovc lavc -lavcopts |
10869 | 510 vcodec=mpeg2video:intra_matrix=8,9,12,22,26,27,29,34,9,10,14,26,27,29,34,37, |
511 12,14,18,27,29,34,37,38,22,26,27,31,36,37,38,40,26,27,29,36,39,38,40,48,27, | |
512 29,34,37,38,40,48,58,29,34,37,38,40,48,58,69,34,37,38,40,48,58,69,79 | |
513 :inter_matrix=16,18,20,22,24,26,28,30,18,20,22,24,26,28,30,32,20,22,24,26, | |
514 28,30,32,34,22,24,26,30,32,32,34,36,24,26,28,32,34,34,36,38,26,28,30,32,34, | |
515 36,38,40,28,30,32,34,36,38,42,42,30,32,34,36,38,40,42,44 -oac copy -o svcd.mpg | |
516 </screen> | |
517 </para> | |
9675 | 518 </sect1> |
519 | |
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520 <sect1 id="menc-feat-dvd-mpeg4"> |
14024 | 521 <title>Making a high quality MPEG-4 ("DivX") rip of a DVD movie</title> |
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522 |
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523 <para> |
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524 One frequently asked question is "How do I make the highest quality DVD |
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525 rip possible? I don't care about file size, I just want the best |
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526 quality." |
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527 </para> |
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528 |
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529 <para> |
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530 This question is perhaps at least somewhat wrongly posed. After all, if |
14024 | 531 you don't care about file size, why not simply copy the MPEG-2 video |
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532 stream from the DVD whole? Sure, your AVI will end up being 5GB, give |
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533 or take, but if you want the best quality and don't care about size, |
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534 this is certainly your best option. |
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535 </para> |
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536 |
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537 <para> |
14024 | 538 In fact, the reason you want to transcode a DVD into MPEG-4 is |
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539 specifically because you <emphasis role="bold">do</emphasis> care about |
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540 file size. |
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541 </para> |
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542 |
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543 <para> |
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544 It's difficult to offer a cookbook recipe on how to create a very high |
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545 quality DVD rip. There are several factors to consider, and you should |
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546 understand these details or else you're likely to end up disappointed |
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547 with your results. Below we'll investigate some of these issues, and |
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548 then have a look at an example. We assume you're using |
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549 <systemitem class="library">libavcodec</systemitem> to encode the video, |
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550 although the theory applies to other codecs as well. |
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551 </para> |
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552 |
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553 <para> |
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554 The main assumption of this guide is that you have no specific file size |
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555 constraints and have no problem giving up bits in exchange for quality. |
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556 While much of the information presented here is useful in any case, some |
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557 of it may work against you if you have a file size goal, such as fitting a |
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558 video on a CD. |
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559 </para> |
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560 |
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561 <sect2 id="menc-feat-dvd-mpeg4-2pass"> |
14421 | 562 <title>Constant Quantizer vs. two pass</title> |
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563 |
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564 <para> |
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565 There are three approaches to encoding the video: constant bitrate |
14421 | 566 (CBR), constant quantizer, and two pass (ABR, or average bitrate). |
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567 </para> |
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568 |
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569 <para> |
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570 In each of these modes, <systemitem class="library">libavcodec</systemitem> |
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571 breaks the video frame into 16x16 pixel macroblocks and then applies a |
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572 quantizer to each macroblock. The lower the quantizer, the better the |
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573 quality and higher the bitrate. The method |
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574 <systemitem class="library">libavcodec</systemitem> uses to determine |
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575 which quantizer to use for a given macroblock varies and is highly |
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576 tunable. (This is an extreme over-simplification of the actual |
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577 process, but the basic concept is useful to understand.) |
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578 </para> |
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579 |
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580 <para> |
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581 When you specify a constant bitrate, <systemitem |
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582 class="library">libavcodec</systemitem> will encode the video, discarding |
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583 detail as much as necessary and as little as possible in order to remain |
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584 lower than the given bitrate. If you truly don't care about file size, |
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585 you could as well use CBR and specify a bitrate of infinity. (In |
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586 practice, this means a value high enough so that it poses no limit, like |
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587 10000Kbit.) With no real restriction on bitrate, the result is that |
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588 <systemitem class="library">libavcodec</systemitem> will use the lowest |
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589 possible quantizer for each macroblock (as specified by |
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590 <option>vqmin</option>, which is 2 by default). As soon as you specify a |
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591 low enough bitrate that <systemitem class="library">libavcodec</systemitem> |
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592 is forced to use a higher quantizer, then you're almost certainly ruining |
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593 the quality of your video. In general, you should avoid CBR altogether if |
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594 you care about quality. |
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595 </para> |
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596 |
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597 <para> |
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598 With constant quantizer, <systemitem |
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599 class="library">libavcodec</systemitem> uses the same quantizer, as |
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600 specified by the <option>vqscale</option> option, on every macroblock. If |
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601 you want the highest quality rip possible, again ignoring bitrate, you can |
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602 use <option>vqscale=2</option>. This will yield the same bitrate and PSNR |
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603 (peak signal-to-noise ratio) as CBR with |
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604 <option>vbitrate</option>=infinity and the default <option>vqmin</option> |
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605 of 2. |
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606 </para> |
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607 |
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608 <para> |
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609 The problem with constant quantizing is that it uses the given quantizer |
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610 whether the macroblock needs it or not. That is, it might be possible |
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611 to use a higher quantizer on a macroblock without sacrificing visual |
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612 quality. Why waste the bits on an unnecessarily low quantizer? Your |
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613 CPU has as many cycles as there is time, but there's only so many bits |
13523 | 614 on your hard disk. |
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615 </para> |
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616 |
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617 <para> |
14421 | 618 With a two pass encode, the first pass will rip the movie as though it |
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619 were CBR, but it will keep a log of properties for each frame. This |
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620 data is then used during the second pass in order to make intelligent |
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621 decisions about which quantizers to use. During fast action or low |
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622 detail scenes, higher quantizers will likely be used, and during |
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623 slow moving or high detail scenes, lower quantizers will be used. |
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624 </para> |
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625 |
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626 <para> |
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627 If you use <option>vqscale=2</option>, then you're wasting bits. If you |
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628 use <option>vqscale=3</option>, then you're not getting the highest |
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629 quality rip. Suppose you rip a DVD at <option>vqscale=3</option>, and |
14421 | 630 the result is 1800Kbit. If you do a two pass encode with |
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631 <option>vbitrate=1800</option>, the resulting video will have <emphasis |
14734 | 632 role="bold">higher quality</emphasis> for the |
633 <emphasis role="bold">same bitrate</emphasis>. | |
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634 </para> |
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635 |
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636 <para> |
14421 | 637 Since you're now convinced that two pass is the way to go, the real |
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638 question now is what bitrate to use? The answer is that there's no |
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639 single answer. Ideally you want to choose a bitrate that yields the |
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640 best balance between quality and file size. This is going to vary |
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641 depending on the source video. |
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642 </para> |
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643 |
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644 <para> |
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645 A good starting point for a very high quality rip is about 2000Kbit plus |
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646 or minus 200Kbit. For fast action or high detail source video, or if |
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647 you just have a very critical eye, you might decide on 2400 or 2600. |
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648 For some DVDs, you might not notice a difference at 1400Kbit. It's a |
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649 good idea to experiment with scenes at different bitrates to get a feel. |
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650 </para> |
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651 |
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652 </sect2> |
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653 |
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654 <sect2 id="menc-feat-dvd-mpeg4-crop"> |
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655 <title>Cropping and Scaling</title> |
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656 |
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657 <para> |
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658 Native DVD resolution is 720x480 for NTSC, and 720x576 for PAL, but |
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659 there's an aspect flag that specifies whether it's full-screen (4:3) or |
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660 wide-screen (16:9). Many (if not most) widescreen DVDs are not strictly |
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661 16:9, and will be either 1.85:1 or 2.35:1 (cinescope). This means that |
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662 there will be black bands in the video that will need to be cropped out. |
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663 </para> |
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664 |
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665 <para> |
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666 <application>MPlayer</application> provides a crop detection filter that |
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667 will determine the crop rectangle (<option>-vf cropdetect</option>). |
14024 | 668 Because MPEG-4 uses 16x16 macroblocks, you'll want to make sure that each |
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669 dimension of the video you're encoding is a multiple of 16 or else you |
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670 will be degrading quality, especially at lower bitrates. You can do this |
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671 by rounding the width and height of the crop rectangle down to the nearest |
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672 multiple of 16. When cropping, you'll want to increase the y-offset by |
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673 half the difference of the old and the new height so that the resulting |
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674 video is taken from the center of the frame. And because of the way DVD |
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675 video is sampled, make sure the offset is an even number. (In fact, as a |
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676 rule, never use odd values for any parameter when you're cropping and |
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677 scaling video.) If you're not comfortable throwing a few extra pixels |
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678 away, you might prefer instead to scale the video instead. We'll look |
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679 at this in our example below. |
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680 </para> |
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681 |
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682 <para> |
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683 Also, be careful about "half black" pixels at the edges. Make sure you |
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684 crop these out too, or else you'll be wasting bits there that |
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685 are better spent elsewhere. |
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686 </para> |
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687 |
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688 <para> |
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689 After all is said and done, you'll probably end up with video whose pixels |
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690 aren't quite 1.85:1 or 2.35:1, but rather something close to that. You |
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691 could calculate the new aspect ratio manually, but |
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692 <application>MEncoder</application> offers an option for <systemitem |
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693 class="library">libavcodec</systemitem> called <option>autoaspect</option> |
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694 that will do this for you. Absolutely do not scale this video in order to |
13523 | 695 square the pixels unless you like to waste your hard disk space. Scaling |
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696 should be done on playback, and the player will use the aspect stored in |
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697 the AVI to determine the correct resolution. |
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698 </para> |
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699 |
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700 </sect2> |
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701 |
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702 <sect2 id="menc-feat-dvd-mpeg4-audio"> |
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703 <title>Audio</title> |
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704 |
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705 <para> |
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706 Audio is a much simpler problem to solve: just leave it as is. Even AC3 |
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707 5.1 streams are at most 448Kbit/s, and they're worth every bit. You |
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708 might be tempted to transcode the audio to high quality Ogg Vorbis, but |
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709 just because you don't have an A/V receiver for AC3 pass-through today |
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710 doesn't mean you won't have one tomorrow. Future-proof your DVD rips by |
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711 preserving the AC3 stream. |
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712 </para> |
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713 |
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714 |
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715 </sect2> |
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716 |
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717 <sect2 id="menc-feat-dvd-mpeg4-interlacing"> |
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718 <title>Interlacing and Telecine</title> |
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719 |
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720 <para> |
14958 | 721 Almost all movies are shot at 24 fps. Because NTSC is 30000/1001 fps, some |
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722 processing must be done to this 24 fps video to make it run at the correct |
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723 NTSC framerate. The process is called 3:2 pulldown, commonly referred to |
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724 as telecine (because pulldown is often applied during the telecine |
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725 process), and, naively described, it works by slowing the film down to |
14958 | 726 24000/1001 fps, and repeating every fourth frame. |
11780 | 727 </para> |
728 | |
729 <para> | |
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730 No special processing, however, is done to the video for PAL DVDs, which |
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731 run at 25 fps. (Technically, PAL can be telecined, called 2:2 pulldown, |
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732 but this doesn't become an issue in practice.) The 24 fps film is simply |
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733 played back at 25 fps. The result is that the movie runs slightly faster, |
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734 but unless you're an alien, you probably won't notice the difference. |
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735 Most PAL DVDs have pitch-corrected audio, so when they're played back at |
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736 25 fps things will sound right, even though the audio track (and hence the |
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737 whole movie) has a running time that's 4% less than NTSC DVDs. |
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738 </para> |
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739 |
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740 <para> |
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741 Because the video in a PAL DVD hasn't been altered, you needn't worry |
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742 much about frame rate. The source is 25 fps, and your rip will be 25 |
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743 fps. However, if you're ripping an NTSC DVD movie, you may need to |
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744 apply inverse telecine. |
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745 </para> |
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746 |
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747 <para> |
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748 For movies shot at 24 fps, the video on the NTSC DVD is either telecined |
14958 | 749 30000/1001, or else it is progressive 24000/1001 fps and intended to be telecined |
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750 on-the-fly by a DVD player. On the other hand, TV series are usually |
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751 only interlaced, not telecined. This is not a hard rule: some TV series |
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752 are interlaced (such as Buffy the Vampire Slayer) whereas some are a |
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753 mixture of progressive and interlaced (such as Angel, or 24). |
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754 </para> |
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755 |
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756 <para> |
14734 | 757 It's highly recommended that you read the section on |
758 <link linkend="menc-feat-telecine">How to deal with telecine and interlacing in NTSC DVDs</link> | |
759 to learn how to handle the different possibilities. | |
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760 </para> |
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761 |
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762 <para> |
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763 However, if you're mostly just ripping movies, likely you're either |
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764 dealing with 24 fps progressive or telecined video, in which case you can |
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765 use the <option>pullup</option> filter <option>-vf |
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|
766 pullup,softskip</option>. |
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|
767 </para> |
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|
768 |
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|
769 </sect2> |
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|
770 |
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|
771 |
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772 <sect2 id="menc-feat-dvd-mpeg4-filtering"> |
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773 <title>Filtering</title> |
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|
774 |
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|
775 <para> |
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776 In general, you want to do as little filtering as possible to the movie |
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777 in order to remain close to the original DVD source. Cropping is often |
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778 necessary (as described above), but do not scale the video. Although |
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779 scaling down is sometimes preferred to using higher quantizers, we want |
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|
780 to avoid both these things: remember that we decided from the start to |
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|
781 trade bits for quality. |
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|
782 </para> |
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|
783 |
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|
784 <para> |
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785 Also, do not adjust gamma, contrast, brightness, etc. What looks good |
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|
786 on your display may not look good on others. These adjustments should |
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|
787 be done on playback only. |
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788 </para> |
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|
789 |
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790 <para> |
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791 One thing you might want to do, however, is pass the video through a |
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|
792 very light denoise filter, such as <option>-vf hqdn3d=2:1:2</option>. |
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793 Again, it's a matter of putting those bits to better use: why waste them |
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|
794 encoding noise when you can just add that noise back in during playback? |
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795 Increasing the parameters for <option>hqdn3d</option> will further |
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|
796 improve compressibility, but if you increase the values too much, you |
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|
797 risk degrading the image visibily. The suggested values above |
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798 (<option>2:1:2</option>) are quite conservative; you should feel free to |
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|
799 experiment with higher values and observe the results for yourself. |
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|
800 </para> |
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801 |
12758
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|
802 </sect2> |
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|
803 |
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|
804 |
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|
805 <sect2 id="menc-feat-dvd-mpeg4-example"> |
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806 <title>Example</title> |
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807 |
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808 <para> |
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809 So, you've just bought your shiny new copy of Harry Potter and the Chamber |
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810 of Secrets (widescreen edition, of course), and you want to rip this DVD |
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|
811 so that you can add it to your Home Theatre PC. This is a region 1 DVD, |
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812 so it's NTSC. The example below will still apply to PAL, except you'll |
14958 | 813 omit <option>-ofps 24000/1001</option> (because the output framerate is the |
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|
814 same as the input framerate), and of course the crop dimensions will be |
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|
815 different. |
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|
816 </para> |
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|
817 |
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|
818 <para> |
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|
819 After running <option>mplayer dvd://1</option>, we follow the process |
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820 detailed in the section <link linkend="menc-feat-telecine">How to deal |
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|
821 with telecine and interlacing in NTSC DVDs</link> and discover that it's |
14958 | 822 24000/1001 fps progressive video, which means that we needn't use an inverse |
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|
823 telecine filter, such as <option>pullup</option> or |
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|
824 <option>filmdint</option>. |
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825 </para> |
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826 |
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827 <para> |
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|
828 Next, we want to determine the appropriate crop rectangle, so we use the |
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|
829 cropdetect filter: |
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|
830 |
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831 <screen>mplayer dvd://1 -vf cropdetect</screen> |
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|
832 |
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833 Make sure you seek to a fully filled frame (such as a bright scene), and |
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|
834 you'll see in <application>MPlayer</application>'s console output: |
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|
835 |
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|
836 <screen>crop area: X: 0..719 Y: 57..419 (-vf crop=720:362:0:58)</screen> |
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837 |
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|
838 We then play the movie back with this filter to test its correctness: |
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839 |
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|
840 <screen>mplayer dvd://1 -vf crop=720:362:0:58</screen> |
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|
841 |
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|
842 And we see that it looks perfectly fine. Next, we ensure the width and |
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|
843 height are a multiple of 16. The width is fine, however the height is |
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|
844 not. Since we didn't fail 7th grade math, we know that the nearest |
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|
845 multiple of 16 lower than 362 is 352. |
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|
846 </para> |
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847 |
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848 <para> |
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849 We could just use <option>crop=720:352:0:58</option>, but it'd be nice |
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850 to take a little off the top and a little off the bottom so that we |
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851 retain the center. We've shrunk the height by 10 pixels, but we don't |
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852 want to increase the y-offset by 5-pixels since that's an odd number and |
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853 will adversely affect quality. Instead, we'll increase the y-offset by |
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854 4 pixels: |
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855 |
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856 <screen>mplayer dvd://1 -vf crop=720:352:0:62</screen> |
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857 |
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858 Another reason to shave pixels from both the top and the bottom is that we |
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859 ensure we've eliminated any half-black pixels if they exist. Note that if |
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860 your video is telecined, make sure the <option>pullup</option> filter (or |
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861 whichever inverse telecine filter you decide to use) appears in the filter |
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862 chain before you crop. If it is interlaced, deinterlace before cropping. |
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863 (If you choose to preserve the interlaced video, then make sure your |
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864 vertical crop offset is a multiple of 4.) |
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865 </para> |
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866 |
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867 <para> |
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868 If you're really concerned about losing those 10 pixels, you might |
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869 prefer instead to scale the dimensions down to the nearest multiple of 16. |
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870 The filter chain would look like: |
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871 |
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872 <screen>-vf crop=720:362:0:58,scale=720:352</screen> |
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873 |
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874 Scaling the video down like this will mean that some small amount of |
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875 detail is lost, though it probably won't be perceptible. Scaling up will |
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876 result in lower quality (unless you increase the bitrate). Cropping |
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877 discards those pixels altogether. It's a tradeoff that you'll want to |
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878 consider for each circumstance. For example, if the DVD video was made |
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879 for television, you might want to avoid vertical scaling, since the line |
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880 sampling corresponds to the way the content was originally recorded. |
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881 </para> |
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|
882 |
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883 <para> |
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884 On inspection, we see that our movie has a fair bit of action and high |
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885 amounts of detail, so we pick 2400Kbit for our bitrate. |
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886 </para> |
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887 |
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888 <para> |
14422 | 889 We're now ready to do the two pass encode. Pass one: |
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890 |
14958 | 891 <screen>mencoder dvd://1 -ofps 24000/1001 -oac copy -vf crop=720:352:0:62,hqdn3d=2:1:2 -ovc lavc \ |
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892 -lavcopts vcodec=mpeg4:vbitrate=2400:v4mv:mbd=2:trell:cmp=3:subcmp=3:mbcmp=3:autoaspect:vpass=1 \ |
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893 -o Harry_Potter_2.avi</screen> |
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894 |
14422 | 895 And pass two is the same, except that we specify <option>vpass=2</option>: |
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896 |
14958 | 897 <screen>mencoder dvd://1 -ofps 24000/1001 -oac copy -vf crop=720:352:0:62,hqdn3d=2:1:2 -ovc lavc \ |
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898 -lavcopts vcodec=mpeg4:vbitrate=2400:v4mv:mbd=2:trell:cmp=3:subcmp=3:mbcmp=3:autoaspect:vpass=2 \ |
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899 -o Harry_Potter_2.avi</screen> |
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900 </para> |
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901 |
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902 <para> |
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903 The options <option>v4mv:mbd=2:trell</option> will greatly increase the |
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904 quality at the expense of encoding time. There's little reason to leave |
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905 these options out when the primary goal is quality. The options |
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906 <option>cmp=3:subcmp=3:mbcmp=3</option> select a comparison function that |
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907 yields higher quality than the defaults. You might try experimenting with |
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908 this parameter (refer to the man page for the possible values) as |
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909 different functions can have a large impact on quality depending on the |
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910 source material. For example, if you find |
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911 <systemitem class="library">libavcodec</systemitem> produces too much |
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912 blocky artifacting, you could try selecting the experimental NSSE as |
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913 comparison function via <option>*cmp=10</option>. |
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914 </para> |
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|
915 |
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916 <para> |
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917 For this movie, the resulting AVI will be 138 minutes long and nearly |
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918 3GB. And because you said that file size doesn't matter, this is a |
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919 perfectly acceptable size. However, if you had wanted it smaller, you |
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920 could try a lower bitrate. Increasing bitrates have diminishing |
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921 returns, so while we might clearly see an improvement from 1800Kbit to |
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922 2000Kbit, it might not be so noticeable above 2000Kbit. Feel |
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923 free to experiment until you're happy. |
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924 </para> |
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|
925 |
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|
926 <para> |
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927 Because we passed the source video through a denoise filter, you may want |
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928 to add some of it back during playback. This, along with the |
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929 <option>spp</option> post-processing filter, drastically improves the |
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930 perception of quality and helps eliminate blocky artifacts in the video. |
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931 With <application>MPlayer</application>'s <option>autoq</option> option, |
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932 you can vary the amount of post-processing done by the spp filter |
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933 depending on available CPU. Also, at this point, you may want to apply |
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934 gamma and/or color correction to best suit your display. For example: |
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935 |
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936 <screen>mplayer Harry_Potter_2.avi -vf spp,noise=9ah:5ah,eq2=1.2 -autoq 3</screen> |
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937 |
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938 </para> |
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939 </sect2> |
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940 |
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941 </sect1> |
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942 |
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943 <sect1 id="menc-feat-telecine"> |
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944 <title>How to deal with telecine and interlacing within NTSC DVDs</title> |
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945 |
14958 | 946 <sect2 id="menc-feat-telecine-intro"> |
947 <title>Introduction</title> | |
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948 <formalpara> |
14958 | 949 <title>What is telecine?</title> |
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950 <para> |
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951 I suggest you visit this page if you don't understand much of what |
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952 is written in this document: |
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953 <ulink url="http://www.divx.com/support/guides/guide.php?gid=10">http://www.divx.com/support/guides/guide.php?gid=10</ulink> |
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954 This URL links to an understandable and reasonably comprehensive |
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955 description of what telecine is. |
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956 </para></formalpara> |
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957 |
14958 | 958 <formalpara> |
959 <title>A note about the numbers.</title> | |
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960 <para> |
14958 | 961 Many documents, including the guide linked above, refer to the fields |
962 per second value of NTSC video as 59.94 and the corresponding frames | |
963 per second values as 29.97 (for telecined and interlaced) and 23.976 | |
964 (for progressive). For simplicity, some documents even round these | |
965 numbers to 60, 30, and 24. | |
966 </para></formalpara> | |
967 | |
968 <para> | |
969 Strictly speaking, all those numbers are approximations. Black and | |
970 white NTSC video was exactly 60 fields per second, but 60000/1001 | |
971 was later chosen to accomodate color data while remaining compatible | |
972 with contemporary black and white televisions. Digital NTSC video | |
973 (such as on a DVD) is also 60000/1001 fields per second. From this, | |
974 interlaced and telecined video are derived to be 30000/1001 frames | |
975 per second; progressive video is 24000/1001 frames per second. | |
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976 </para> |
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977 |
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|
978 <para> |
14958 | 979 Older versions of the <application>MEncoder</application> documentation |
980 and many archived mailing list posts refer to 59.94, 29.97, and 23.976. | |
981 All <application>MEncoder</application> documentation has been updated | |
982 to use the fractional values, and you should use them too. | |
983 </para> | |
984 | |
985 <para> | |
986 <option>-ofps 23.976</option> is incorrect. | |
987 <option>-ofps 24000/1001</option> should be used instead. | |
988 </para> | |
989 | |
990 <formalpara> | |
991 <title>How telecine is used.</title> | |
992 <para> | |
993 All video intended to be displayed on an NTSC | |
994 television set must be 60000/1001 fields per second. Made-for-TV movies | |
995 and shows are often filmed directly at 60000/1001 fields per second, but | |
996 the majority of cinema is filmed at 24 or 24000/1001 frames per | |
997 second. When cinematic movie DVDs are mastered, the video is then | |
998 converted for television using a process called telecine. | |
999 </para></formalpara> | |
1000 | |
1001 <para> | |
1002 On a DVD, the video is never actually stored as 60000/1001 fields per | |
1003 second. For video that was originally 60000/1001, each pair of fields is | |
1004 combined to form a frame, resulting in 30000/1001 frames per | |
11905
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1005 second. Hardware DVD players then read a flag embedded in the video |
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1006 stream to determine whether the odd- or even-numbered lines should |
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1007 form the first field. |
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|
1008 </para> |
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|
1009 |
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|
1010 <para> |
14958 | 1011 Usually, 24000/1001 frames per second content stays as it is when |
11905
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1012 encoded for a DVD, and the DVD player must perform telecining |
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1013 on-the-fly. Sometimes, however, the video is telecined |
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1014 <emphasis>before</emphasis> being stored on the DVD; even though it |
14958 | 1015 was originally 24000/1001 frames per second, it becomes 60000/1001 fields per |
1016 second. When it is stored on the DVD, pairs of fields are combined to form | |
1017 30000/1001 frames per second. | |
11905
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|
1018 </para> |
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|
1019 |
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1020 <para> |
14958 | 1021 When looking at individual frames formed from 60000/10001 fields per |
11905
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1022 second video, telecined or otherwise, interlacing is clearly visible |
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1023 wherever there is any motion, because one field (say, the |
14958 | 1024 even-numbered lines) represents a moment in time 1/(60000/1001) |
1025 seconds later than the other. Playing interlaced video on a computer | |
11905
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1026 looks ugly both because the monitor is higher resolution and because |
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1027 the video is shown frame-after-frame instead of field-after-field. |
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1028 </para> |
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1029 |
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1030 <itemizedlist> |
14958 | 1031 <title>Notes:</title> |
11905
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|
1032 <listitem><para> |
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1033 This section only applies to NTSC DVDs, and not PAL. |
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1034 </para></listitem> |
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1035 <listitem><para> |
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1036 The example <application>MEncoder</application> lines throughout the |
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1037 document are <emphasis role="bold">not</emphasis> intended for |
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|
1038 actual use. They are simply the bare minimum required to encode the |
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|
1039 pertaining video category. How to make good DVD rips or fine-tune |
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1040 <systemitem class="library">libavcodec</systemitem> for maximum |
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1041 quality is not within the scope of this document. |
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|
1042 </para></listitem> |
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|
1043 <listitem><para> |
12758
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|
1044 There are a couple footnotes specific to this guide, linked like this: |
11905
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|
1045 <link linkend="menc-feat-telecine-footnotes">[1]</link> |
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1046 </para></listitem> |
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1047 </itemizedlist> |
14958 | 1048 </sect2> |
11905
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1049 |
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1050 <sect2 id="menc-feat-telecine-ident"> |
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1051 <title>How to tell what type of video you have</title> |
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1052 |
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1053 <sect3 id="menc-feat-telecine-ident-progressive"> |
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1054 <title>Progressive</title> |
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1055 <para> |
14958 | 1056 Progressive video was originally filmed at 24000/1001 fps, and stored |
11905
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1057 on the DVD without alteration. |
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1058 </para> |
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1059 |
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1060 <para> |
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1061 When you play a progressive DVD in <application>MPlayer</application>, |
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1062 <application>MPlayer</application> will print the following line as |
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1063 soon as the movie begins to play: |
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1064 |
14958 | 1065 <screen> demux_mpg: 24000/1001 fps progressive NTSC content detected, switching framerate.</screen> |
11905
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1066 |
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1067 From this point forward, demux_mpg should never say it finds |
14958 | 1068 "30000/1001 fps NTSC content." |
11905
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1069 </para> |
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1070 |
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1071 <para> |
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1072 When you watch progressive video, you should never see any |
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1073 interlacing. Beware, however, because sometimes there is a tiny bit |
14734 | 1074 of telecine mixed in where you wouldn't expect. I've encountered TV |
11905
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1075 show DVDs that have one second of telecine at every scene change, or |
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1076 at seemingly random places. I once watched a DVD that had a |
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1077 progressive first half, and the second half was telecined. If you |
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1078 want to be <emphasis>really</emphasis> thorough, you can scan the |
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1079 entire movie: |
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|
1080 |
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1081 <screen>mplayer dvd://1 -nosound -vo null -benchmark</screen> |
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1082 |
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1083 Using <option>-benchmark</option> makes |
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1084 <application>MPlayer</application> play the movie as quickly as it |
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1085 possibly can; still, depending on your hardware, it can take a |
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1086 while. Every time demux_mpg reports a framerate change, the line |
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1087 immediately above will show you the time at which the change |
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|
1088 occurred. |
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|
1089 </para> |
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1090 |
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1091 <para> |
14734 | 1092 Sometimes progressive video on DVDs is referred to as |
1093 "soft-telecine" because it is intended to | |
1094 be telecined by the DVD player. | |
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1095 </para> |
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1096 </sect3> |
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1097 |
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1098 <sect3 id="menc-feat-telecine-ident-telecined"> |
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1099 <title>Telecined</title> |
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1100 <para> |
14958 | 1101 Telecined video was originally filmed at 24000/1001, but was telecined |
11905
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1102 <emphasis>before</emphasis> it was written to the DVD. |
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1103 </para> |
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1104 |
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1105 <para> |
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1106 <application>MPlayer</application> does not (ever) report any |
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1107 framerate changes when it plays telecined video. |
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1108 </para> |
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1109 |
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1110 <para> |
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1111 Watching a telecined video, you will see interlacing artifacts that |
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1112 seem to "blink": they repeatedly appear and disappear. |
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1113 You can look closely at this by |
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|
1114 <orderedlist> |
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1115 <listitem> |
14734 | 1116 <screen>mplayer dvd://1</screen> |
11905
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1117 </listitem> |
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1118 <listitem><para> |
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1119 Seek to a part with motion. |
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1120 </para></listitem> |
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1121 <listitem><para> |
14734 | 1122 Use the <keycap>.</keycap> key to step forward one frame at a time. |
1123 </para></listitem> | |
1124 <listitem><para> | |
11905
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1125 Look at the pattern of interlaced-looking and progressive-looking |
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1126 frames. If the pattern you see is PPPII,PPPII,PPPII,... then the |
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1127 video is telecined. If you see some other pattern, then the video |
14734 | 1128 may have been telecined using some non-standard method; |
1129 <application>MEncoder</application> cannot losslessly convert | |
1130 non-standard telecine to progressive. If you don't see any | |
1131 pattern at all, then it is most likely interlaced. | |
11905
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|
1132 </para></listitem> |
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|
1133 </orderedlist> |
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|
1134 </para> |
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|
1135 |
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|
1136 <para> |
14734 | 1137 Sometimes telecined video on DVDs is referred to as |
14958 | 1138 "hard-telecine". Since hard-telecine is already 60000/1001 fields |
14734 | 1139 per second, the DVD player plays the video without any manipulation. |
11905
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|
1140 </para> |
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|
1141 </sect3> |
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|
1142 |
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|
1143 <sect3 id="menc-feat-telecine-ident-interlaced"> |
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|
1144 <title>Interlaced</title> |
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|
1145 <para> |
14958 | 1146 Interlaced video was originally filmed at 60000/1001 fields per second, |
1147 and stored on the DVD as 30000/1001 frames per second. The interlacing effect | |
14734 | 1148 (often called "combing") is a result of combining pairs of |
14958 | 1149 fields into frames. Each field is supposed to be 1/(60000/1001) seconds apart, |
14734 | 1150 and when they are displayed simultaneously the difference is apparent. |
11905
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|
1151 </para> |
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|
1152 |
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|
1153 <para> |
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|
1154 As with telecined video, <application>MPlayer</application> should |
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|
1155 not ever report any framerate changes when playing interlaced content. |
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|
1156 </para> |
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|
1157 |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1158 <para> |
14734 | 1159 When you view an interlaced video closely by frame-stepping with the |
1160 <keycap>.</keycap> key, you will see that every single frame is interlaced. | |
11905
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|
1161 </para> |
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|
1162 </sect3> |
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|
1163 |
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|
1164 <sect3 id="menc-feat-telecine-ident-mixedpt"> |
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|
1165 <title>Mixed progressive and telecine</title> |
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|
1166 <para> |
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|
1167 All of a "mixed progressive and telecine" video was originally |
14958 | 1168 24000/1001 frames per second, but some parts of it ended up being telecined. |
11905
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|
1169 </para> |
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|
1170 |
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|
1171 <para> |
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|
1172 When <application>MPlayer</application> plays this category, it will |
14958 | 1173 (often repeatedly) switch back and forth between "30000/1001 fps NTSC" |
1174 and "24000/1001 fps progressive NTSC". Watch the bottom of | |
12578 | 1175 <application>MPlayer</application>'s output to see these messages. |
11905
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|
1176 </para> |
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|
1177 |
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|
1178 <para> |
14958 | 1179 You should check the "30000/1001 fps NTSC" sections to make sure |
11905
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1180 they are actually telecine, and not just interlaced. |
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|
1181 </para> |
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|
1182 </sect3> |
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|
1183 |
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|
1184 <sect3 id="menc-feat-telecine-ident-mixedpi"> |
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|
1185 <title>Mixed progressive and interlaced</title> |
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|
1186 <para> |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1187 In "mixed progressive and interlaced" content, progressive |
11913 | 1188 and interlaced video have been spliced together. |
11905
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|
1189 </para> |
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|
1190 |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1191 <para> |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1192 This category looks just like "mixed progressive and telecine", |
14958 | 1193 until you examine the 30000/1001 fps sections and see that they don't have the |
11905
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|
1194 telecine pattern. |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1195 </para> |
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|
1196 </sect3> |
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|
1197 |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1198 </sect2> |
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|
1199 |
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|
1200 <sect2 id="menc-feat-telecine-encode"> |
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|
1201 <title>How to encode each category</title> |
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|
1202 <para> |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1203 As I mentioned in the beginning, example <application>MEncoder</application> |
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|
1204 lines below are <emphasis role="bold">not</emphasis> meant to actually be used; |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1205 they only demonstrate the minimum parameters to properly encode each category. |
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|
1206 </para> |
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|
1207 |
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|
1208 <sect3 id="menc-feat-telecine-encode-progressive"> |
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|
1209 <title>Progressive</title> |
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|
1210 <para> |
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|
1211 Progressive video requires no special filtering to encode. The only |
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|
1212 parameter you need to be sure to use is |
14958 | 1213 <option>-ofps 24000/1001</option>. Otherwise, <application>MEncoder</application> |
1214 will try to encode at 30000/1001 fps and will duplicate frames. | |
11905
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|
1215 </para> |
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|
1216 |
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|
1217 <para> |
14958 | 1218 <screen>mencoder dvd://1 -nosound -ovc lavc -ofps 24000/1001</screen> |
11905
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|
1219 </para> |
14734 | 1220 |
1221 <para> | |
1222 It is often the case, however, that a video that looks progressive | |
1223 actually has very short parts of telecine mixed in. Unless you are | |
1224 sure, it is safest to treat the video as | |
1225 <link linkend="menc-feat-telecine-encode-mixedpt">mixed progressive and telecine</link>. | |
1226 The performance loss is small | |
1227 <link linkend="menc-feat-telecine-footnotes">[3]</link>. | |
1228 </para> | |
11905
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|
1229 </sect3> |
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|
1230 |
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|
1231 <sect3 id="menc-feat-telecine-encode-telecined"> |
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|
1232 <title>Telecined</title> |
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|
1233 <para> |
14958 | 1234 Telecine can be reversed to retrieve the original 24000/1001 content, |
11905
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|
1235 using a process called inverse-telecine. |
14734 | 1236 <application>MPlayer</application> contains several filters to |
1237 accomplish this; the best filter, <option>pullup</option>, is described | |
1238 in the <link linkend="menc-feat-telecine-encode-mixedpt">mixed | |
1239 progressive and telecine</link> section. | |
11905
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|
1240 </para> |
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|
1241 </sect3> |
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1242 |
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|
1243 <sect3 id="menc-feat-telecine-encode-interlaced"> |
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|
1244 <title>Interlaced</title> |
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1245 <para> |
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|
1246 For most practical cases it is not possible to retrieve a complete |
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|
1247 progressive video from interlaced content. The only way to do so |
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|
1248 without losing half of the vertical resolution is to double the |
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|
1249 framerate and try to "guess" what ought to make up the |
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|
1250 corresponding lines for each field (this has drawbacks - see method |
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|
1251 3). |
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|
1252 </para> |
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|
1253 |
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|
1254 <orderedlist> |
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|
1255 <listitem><para> |
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|
1256 |
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|
1257 Encode the video in interlaced form. Normally, interlacing wreaks |
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|
1258 havoc with the encoder's ability to compress well, but |
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|
1259 <systemitem class="library">libavcodec</systemitem> has two |
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|
1260 parameters specifically for dealing with storing interlaced video a |
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|
1261 bit better: <option> ildct</option> and <option>ilme</option>. Also, |
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|
1262 using <option>mbd=2</option> is strongly recommended |
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|
1263 <link linkend="menc-feat-telecine-footnotes">[2] </link> because it |
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|
1264 will encode macroblocks as non-interlaced in places where there is |
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|
1265 no motion. Note that <option>-ofps</option> is NOT needed here. |
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|
1266 |
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|
1267 <screen>mencoder dvd://1 -nosound -ovc lavc -lavcopts ildct:ilme:mbd=2</screen> |
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|
1268 </para></listitem> |
12758
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|
1269 <listitem><para> |
11905
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|
1270 Use a deinterlacing filter before encoding. There are several of |
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|
1271 these filters available to choose from, each with its own advantages |
11913 | 1272 and disadvantages. Consult <option>mplayer -pphelp</option> to see |
11905
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|
1273 what's available (grep for "deint"), and search the |
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|
1274 <ulink url="http://www.mplayerhq.hu/homepage/design6/info.html#mailing_lists"> |
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|
1275 MPlayer mailing lists</ulink> to find many discussions about the |
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|
1276 various filters. Again, the framerate is not changing, so no |
11913 | 1277 <option>-ofps</option>. Also, deinterlacing should be done after |
11905
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|
1278 cropping <link linkend="menc-feat-telecine-footnotes">[1]</link> and |
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|
1279 before scaling. |
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|
1280 |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1281 <screen>mencoder dvd://1 -nosound -vf pp=lb -ovc lavc</screen> |
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|
1282 </para></listitem> |
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|
1283 <listitem><para> |
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1284 Unfortunately, this option is buggy with |
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|
1285 <application>MEncoder</application>; it ought to work well with |
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|
1286 <application>MEncoder G2</application>, but that isn't here yet. You |
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1287 might experience crahes. Anyway, the purpose of <option> -vf |
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1288 tfields</option> is to create a full frame out of each field, which |
14958 | 1289 makes the framerate 60000/1001. The advantage of this approach is that no |
11905
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|
1290 data is ever lost; however, since each frame comes from only one |
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1291 field, the missing lines have to be interpolated somehow. There are |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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1292 no very good methods of generating the missing data, and so the |
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1293 result will look a bit similar to when using some deinterlacing |
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1294 filters. Generating the missing lines creates other issues, as well, |
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1295 simply because the amount of data doubles. So, higher encoding |
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|
1296 bitrates are required to maintain quality, and more CPU power is |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1297 used for both encoding and decoding. tfields has several different |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1298 options for how to create the missing lines of each frame. If you |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1299 use this method, then Reference the manual, and chose whichever |
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|
1300 option looks best for your material. Note that when using |
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|
1301 <option>tfields</option> you |
12758
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1302 <emphasis role="bold">have to</emphasis> specify both |
11905
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|
1303 <option>-fps</option> and <option>-ofps</option> to be twice the |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1304 framerate of your original source. |
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|
1305 |
14958 | 1306 <screen>mencoder dvd://1 -nosound -vf tfields=2 -ovc lavc -fps 60000/1001 -ofps 60000/1001</screen> |
11905
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|
1307 </para></listitem> |
12758
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1308 <listitem><para> |
14734 | 1309 If you plan on downscaling dramatically, you can extract and encode |
11905
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|
1310 only one of the two fields. Of course, you'll lose half the vertical |
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1311 resolution, but if you plan on downscaling to at most 1/2 of the |
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1312 original, the loss won't matter much. The result will be a |
14958 | 1313 progressive 30000/1001 frames per second file. The procedure is to use |
11905
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|
1314 <option>-vf field</option>, then crop |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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1315 <link linkend="menc-feat-telecine-footnotes">[1]</link> and scale |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1316 appropriately. Remember that you'll have to adjust the scale to |
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|
1317 compensate for the vertical resolution being halved. |
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1318 <screen>mencoder dvd://1 -nosound -vf field=0 -ovc lavc</screen> |
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|
1319 </para></listitem> |
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|
1320 </orderedlist> |
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|
1321 </sect3> |
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|
1322 |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1323 <sect3 id="menc-feat-telecine-encode-mixedpt"> |
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1324 <title>Mixed progressive and telecine</title> |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1325 <para> |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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1326 In order to turn mixed progressive and telecine video into entirely |
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1327 progressive video, the telecined parts have to be |
14734 | 1328 inverse-telecined. There are three ways to accomplish this, |
1329 described below. Note that you should | |
1330 <emphasis role="bold">always</emphasis> inverse-telecine before any | |
1331 rescaling; unless you really know what you're doing, | |
1332 inverse-telecine before cropping, too | |
1333 <link linkend="menc-feat-telecine-footnotes">[1]</link>. | |
14958 | 1334 <option>-ofps 24000/1001</option> is needed here because the output video |
1335 will be 24000/1001 frames per second. | |
11905
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|
1336 </para> |
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|
1337 |
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|
1338 <itemizedlist> |
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|
1339 <listitem><para> |
14734 | 1340 <option>-vf pullup</option> is designed to inverse-telecine |
1341 telecined material while leaving progressive data alone. In order to | |
1342 work properly, <option>pullup</option> <emphasis role="bold">must</emphasis> | |
1343 be followed by the <option>softskip</option> filter or | |
1344 else <application>MEncoder</application> will crash. | |
1345 <option>pullup</option> is, however, the cleanest and most | |
1346 accurate method available for encoding both telecine and | |
1347 "mixed progressive and telecine". | |
1348 | |
14958 | 1349 <screen>mencoder dvd://1 -nosound -vf pullup,softskip -ovc lavc -ofps 24000/1001</screen> |
14734 | 1350 </para> |
1351 | |
1352 | |
1353 </listitem> | |
1354 <listitem><para> | |
1355 An older method | |
11905
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|
1356 is to, rather than inverse-telecine the telecined parts, telecine |
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|
1357 the non-telecined parts and then inverse-telecine the whole |
11913 | 1358 video. Sound confusing? softpulldown is a filter that goes through |
11905
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1359 a video and makes the entire file telecined. If we follow |
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|
1360 softpulldown with either <option>detc</option> or |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1361 <option>ivtc</option>, the final result will be entirely |
14958 | 1362 progressive. <option>-ofps 24000/1001</option> is needed. |
11905
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1363 |
14958 | 1364 <screen>mencoder dvd://1 -nosound -vf softpulldown,ivtc=1 -ovc lavc -ofps 24000/1001</screen> |
11905
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1365 </para> |
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|
1366 </listitem> |
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|
1367 |
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|
1368 <listitem><para> |
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1369 I haven't used <option>-vf filmdint</option> myself, but here's what |
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|
1370 D Richard Felker III has to say: |
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|
1371 |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1372 <blockquote><para>It's OK, but IMO it tries to deinterlace rather |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1373 than doing inverse telecine too often (much like settop DVD |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1374 players & progressive TVs) which gives ugly flickering and |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1375 other artefacts. If you're going to use it, you at least need to |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1376 spend some time tuning the options and watching the output first |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1377 to make sure it's not messing up.</para></blockquote> |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1378 </para></listitem> |
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|
1379 </itemizedlist> |
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|
1380 </sect3> |
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|
1381 |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1382 <sect3 id="menc-feat-telecine-encode-mixedpi"> |
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|
1383 <title>Mixed progressive and interlaced</title> |
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|
1384 <para> |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1385 There are two options for dealing with this category, each of |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1386 which is a compromise. You should decide based on the |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1387 duration/location of each type. |
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|
1388 </para> |
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|
1389 |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1390 <itemizedlist> |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1391 <listitem><para> |
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|
1392 Treat it as progressive. The interlaced parts will look interlaced, |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1393 and some of the interlaced fields will have to be dropped, resulting |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1394 in a bit of uneven jumpiness. You can use a postprocessing filter if |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1395 you want to, but it may slightly degrade the progressive parts. |
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|
1396 </para> |
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|
1397 |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1398 <para> |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1399 This option should definitely not be used if you want to eventually |
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|
1400 display the video on an interlaced device (with a TV card, for |
14958 | 1401 example). If you have interlaced frames in a 24000/1001 frames per |
11905
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|
1402 second video, they will be telecined along with the progressive |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1403 frames. Half of the interlaced "frames" will be displayed for three |
14958 | 1404 fields' duration (3/(60000/1001) seconds), resulting in a flicking |
11905
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1405 "jump back in time" effect that looks quite bad. If you |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1406 even attempt this, you <emphasis role="bold">must</emphasis> use a |
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|
1407 deinterlacing filter like <option>lb</option> or |
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|
1408 <option>l5</option>. |
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1409 </para> |
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|
1410 |
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|
1411 <para> |
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1412 It may also be a bad idea for progressive display, too. It will drop |
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1413 pairs of consecutive interlaced fields, resulting in a discontinuity |
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|
1414 that can be more visible than with the second method, which shows |
14958 | 1415 some progressive frames twice. 30000/1001 frames per second interlaced |
11905
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|
1416 video is already a bit choppy because it really should be shown at |
14958 | 1417 60000/1001 fields per second, so the duplicate frames don't stand out as |
11905
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|
1418 much. |
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|
1419 </para> |
12758
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|
1420 |
11905
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|
1421 <para> |
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1422 Either way, it's best to consider your content and how you intend to |
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|
1423 display it. If your video is 90% progressive and you never intend to |
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1424 show it on a TV, you should favor a progressive approach. If it's |
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1425 only half progressive, you probably want to encode it as if it's all |
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1426 interlaced. |
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|
1427 </para> |
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|
1428 </listitem> |
12758
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|
1429 |
11905
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|
1430 <listitem><para> |
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1431 Treat it as interlaced. Some frames of the progressive parts will |
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1432 need to be duplicated, resulting in uneven jumpiness. Again, |
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1433 deinterlacing filters may slightly degrade the progressive parts. |
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|
1434 </para></listitem> |
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|
1435 |
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|
1436 </itemizedlist> |
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|
1437 </sect3> |
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|
1438 |
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|
1439 </sect2> |
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1440 |
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|
1441 <sect2 id="menc-feat-telecine-footnotes"> |
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1442 <title>Footnotes</title> |
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1443 <orderedlist> |
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1444 <listitem><formalpara> |
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1445 <title>About cropping:</title> |
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1446 <para> |
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|
1447 Video data on DVDs are stored in a format called YUV 4:2:0. In YUV |
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1448 video, luma ("brightness") and chroma ("color") |
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|
1449 are stored separately. Because the human eye is somewhat less |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1450 sensitive to color than it is to brightness, in a YUV 4:2:0 picture |
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|
1451 there is only one chroma pixel for every four luma pixels. In a |
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|
1452 progressive picture, each square of four luma pixels (two on each |
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|
1453 side) has one common chroma pixel. You must crop progressive YUV |
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|
1454 4:2:0 to even resolutions, and use even offsets. For example, |
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1455 <option>crop=716:380:2:26</option> is OK but |
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|
1456 <option>crop=716:380:3:26 </option> is not. |
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|
1457 </para> |
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|
1458 </formalpara> |
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|
1459 |
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|
1460 <para> |
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|
1461 When you are dealing with interlaced YUV 4:2:0, the situation is a |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1462 bit more complicated. Instead of every four luma pixels in the |
11913 | 1463 <emphasis>frame</emphasis> sharing a chroma pixel, every four luma |
11905
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|
1464 pixels in each <emphasis> field</emphasis> share a chroma |
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|
1465 pixel. When fields are interlaced to form a frame, each scanline is |
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|
1466 one pixel high. Now, instead of all four luma pixels being in a |
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|
1467 square, there are two pixels side-by-side, and the other two pixels |
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|
1468 are side-by-side two scanlines down. The two luma pixels in the |
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Telecine HOWTO by Corey Hickey <bugfood-ml@fatooh.org>, some modifications
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|
1469 intermediate scanline are from the other field, and so share a |
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|
1470 different chroma pixel with two luma pixels two scanlines away. All |
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|
1471 this confusion makes it necessary to have vertical crop dimensions |
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|
1472 and offsets be multiples of four. Horizontal can stay even. |
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|
1473 </para> |
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|
1474 |
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|
1475 <para> |
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|
1476 For telecined video, I recommend that cropping take place after |
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|
1477 inverse telecining. Once the video is progressive you only need to |
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|
1478 crop by even numbers. If you really want to gain the slight speedup |
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|
1479 that cropping first may offer, you must crop vertically by multiples |
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|
1480 of four or else the inverse-telecine filter won't have proper data. |
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|
1481 </para> |
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|
1482 |
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|
1483 <para> |
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|
1484 For interlaced (not telecined) video, you must always crop |
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|
1485 vertically by multiples of four unless you use <option>-vf |
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|
1486 field</option> before cropping. |
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|
1487 </para> |
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|
1488 </listitem> |
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|
1489 |
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|
1490 <listitem><formalpara> |
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1491 <title>About encoding parameters and quality:</title> |
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1492 <para> |
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1493 Just because I recommend <option>mbd=2</option> here doesn't mean it |
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1494 shouldn't be used elsewhere. Along with <option>trell</option>, |
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1495 <option>mbd=2</option> is one of the two |
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|
1496 <systemitem class="library">libavcodec</systemitem> options that |
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1497 increases quality the most, and you should always use at least those |
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|
1498 two unless the drop in encoding speed is prohibitive (e.g. realtime |
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1499 encoding). There are many other options to |
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|
1500 <systemitem class="library">libavcodec</systemitem> that increase |
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|
1501 encoding quality (and decrease encoding speed) but that is beyond |
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|
1502 the scope of this document. |
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1503 </para> |
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1504 </formalpara> |
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1505 </listitem> |
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1506 |
14734 | 1507 <listitem><formalpara> |
1508 <title>About the performance of pullup:</title> | |
1509 <para> | |
1510 It is safe to use <option>pullup</option> (along with <option>softskip | |
1511 </option>) on progressive video, and is usually a good idea unless | |
1512 the source has been definitively verified to be entirely progressive. | |
1513 The performace loss is small for most cases. On a bare-minimum encode, | |
1514 <option>pullup</option> causes <application>MEncoder</application> to | |
1515 be 50% slower. Adding sound processing and advanced <option>lavcopts | |
14828
37112d48fb50
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1516 </option> overshadows that difference, bringing the performance |
14734 | 1517 decrease of using <option>pullup</option> down to 2%. |
1518 </para> | |
1519 </formalpara> | |
1520 </listitem> | |
1521 | |
11905
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|
1522 </orderedlist> |
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1523 |
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|
1524 </sect2> |
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1525 |
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|
1526 </sect1> |
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1527 |
9675 | 1528 </chapter> |