Mercurial > mplayer.hg
changeset 25279:2838dc7a68f3
initial submit for revision... 24% synced with r22753
| author | ptt |
|---|---|
| date | Wed, 05 Dec 2007 19:06:12 +0000 |
| parents | b037a816be70 |
| children | 31a93c970bdd |
| files | DOCS/xml/it/encoding-guide.xml |
| diffstat | 1 files changed, 5326 insertions(+), 0 deletions(-) [+] |
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--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/DOCS/xml/it/encoding-guide.xml Wed Dec 05 19:06:12 2007 +0000 @@ -0,0 +1,5326 @@ +<?xml version="1.0" encoding="utf-8"?> +<!-- 24% synced with r22753 --> +<chapter id="encoding-guide"> +<title>La codifica con <application>MEncoder</application></title> + +<sect1 id="menc-feat-dvd-mpeg4"> +<title>Produrre un rip di un film da DVD in un + MPEG-4 ("DivX") di alta qualità</title> + +<para> +Una domanda frequente è "Come posso generare il rip con la migliore quallità +per una dimensione data?". Un'altra domanda è "Come posso fare il rip da DVD +migliore in assoluto? Non mi interessa la dimensione del file, voglio solo la +più alta qualità." +</para> + +<para> +L'ultima domanda è perlomeno forse posta malamente. Dopo tutto, se non ti +interessa la dimensione del file, perché non ti copi semplicemente l'intero +flusso video MPEG-2 dal DVD? Certo, avrai un AVI di 5GB, prendere o lasciare, +ma se vuoi la miglior qualità e non ti importa della dimensione, è +sicuramente la scelta migliore. +</para> + +<para> +Invero, la ragione per cui vuoi codificare un DVD in MPEG-4 è proprio perché +ti interessa <emphasis role="bold">davvero</emphasis> la dimensione del file. +</para> + +<para> +E' difficile offrire una ricetta da libro su come generare un rip da DVD in +qualità molto alta. Bisogna considerare vari fattori, e dovresti comprendere +questi dettagli, altrimenti alla fine probabilmente sarai insoddisfatto del +risultato. Più sotto evidenziamo alcuni di questi argomenti e poi passiamo ad +esaminare un esempio. Partiamo dal principio che per codificare il video tu +stia usando <systemitem class="library">libavcodec</systemitem> anche se la +teoria si applica allo stesso modo agli altri codec. +</para> + +<para> +Se questo ti sembra troppo, dovresti probabilmente usare una delle belle +interfacce elencate nella +<ulink url="http://www.mplayerhq.hu/design7/projects.html#mencoder_frontends">sezione su MEncoder</ulink> +nella pagina dei progetti collegati (related projects). +In tal modo riuscirai ad ottenere rip di alta qualità senza pensarci troppo, +dato che la maggior parte di questi strumenti sono progettati per prendere +decisioni sagge al tuo posto. +</para> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-preparing-encode"> +<title>Prepararsi alla codifica: identificare il materiale sorgente e la frequenza fotogrammi (framerate)</title> + +<para> +Prima ancora di pensare a codificare un film, devi fare alcuni passi +preliminari. +</para> + +<para> +Il primo e più importante passo prima della codifica dovrebbe essere +determinare il tipo di contenuto che stai trattando. +Se il tuo materiale di partenza arriva da un DVD o da TV in +broadcast/via cavo/satellite, sarà salvato in uno dei due formati: NTSC per +il Nord America e il Giappone, PAL per l'Europa, etc... +E' importante tuttavia comprendere che questo è solo il formato per la +trasmissione in televisione, e spesso <emphasis role="bold">non</emphasis> +corrisponde al formato originario del film. +L'esperienza insegna che il materiale NTSC è molto più difficile da +codificare, perché ci sono più elementi da identificare nel sorgente. +Per generare una codifica adeguata, devi sapere il formato originario. +Il non tenerne conto porterà a molti __flaws__ nella tua codifica, inclusi +artefatti orrendi __combing__ (interlacing) e fotogrammi duplicati o addirittura +perduti. +Oltre ad essere brutti, gli artefatti influenzano negativamente l'efficenza +della codifica: otterrai una peggior qualità a parità di bitrate. +</para> + + +<sect3 id="menc-feat-dvd-mpeg4-preparing-encode-fps"> +<title>Identificare la frequenza fotogrammi (framerate) del sorgente</title> + +<para> +C'è qui un elenco di tipi comuni di materiale sorgente, dove facilmente si +trovano e le loro proprietà: +</para> + +<itemizedlist> +<listitem><para> + <emphasis role="bold">Film standard</emphasis>: prodotti per la visione + su schermi da cinema a 24fps. +</para></listitem> +<listitem><para> + <emphasis role="bold">Video PAL</emphasis>: registrati con una videocamera + PAL a 50 campi al secondo. + Un campo è composto dalle sole linee pari o dispari di un fotogramma. + La televisione è stata progettata per aggiornarle alternativamente come un + metodo economico di compressione analogica. + L'occhio umano teoricamente compensa la cosa, ma una volta che capisci come + funziona l'interlacciatura imparerai a vederla anche in TV e non ti piacerà + più la TV. + Due campi <emphasis role="bold">non</emphasis> fanno un fotogramma intero, + poiché sono registrati a 1/50 di secondo di distanza nel tempo e quindi non + si allineano a meno che non ci sia movimento alcuno. +</para></listitem> +<listitem><para> + <emphasis role="bold">Video NTSC</emphasis>: registrati con una videocamera + NTSC a 60000/1001 campi al secondi, o 60 campi al secondo nell'era precedente + al colore. + Per il resto sono simili ai PAL. +</para></listitem> +<listitem><para> + <emphasis role="bold">Animazione</emphasis>: solitamente disegnati a 24fps, + ma se ne trovano anche in tipologie con frequenza di fotogrammi mista. +</para></listitem> +<listitem><para> + <emphasis role="bold">Computer Graphics (CG)</emphasis>: possono essere con + qualsiasi frequenza di fotogrammi, ma alcuni sono più comuni di altri; + sono tipici 24 e 30 fotogrammi al secondo per NTSC e 25fps per PAL. +</para></listitem> +<listitem><para> + <emphasis role="bold">Vecchi Film</emphasis>: varie e più basse frequenze di + fotogrammi. +</para></listitem> +</itemizedlist> +</sect3> + + +<sect3 id="menc-feat-dvd-mpeg4-preparing-encode-material"> +<title>Identificare il materiale sorgente</title> + +<para> +I film composti da fotogrammi sono indicati come "progressivi", mentre quelli +composti da campi indipendenti sono chiamati "interlacciati" o video - anche se +quest'ultimo termine è ambiguo. +</para> + +<para> +Per complicare ulteriormente le cose, alcuni film possono essere un misto di +molti dei suddetti. +</para> + +<para> +La più importante distinzione da farsi tra tutti questi formati è che alcuni +sono basati su fotogrammi mentre gli altri sono basati su campi. +<emphasis role="bold">Ogniqualvolta</emphasis> un film viene preparato per la +visualizzazione in televisione (DVD inclusi), viene convertito in un formato +basato su campi. +I vari metodi con cui si può fare sono conosciuti nel loro insieme come +"telecine", di cui il tristemente famoso "3:2 pulldown" NTSC è una tipologia. +A meno che il materiale originale sia anch'esso basato su campi (e con la stessa +frequenza di campi) otterrai un filmato in un formato diverso da quello che è +in origine. +</para> + +<itemizedlist> +<title>Ci sono vari tipi usuali di "pulldown":</title> +<listitem><para> + <emphasis role="bold">Pulldown PAL 2:2</emphasis>: il più bello di tutti. + Ciascun fotogramma viene mostrato per la durata di due campi, estraendo le + linee pari e dispari e mostrandole alternativamente. + Se il materiale di origine è a 24fps questo processo velocizza il filmato + del 4%. +</para></listitem> +<listitem><para> + <emphasis role="bold">Pulldown PAL 2:2:2:2:2:2:2:2:2:2:2:3</emphasis>: + Ogni dodicesimo fotogramma viene mostrato per la durata di tre campi, invece + che solamente per due. + Questo evita il problema dell'aumento del 4% di velocità, ma rende il + processo molto più difficile da __reversare__. + Solitamente viene usato nelle produzioni musicali, dove modificare del 4% la + velocità rovinerebbe pesantemente la colonna sonora. +</para></listitem> +<listitem><para> + <emphasis role="bold">Telecine NTSC 3:2</emphasis>: i fotogrammi vengono + mostrati alternativamente per la durata di 3 o 2 campi. + Questo porta ad una frequenza di campi di 2.5 volte la frequenza orginaria. + Il risultato viene anche leggermente rallentato da 60 campi al secondo fino a + 60000/1001 campi al secondo, per mantenere la frequenza dei campi di NTSC. +</para></listitem> +<listitem><para> + <emphasis role="bold">Pulldown NTSC 2:2</emphasis>: utilizzato per mostrare + materiale a 30fps su NTSC. + Carino, proprio come il pulldown PAL 2:2. +</para></listitem> +</itemizedlist> + +<para> +Ci sono anche alcuni metodi per convertire tra video NTSC e PAL, ma gli +arogmenti relativi non sono obiettivo di questa guida. +Se ti trovi di fronte a un film di questo genere e lo vuoi codificare, la tua +scelta migliore è cercarne una copia nel formato originale. +La conversione tra questi due formati è altamente distruttiva e non può +essere __reversed__ in maniera pulita, perciò la tua codifica __soffrirà__ +molto se eseguita da una sorgente convertita. +</para> + +<para> +Quando il video viene salvato du un DVD, coppie consecutive di campi sono +raggruppati in un fotogramma, anche se non sono pensati per esser mostrati +nello stesso momento. +Lo standard MPEG-2 usato sui DVD e per la TV digitale fornisce un modo sia per +codificare i fotogrammi progressivi originali, che uno per memorizzare +nell'intestazione del fotogramma il numero dei campi per cui il fotogramma +stesso debba essere mostrato. +Se viene usato questo metodo il filmato verrà spesso indicato come +"soft telecine", visto che il procedimento indica semplicemente al lettore DVD +di applicare il pulldown al film, invece che modificare il film stesso. +Questa situazione è decisamente preferibile, dato che può essere facilmente +__reversed__ (__actually ignored__) dal condificatore, e dato che mantiene la +massima qualità. +Tuttavia, molti studi di produzione DVD e di trasmissione non usano tecniche di +codifica appropriate, ma al contrario producono filmati con "hard telecine", in +cui i campi sono sotanzialmente duplicati nell'MPEG-2 codificato. +</para> + +<para> +Le modalità per gestire questi casi verranno descritte +<link linkend="menc-feat-telecine">più avanti in questa guida</link>. +Per adesso ti lasciamo alcune indicazioni su come identificare il tipo di +materiale che stai trattando: +</para> + +<itemizedlist> +<title>Regioni NTSC:</title> +<listitem><para> + Se <application>MPlayer</application> dice che la frequenza fotogrammi passa + a 24000/1001 durante la visione del film e non ritorna come prima, è quasi + sicuramente un qualche contenuto progressivo che è stato modificato in + "soft telecine". +</para></listitem> +<listitem><para> + Se <application>MPlayer</application> dice che la frequenza fotogrammi va + avanti e indietro tra 24000/1001 e 30000/1001 e ogni tanto vedi delle "righe", + allora ci sono varie possibilità. + Le parti a 24000/1001 fps sono quasi certamente contenuto progressivo, in + "soft telecine", ma le parti a 30000/1001 fps possono essere sia contenuto in + "hard telecine" a 24000/1001 fps che video NTSC a 60000/1001 campi al secondo. + Usa le stesse linee guida dei due casi seguenti per determinare quale. +</para></listitem> +<listitem><para> + Se <application>MPlayer</application> non mostra mai una modifica alla + frequenza dei fotogrammi e ogni singolo fotogramma con del movimento appare + "rigato", il tuo filmato è video NTSC a 60000/1001 campi al secondo. +</para></listitem> +<listitem><para> + Se <application>MPlayer</application> non mostra mai una modifica alla + frequenza dei fotogrammi e due fotogrammi ogni cinque sono "rigati", il tuo + film è contenuto a 24000/1001fps in "hard telecine". +</para></listitem> +</itemizedlist> + +<itemizedlist> +<title>Regioni PAL:</title> +<listitem><para> + Se non vedi mai alcuna "riga", il tuo film è pulldown 2:2. +</para></listitem> +<listitem><para> + Se vedi delle "righe" che vanno e vengono ogni mezzo secondo, + allora il tuo film è pulldown 2:2:2:2:2:2:2:2:2:2:2:3. +</para></listitem> +<listitem><para> + Se vedi sempre "righe" durante il movimento, allora il tuo film è video + PAL a 50 campi al secondo. +</para></listitem> +</itemizedlist> + +<note><title>Consiglio:</title> +<para> + <application>MPlayer</application> può rallentare la riproduzione del film + con l'opzione -speed o riprodurlo fotogramma per fotogramma. + Prova ad usare <option>-speed</option> 0.2 per guardare molto lentamente il + film o premi ripetutamente il tasto "<keycap>.</keycap>" per riprodurre un + fotogramma per volta ed identificare la sequenza, se non riesci a vederla a + velocità normale. +</para> +</note> +</sect3> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-2pass"> +<title>Quantizzatore costante vs. multipassaggio</title> + +<para> +E' possibile codificare il filmato in un'ampia gamma di qualità. +Con i codificatori video moderni e un pelo di compressione pre-codec +(ridimensionando e ripulendo), è possibile raggiungere una qualità molto +buona in 700 MB, per un film di 90-110 minuti in widescreen. +Inoltre tutti i film tranne i più lunghi possono essere codificati con una +qualità pressoché perfetta in 1400 MB. +</para> + +<para> +Ci sono tre approcci per codificare il video: bitrate costante (CBR), +quantizzatore costante, e multipassaggio (ABR, o bitrate medio). +</para> + +<para> +La complessità dei fotogrammi di un filmato, e di conseguenza il numero di +bit necessari per comprimerli, può variare molto da una scena ad un'altra. +I codificatori video moderni possono adattarsi via via a queste necessità +e cambiare il bitrate. +In modalità semplici come CBR, tuttavia, i codificatori non sanno il bitrate +necessario alle scene venture e perciò non possono stare sopra al bitrate +richiesto per lunghi periodi di tempo. +Modalità più avanzate, come la codifica in multipassaggio, possono tener +conto delle statistiche del passo precedente; questo corregge il problema +suddetto. +</para> + +<note><title>Nota:</title> +<para> +La maggior parte dei codec che gestisce la codifica in ABR può usare solo la +codifica a due passaggi mentre altri come +<systemitem class="library">x264</systemitem>, +<systemitem class="library">Xvid</systemitem> e +<systemitem class="library">libavcodec</systemitem> gestiscono il +multipassaggio, che migliora leggermente la qualità ad ogni passo, anche se +tale moglioramento non è più misurabile né visibile veramente oltre il +quarto passo o giù di lì. +Perciò in questa sezione due passaggi e multipassaggio avranno lo stesso +significato. +</para> +</note> + +<para> +In ambedue i modi, il codec video (come +<systemitem class="library">libavcodec</systemitem>) spezza il fotogramma video +in macroblocchi da 16x16 pixel e poi applica un quantizzatore a ciascun +macroblocco. Più basso è il quantizzatore, migliore sarà la qualità e +più alto il bitrate. +Il metodo usato dal codificatore del filmato per determinare quale quantizzatore +utilizzare per un dato macroblocco varia ed è altamente configurabile. +(Questa è una semplificazione estrema del vero processo, ma il concetto di base +è comodo per capire.) +</para> + +<para> +Quando specifichi un bitrate constante, il codec video codificherà il video, +scartando dettagli tanto quanto è necessario e il meno possibile, in modo da +rimanere al di sotto del bitrate voluto. Se non ti interessa davvero la +dimensione del file, potresti anche usare CBR e specificare un bitrate +infinito. (In pratica, questo significa un valore abbastanza alto da non porre +limiti, come 10000Kbit.) Con nessun limite sul bitrate, il risultato è che il +codec userà il quantizzatore più basso possibile per ciascun macroblocco +(come specificato da <option>vqmin</option> per +<systemitem class="library">libavcodec</systemitem>, che è 2 di default). +Appena specifichi un bitrate abbastanza basso tale che il codec venga forzato +ad utilizzare un quantizzatore più alto, allora stai sicuramente diminuendo la +qualità del tuo video. +Per evitarlo, dovresti probabilmente ridurre la dimensione del tuo video, +seguendo il metodo descritto più avanti in questa guida. +In generale dovresti evitare del tutto CBR se ti interessa la qualità. +</para> + +<para> +Con il quantizzatore costante, il codec utilizza lo stesso quantizzatore per +ogni macroblocco, come specificato dall'opzione <option>vqscale</option> (per +<systemitem class="library">libavcodec</systemitem>). +Se vuoi la più alta qualità possibile di rip, sempre ignorantdo il bitrate, +puoi usare <option>vqscale=2</option>. +Ciò porterà gli stessi bitrate e PSNR (peak signal-to-noise ratio) come CBR +con <option>vbitrate</option>=infinito e <option>vqmin</option> di default a 2. +</para> + +<para> +Il problema con la quantizzazione costante è che usa il quantizzatore indicato +sia che il macroblocco ne abbia bisogno o no. Perciò è possibile che venga +usato un quantizzatore più alto su un macroblocco senza sacrificare la +qualità visiva. Perché sprecare i bit di un quantizzatore basso che non +serve? La tua CPU ha tanti cicli fin quando c'è tempo, ma c'è solo un certo +numero di bit sul tuo disco rigido. +</para> + +<para> +Con una codifica a due passi, il primo codificherà il filmato come se fosse +CBR, ma manterrà una registrazione delle caratteristiche di ogni fotogramma. +Questi dati sono poi utilizzati durante il secondo passo in modo da effettuare +scelte intelligenti su quale quantizzatore usare. Durante le scene con azione +veloce o molti dettagliate, verrano usati più probabilmente quantizzatori più +alti, e durante scene lente o con pochi dettagli, verranno usati quantizzatori +più bassi. Solitamente è molto più importante la quantità di movimento +che la quantità di dettagli. +</para> + +<para> +Se usi <option>vqscale=2</option>, allora stai sprecando dei bit. Se usi +<option>vqscale=3</option>, allora non stai ottenendo la miglior qualità. +Supponi di rippare un DVD a <option>vqscale=3</option> e che il risultato sia +1800Kbit. Se fai una codifica a due passi con <option>vbitrate=1800</option> il +video risultante avrà una <emphasis role="bold">qualità superiore</emphasis> +a <emphasis role="bold">parità di bitrate</emphasis>. +</para> + +<para> +Dato che ora sei convinto che i due passaggi siano la strada da percorrere, la +vera domanda adesso è quale bitrate usare? La risposta à che non c'è una +risposta definitiva. Idealmente vuoi scegliere un bitrate che porti al miglior +equilibrio tra qualità e dimensione del file. Tutto ciò varia in dipendenza +del video di origine. +</para> + +<para> +Se la dimensione non è importante, un buon punto di partenza per un rip di +qualità molto elevata è intorno a 2000Kbit più o meno 200Kbit. +Per video con scene di azione veloce o con molti dettagli, oppure se +semplicemente hai l'occhio critico, potresti scegliere 2400 o 2600. +Per alcuni DVD potresti non notare alcuna differenza a 1400Kbit. Sperimentare +con alcune scene a vari bitrate è una buona idea per farsi un'opinione. +</para> + +<para> +Se punti a una data dimensione, dovrai calcolare il bitrate in un qualche modo. +Prima di farlo, però, devi sapere quanto spazio devi riservare per la traccia +(le tracce) audio, per cui devi dapprima fare il +<link linkend="menc-feat-dvd-mpeg4-audio">rip di queste</link>. +Puoi calcolare il bitrate con l'equazione che segue: +<systemitem>bitrate = (dimensione_voluta_in_Mbytes - dimensione_audio_in_Mbytes) +* 1024 * 1024 / lunghezza_in_secondi * 8 / 1000</systemitem> +Per esempio, per far stare un film di due ore su un CD da 702MB, con 60MB di +traccia audio, il bitrate video diventerà: +<systemitem>(702 - 60) * 1024 * 1024 / (120*60) * 8 / 1000 += 740kbps</systemitem> +</para> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-constraints"> +<title>Vincoli per una codifica efficiente</title> + +<para> +A causa della natura del tipo di compressione MPEG, ci sono alcuni vincoli da +seguire per avere la massima qualità. +L'MPEG divide il video in quadrati da 16x16 chiamati macroblocchi, ciascuno di +essi composto da blocchi 4x4 con informazioni sulla luminanza (intensità) e +due blocchi da 8x8 a metà risoluzione per la crominanza (colore) (uno per +l'asse rosso-ciano e l'altro per l'asse blu-giallo). +Anche se la larghezza e l'altezza del tuo filmato non sono multipli di 16 il +codificatore userà tanti macroblocchi 16x16 in modo da coprire tutta la +superficie dell'immagine, e lo spazio in esubero sarà sprecato. +Indi, per migliorare la qualità a una dimensione prefissata è una brutta +idea utilizzare dimensioni che non siano multiple di 16. +</para> + +<para> +La maggior parte dei DVD ha anche alcune con bordi neri sui lati. Lasciarli lì +avrà un'influenza <emphasis role="bold">molto</emphasis> negativa sulla +qualità in svariati modi. +</para> + +<orderedlist> +<listitem> + <para> + Il tipo di compressione MPEG è pesantemente dipendente dalle trasformazioni + di dominio frequenti, in particolare la "trasformazione discreta del coseno" + (Discrete Cosine Transform (DCT)), che xxièe' simile alla trasformazione di + Fourier. Quest'approccio di codifica è efficiente nella rappresentazione di + motivi e transizioni delicate, ma trova difficoltà con spigoli più + definiti. Per codificarli deve usare molti più bit oppure apparirà un + artefatto conosciuto come 'ringing'. + </para> + + <para> + La trasformazione di frequenza (DCT) prende luogo separatemente in ogni + macroblocco (praticamente in ogni blocco) perciò questo problema si applica + solo quando lo spigolo definito è dentro a un blocco. Se il bordo nero inizia + esattamente sul lato di un multiplo di 16, questo non e' un problema. + Tuttavia i bordi neri sui DVD difficilmente sono ben allineati, perciò + nella realtà dovrai sempre tagliarli via per evitare questi problemi. + </para> +</listitem> +</orderedlist> + +<para> +Oltre alle trasformazioni del dominio di frequenza, il tipo di compressione +MPEG usa dei vettori di movimento per rappresetare le variazioni da un +fotogramma al successivo. Naturalmente i vettori di movimento funzionano molto +meno bene per i nuovi contenuti che arrivano dai bordi dell'immagine, dato che +non erano presenti nel fotogramma precedente. Fintanto che l'immagine arriva +fino al bordo dell'area codificata, i vettori di movimento non incontrano +alcun problema con li contenuto che esce dall'immagine. Tuttavia ci possono +esser problemi quando ci sono dei bordi neri: +</para> + +<orderedlist continuation="continues"> +<listitem> + <para> + Per ogni macroblocco il tipo di compressione MPEG memorizza un vettore, che + identifica quale parte del fotogramma precedente debba essere copiata nel + macroblocco stesso, come base per predire il fotogramma successivo. Serve + codificare solo le differenze restanti. Se un macroblocco oltrepassa il + bordo dell'immagine e contiene parte del bordo nero, allora i vettori di + movimento provenienti da altre zone dell'immagine ricopriranno il bordo + nero. Questo significa che si devono utilizzare molti bit o per riannerire il + bordo che è stato ricoperto, oppure (più verosimilmente) un vettore di + movimento non sarà proprio usato e tutti i cambiamenti in questo + macroblocco dovranno venir esplicitamente codificate. In un modo o nell'altro + si ricuce di gran lunga l'efficienza della codifica. + </para> + + <para> + Inoltre questo problema si applica solo se i bordi neri non sono allinati + su limiti di multipli di 16. + </para> +</listitem> + +<listitem> + <para> + Immagina infine di avere un macroblocco all'interno dell'immagine, ed un + oggetto che passa da questo blocco verso il bordo dell'immagine. La + codifica MPEG non può dire "copia la parte che è dentro all'immagine, ma + non il bordo nero". Perciò anche il bordo nero vi verrà copiato + all'interno, e molti bit saranno sprecati codificando l'immagine che si + suppone stia lì. + </para> + + <para> + Se l'immagine arriva al limite della superficie codificata, l'MPEG ha una + particolare ottimizzazione che consta nel copiare ripetutamente i pixel sul + bordo dell'immagine quando un vettore di movimento arriva dall'esterno della + superficie codificata. Questa funzionalità diventa inutile quando il film + ha dei bordi neri. Diversamente dai problemi 1 e 2, allineare i bordi a + multipli di 16 in questo caso non aiuta. + </para> +</listitem> + +<listitem><para> + A dispetto del fatto che i bordi siano completamente neri e non cambino mai, + c'è perlomeno un piccolo spreco nell'avere più macroblocchi. +</para></listitem> +</orderedlist> + +<para> +Per tutte queste ragioni si consiglia di tagliar via completamente i bordi neri. +Inoltre, se c'è una zona di rumore/distorsione sui bordi dell'immagine, +tagliarla migliorerà ancora l'efficienza di codifica. I puristi videofili che +vogliono mantenere il più possibile l'originale potrebbero obiettare su questo +taglio, ma a meno di non codificare a una quantizzazione costante, la qualità +guadagnata tagliando sorpasserà di gran lunga la quantità di informazioni +perse sui bordi. +</para> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-crop"> +<title>Tagliare e Ridimensionare</title> + +<para> +Ricorda dalla sezione precedente che la dimensione finale dell'immagine che +codifichi dovrebbe essere un multiplo di 16 (sia in larghezza che altezza). +Si può ottenere ciò tagliando, ridimensionando o combinando le due cose. +</para> + +<para> +Quando tagli, ci sono alcune linee guida che si devono seguire per evitare di +rovinare il tuo filmato. +Il formato YUV abituale, 4:2:0, memorizza le informazioni sulla crominanza +(colore) sottocampionate, per es. la crominanza viene campionata in ogni +direzione solo la metà di quanto venga la luminanza (intensità). +Osserva questo diagramma, dove L indica i punti di campionamente della +luminanza e C quelli della crominanza. +</para> + +<informaltable> +<?dbhtml table-width="40%" ?> +<?dbfo table-width="40%" ?> +<tgroup cols="8" align="center"> +<colspec colnum="1" colname="col1"/> +<colspec colnum="2" colname="col2"/> +<colspec colnum="3" colname="col3"/> +<colspec colnum="4" colname="col4"/> +<colspec colnum="5" colname="col5"/> +<colspec colnum="6" colname="col6"/> +<colspec colnum="7" colname="col7"/> +<colspec colnum="8" colname="col8"/> +<spanspec spanname="spa1-2" namest="col1" nameend="col2"/> +<spanspec spanname="spa3-4" namest="col3" nameend="col4"/> +<spanspec spanname="spa5-6" namest="col5" nameend="col6"/> +<spanspec spanname="spa7-8" namest="col7" nameend="col8"/> + <tbody> + <row> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + </row> + <row> + <entry spanname="spa1-2">C</entry> + <entry spanname="spa3-4">C</entry> + <entry spanname="spa5-6">C</entry> + <entry spanname="spa7-8">C</entry> + </row> + <row> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + </row> + <row> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + </row> + <row> + <entry spanname="spa1-2">C</entry> + <entry spanname="spa3-4">C</entry> + <entry spanname="spa5-6">C</entry> + <entry spanname="spa7-8">C</entry> + </row> + <row> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + </row> + </tbody> +</tgroup> +</informaltable> + +<para> +Come puoi vedere, le righe e le colonne dell'immagine vengono sempre a coppie. +Quindi i tuoi valori di spostamento e dimensione <emphasis>devono</emphasis> +essere numeri pari. +Se non lo sono la crominanza non sarà più allineata correttamente con la +luminanza. +In teoria è possibile tagliare con uno spostamento dispari, ma richiede che la +crominanza venga ricampionata, il che potenzialmente è un'operazione in perdita +e non è gestita dal filtro crop. +</para> + +<para> +Inoltre, il video interlacciato viene campionato come segue: +</para> + +<informaltable> +<?dbhtml table-width="80%" ?> +<?dbfo table-width="80%" ?> +<tgroup cols="16" align="center"> +<colspec colnum="1" colname="col1"/> +<colspec colnum="2" colname="col2"/> +<colspec colnum="3" colname="col3"/> +<colspec colnum="4" colname="col4"/> +<colspec colnum="5" colname="col5"/> +<colspec colnum="6" colname="col6"/> +<colspec colnum="7" colname="col7"/> +<colspec colnum="8" colname="col8"/> +<colspec colnum="9" colname="col9"/> +<colspec colnum="10" colname="col10"/> +<colspec colnum="11" colname="col11"/> +<colspec colnum="12" colname="col12"/> +<colspec colnum="13" colname="col13"/> +<colspec colnum="14" colname="col14"/> +<colspec colnum="15" colname="col15"/> +<colspec colnum="16" colname="col16"/> +<spanspec spanname="spa1-2" namest="col1" nameend="col2"/> +<spanspec spanname="spa3-4" namest="col3" nameend="col4"/> +<spanspec spanname="spa5-6" namest="col5" nameend="col6"/> +<spanspec spanname="spa7-8" namest="col7" nameend="col8"/> +<spanspec spanname="spa9-10" namest="col9" nameend="col10"/> +<spanspec spanname="spa11-12" namest="col11" nameend="col12"/> +<spanspec spanname="spa13-14" namest="col13" nameend="col14"/> +<spanspec spanname="spa15-16" namest="col15" nameend="col16"/> + <tbody> + <row> + <entry namest="col1" nameend="col8">Campo superiore</entry> + <entry namest="col9" nameend="col16">Campo inferiore</entry> + </row> + <row> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + </row> + <row> + <entry spanname="spa1-2">C</entry> + <entry spanname="spa3-4">C</entry> + <entry spanname="spa5-6">C</entry> + <entry spanname="spa7-8">C</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + </row> + <row> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + </row> + <row> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + </row> + <row> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry spanname="spa9-10">C</entry> + <entry spanname="spa11-12">C</entry> + <entry spanname="spa13-14">C</entry> + <entry spanname="spa15-16">C</entry> + </row> + <row> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + </row> + <row> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + </row> + <row> + <entry spanname="spa1-2">C</entry> + <entry spanname="spa3-4">C</entry> + <entry spanname="spa5-6">C</entry> + <entry spanname="spa7-8">C</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + </row> + <row> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + </row> + <row> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + </row> + <row> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry spanname="spa9-10">C</entry> + <entry spanname="spa11-12">C</entry> + <entry spanname="spa13-14">C</entry> + <entry spanname="spa15-16">C</entry> + </row> + <row> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + <entry>L</entry> + </row> + </tbody> +</tgroup> +</informaltable> + +<para> +Come puoi notare, il motivo non si ripete fino a dopo 4 linee. +Quindi per il video interlacciato, il tuo spostamento sull'asse y e l'altezza +devono essere multipli di 4. +</para> + +<para> +La risoluzione nativa DVD è 720x480 per NTSC e 720x576 per PAL, ma c'è un +flag per l'aspetto che indica se è full-screen (4:3) o wide-screen (16:9). +Molti (se non quasi tutti) i DVD in widescreen non sono esattamente 16:9 e +possono essere sia 1.85:1 o 2.35:1 (cinescope). Questo significa che nel video +ci saranno bordi neri che bisogna tagliare via. +</para> + +<para> +<application>MPlayer</application> fornisce un filtro che rileva i valori di +taglio e fornisce il rettangolo per crop (<option>-vf cropdetect</option>). +Esegui <application>MPlayer</application> con <option>-vf cropdetect</option> ed +emetterà le impostazioni di taglio per crop al fine di rimuovere i bordi. +Dovresti lasciare andare avanti il film abbastanza da ottenere valori di taglio +precisi. +</para> + +<para> +Dopodiché prova con <application>MPlayer</application> i valori ottenuti usando +la linea comando emessa da <option>cropdetect</option>, e correggi il +rettangolo se e come serve. +Il filtro <option>rectangle</option> può esserti di aiuto, dato che ti +permette di impostare interattivamente la posizione del rettangolo di taglio +sopra al filmato. +Ricordati di seguire le linee guida sui multipli in modo da non disallineare +i piani di crominanza. +</para> + +<para> +In talune occasioni, il ridimensionamento può essere indesiderabile. +Il ridimensionamento sulla direzione verticale è difficoltoso con video +interlacciato e se vuoi mantenere l'interlacciamento, dovresti evitare il +ridimensionamento. +Se non ridimensionerai, ma vuoi comunque usare dimensioni multiple di 16, +dovrai tagliare di più. +Evita di tagliare di meno, dato che i bordi neri sono un male per la codifica! +</para> + +<para> +Dato che MPEG-4 usa macroblocchi 16x16 vorrai esser sicuro che ambedue le +dimensioni del video che stai per codificare siano multiple di 16, altrimenti +perderai in qualità, soprattutto a bitrate più bassi. Puoi farlo abbassando +la larghezza e l'altezza del rettangolo di taglio al multiplo di 16 più vicino. +Come detto precedentemente, quando tagli, vorrai aumentare lo scostamento Y +della metà della differenza tra la nuova e la vecchia altezza, in modo che il +video risultante sia preso dal centro del fotogramma. Inoltre, a causa del modo +in cui il video DVD viene campionato, assicurati che lo scostamento sia un +numero pari. (Infatti, come regola, non utilizzare mai valori dispari per alcun +parametro quando tagli e ridimensioni un video.) Se non ti va di scartare dei +pixel in più, potresti piuttosto preferire il ridimensionamento del video. +Prenderemo in esame questa situazione più avanti. +Puoi in verità lasciare che tutte le considerazioni suddette vengano fatte +dal filtro <option>cropdetect</option>, visto che ha un parametro +<option>round</option> facoltativo, che è impostato a 16 di default. +</para> + +<para> +Fai anche attenzione ai pixel "mezzi neri" sui bordi. Assicurati di tagliare +anch'essi, altrimenti sprecherai bit più utili altrove. +</para> + +<para> +Dopo aver detto e fatto tutto ciò, probabilmente avrei un vide i cui pixel +non saranno proprio 1.85:1 o 2.35:1, ma piuttosto un valore vicino. Potresti +calcolare a mano il nuovo rapporto di aspetto, ma +<application>MEncoder</application> ha un'opzione per <systemitem +class="library">libavcodec</systemitem> chiamata <option>autoaspect</option> +che lo farà per te. Non aumentare assolutamente le dimensioni del video per +avere i pixel quadrati, a meno che tu non voglia sprecare il tuo spazio disco. +Il ridimensionamento dovrebbe essere eseguito in riproduzione, e per definire +la risoluzione giusta il riproduttore userà l'aspetto memorizzato nell'AVI. +Sfortunatamente non tutti i riproduttori verificano l'informazione sul rapporto +perciò potresti voler comunque effettuare il ridimensionamento. +</para> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-resolution-bitrate"> +<title>Scegliere la risoluzione e il bitrate</title> + +<para> +Other parameters such as scaling, cropping, etc. will +<emphasis role="bold">not</emphasis> alter the file size unless you +change the bitrate as well!. +A meno che tu non stia per codificare con quantizzazione costante devi +impostare un bitrate. +La logica del bitrate è abbastanza semplice. +Normalmente il bitrate viene misurato in kilobit (1000 bit) al secondo. +La dimensione del filmato sul disco è il bitrate moltiplicato per la durata +del filmato, più un piccolo quantitativo in "surplus" (vedi per esempio la +sezione sul +<link linkend="menc-feat-dvd-mpeg4-muxing-avi-limitations">contenitore AVI</link>). +Altri parametri come ridimensionamento, taglio, etc... +<emphasis role="bold">non</emphasis> influiscono sulla dimensione del file a +meno che tu non cambi anche il bitrate! +</para> + +<para> +Il bitrate <emphasis role="bold">non</emphasis> è direttamente proporzionale +alla risoluzione. +Tanto per capirci, un file 320x240 a 200 kbit/sec non avrà la stessa qualità +dello stesso filmato a 640x480 e 800 kbit/sec! +Ci sono due ragioni per ciò: +<orderedlist> +<listitem><para> + <emphasis role="bold">Percettiva</emphasis>: noti di più gli artefatti MPEG + quando sono più grandi! + Gli artefatti appaiono a livello dei blocchi (8x8). + Il tuo occhio non noterà errori in 4800 piccoli blocchi tanti quanti ne + vedrà in 1200 grossi blocchi (assumendo che tu li stia ridimensionando tutti + e due a schermo intero). +</para></listitem> +<listitem><para> + <emphasis role="bold">Teorica</emphasis> : quando rimpicciolisci un immagine + ma usi la stessa dimensione dei blocchi (8x8) per la trasformazione spaziale + della frequenza, hai più dati nelle bande ad alta frequenza. In parole + povere, ogni pixel contiene più dettagli di quanti ne contenesse prima. + Quindi anche se la tua immagine rimpicciolita contiene 1/4 delle informazioni + sulle direzioni spaziali, potrebbe ancora contenere una gran parte delle + informazioni nel dominio delal frequenza (assumendo che le alte frequenze + siano sotto-utilizzate nell'immagine di origine a 640x480). +</para></listitem> +</orderedlist> +</para> + +<para> +Guide precendenti hanno consigliato di scegliere un bitrate e una risoluzione +in base ad un approccio "bit al secondo", ma di solito ciò non è valido a +causa delle ragioni suddette. +Una stima migliore pare essere che il bitrate è proporzionale alla radice +quadrata della risoluzione, per cui 320x240 e 400 kbit/sec sarà +paragonabile a 640x480 a 800 kbit/sec. +Tuttavia ciò non è stato verificato con certezza empirica o teorica. +Inoltre, dato che i filmati hanno diversi livelli di disturbo, dettaglio, angoli +di movimento, etc..., è vano dare consigli generici su bit per lunghezza della +diagonale (analogamente a bit per pixel, usando la radice quadrata). +</para> +<para> +Finora abbiamo parlato della difficoltà nel scegliere un bitrate e una +risoluzione. +</para> + + +<sect3 id="menc-feat-dvd-mpeg4-resolution-bitrate-compute"> +<title>Calcolare la risoluzione</title> + +<para> +I passaggi seguenti ti guideranno nel calcolo della risoluzione per la tua +codifica senza distorcere troppo il video, tenendo in considerazione vari tipo +di informazioni riguardo la sorgente video. +Per prima cosa dovresti calcolare il rapporto di aspetto codificato: +<systemitem>ARc = (Wc x (ARa / PRdvd )) / Hc</systemitem> + +<itemizedlist> +<title>dove:</title> +<listitem><para> + Wc e Hc sono la larghezza e l'altezza del video tagliato, +</para></listitem> +<listitem><para> + ARa è il rapporto di aspetto mostrato, che di solito è 4/3 o 16/9, +</para></listitem> +<listitem><para> + PRdvd à il rapporto del pixel del DVD che è uguale a 1.25=(720/576) per DVD + PAL e 1.5=(720/480) per DVD NTSC. +</para></listitem> +</itemizedlist> +</para> + +<para> +Dopo puoi calcolare la risoluzione X e Y, basandoti su un dato fattore +di qualità di compressione (Compression Quality, CQ): +<systemitem>ResY = INT(SQRT( 1000*Bitrate/25/ARc/CQ )/16) * 16</systemitem> +and +<systemitem>ResX = INT( ResY * ARc / 16) * 16</systemitem> +</para> + +<para> +Okay, ma cos'è la CQ? +However, if you have a target size for your movie (1 or 2 CDs for instance), +there is a limited total number of bits that you can spend; therefore it is +necessary to find a good tradeoff between compressibility and quality. +Il CQ rappresenta il numero di bit per pixel e per fotogramma in codifica. +Parlando più semplicemente, più alto è la CQ, più difficilmente si vedranno +codificati degli artefatti. +</para> + +<para> +La CQ dipende dal bitrate, dall'efficienza del codec video e dalla risoluzione +del filmato. +Per alzare la CQ, di solito dovrai rimpicciolire il filmato visto che il bitrate +viene calcolato in funzione della dimensione voluta e della lunghezza del +filmato, che sono delle costanti. +Con codec MPEG-4 ASP come <systemitem class="library">Xvid</systemitem> e +<systemitem class="library">libavcodec</systemitem>, una CQ inferiore a 0.18 +solitamente genera un'immagine abbastanza squadrettata, perché non ci sono +abbastanza bit per codificare l'informazione di ogni macroblocco. (MPEG4, come +molti altri codec, ragruppa i pixel in blocchi di pixel per comprimere +l'immagine; se non ci sono abbastanza bit, si vedono i bordi dei blocchi.) +E' saggio anche prendere una CQ compresa tra 0.20 e 0.22 per un rip a 1 CD, +e 0.26-0.28 per un rip a 2 CD con impostazioni standard di codifica. +Opzioni più evolute di codifica come quelle qui indicate per +<link linkend="menc-feat-mpeg4-lavc-example-settings"><systemitem class="library">libavcodec</systemitem></link> +e +<link linkend="menc-feat-xvid-example-settings"><systemitem class="library">Xvid</systemitem></link> +dovrebbero permetterti di ottenere la stessa qualità con CQ compresa tra +0.18 e 0.20 per un rip da 1 CD, e da 0.24 a 0.26 per 2 CD. +Con codec MPEG-4 AVC come <systemitem class="library">x264</systemitem>, +puoi usare una CQ che varia da 0.14 a 0.16 con opzioni standard di codifica, e +dovresti riuscire a scendere tra 0.10 e 0.12 con <link linkend="menc-feat-x264-example-settings">impostazioni avanzate di codifica +<systemitem class="library">x264</systemitem></link>. +</para> + +<para> +Prendi per favore nota che CQ è solo un valore indicativo, dato che dipende dal +contenuto che viene codificato, una CQ di 0.18 può andar bene per un Bergman, +mentre per un film come Matrix, che contiene molte scene ad alta velocità, no. +D'altro canto è inutile portare la CQ oltre 0.30 dato che sprecherai dei bit +senza avere alcun guadagno visibile in qualità. +Nota anche che come detto precedentemente in questa guida, per video a bassa +risoluzione serve una CQ più alta (in rapporto, per esempio, alla risoluzione +DVD) perché si vedano bene. +</para> +</sect3> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-filtering"> +<title>Filtraggio</title> + +<para> +Imparare come usare i filtri video di <application>MEncoder</application> è +essenziale per produrre delle buone codfiche. +Tutta l'elaborazione video è eseguita attraverso i filtri -- taglio, +ridimensionamento, aggiustamento del colore, rimozione del disturbo, rilevamento +margini, deinterlacciatura, telecine, telecine inverso, e deblocco, solo per +nominarne qualcuno. +Insieme con la vasta gamma di formati di entrata gestiti, la varietà dei +filtri disponibili in <application>MEncoder</application> è uno dei suoi +più grandi vantaggi sugli altri programmi similari. +</para> + +<para> +I filtri vengono caricati in catena usando l'opzione -vf: + +<screen>-vf filtro1=opzioni,filtro2=opzioni,...</screen> + +La maggior parte dei filtri riceve alcune opzioni numeriche separate da due +punti, ma la sintassi per le opzioni cambia da filtro a filtro, indi leggiti la +pagina man per i dettagli sul filtro che desideri usare. +</para> + +<para> +I filtri lavorano sul video nell'ordine in cui vengono caricati. +Per esempio la catena seguente: + +<screen>-vf crop=688:464:12:4,scale=640:464</screen> + +dapprima taglia la zona 688x464 dell'immagine con uno scostamento dall'alto a +sinistra di (12,4), e poi ridimensiona il risultato a 640x464. +</para> + +<para> +Taluni filtri devono essere caricati all'inizio o vicino all'inizio della +catena di filtri, in modo da trarre vantaggio dalle informazioni che arrivano +dal decoder video, che potrebbero essere perse o invalidate da altri filtri. +Gli esempi principali sono <option>pp</option> (post elaborazione +(postprocessing), solo quando esegue operazioni di deblock o dering), +<option>spp</option> (un altra post elaborazione per eliminare artefatti MPEG), +<option>pullup</option> (telecine inverso), e <option>softpulldown</option> +(per passare da telecine soft a hard). +</para> + +<para> +In generale vorrai filtrare il meno possibile in modo da rimaner fedele alla +sorgente DVD originale. Il taglio è spesso necessario (com detto sopra), ma +evita di ridimensionare il video. Anche se alcune volte si preferisce +rimpicciolire per poter usare quantizzatori più alti, vogliamo evitare ciò: +ricorda che abbiamo sin dall'inizio deciso di investire bit in qualità. +</para> + +<para> +In più, non reimpostare la gamma, il contrasto, la luminosità, etc... +Quello che si vede bene sul tuo schermo potrebbe non vedersi bene su altro. +Queste modifiche dovrebbero esser fatte solo durante la riproduzione. +</para> + +<para> +Una cosa che voresti però fare è tuttavia far passare il video attraverso un +leggero filtro di rimozione disturbo, come <option>-vf hqdn3d=2:1:2</option>. +Ancora, è una questione di poter meglio utilizzare quei bit: perché sprecarli +codificando disturbo mentre puoi semplicemente aggiungerlo di nuovo durante la +riproduzione? Alzando i parametri per <option>hqdn3d</option> aumenterà +ancora la compressione, ma se aumenti troppo i valori, rischi un degrado pesante +dell'immagine. I valori sopra consigliati (<option>2:1:2</option>) sono +abbastanza conservativi; sentiti libero di sperimentare con valori più alti e +verificare da solo il risultato. +</para> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-interlacing"> +<title>Interlacciamento e Telecine</title> + +<para> +Quasi tutti i film vengono ripresi a 24 fps. Dato che NTSC è 30000/1001 fps, +si devono eseguire alcune elaborazioni affinché questo video a 24 fps sia +letto al giusto framerate NTSC. Il processo è chiamato "3:2 pulldown", meglio +conosciuto come "telecine" (poiché pulldown viene spesso applicato durante il +processo di telecine), e descritto rozzamente, agisce rallentando il film a +24000/1001 fps, e ripetendo ogni quarto fotogramma. +</para> + +<para> +Non viene invece eseguita alcuna elaborazione sul video per i DVD PAL, che +girano a 25 fps. (Tecnicamente, PAL può subire il telecine, chiamato +"2:2 pulldown", ma non è usanza abituale.) Il film a 24 fps viene +semplicemente riprodotto a 25 fps. Il risultato è che il filmato è leggermente +più veloce, ma a meno che tu non sia un alieno, probabilmente non noterai la +differenza. +La maggior parte dei DVD PAL hanno audio corretto ai picchi, in modo che quando +siano riprodotti a 25 fps le cose suonino giuste, anche se la traccia audio +(e quindi tutto il filmato) ha un tempo di riproduzione che è il 4% inferiore +ai DVD NTSC. +</para> + +<para> +A causa del fatto che il video nei DVD PAL non è stato alterato, non dovrai +preoccuperti molto della frequenza fotogrammi. La sorgente è 25 fps, e il tuo +rip sarà a 25 fps. Tuttavia, se stai codificando un film da DVD NTSC, +potresti dover applicare il telecine inverso. +</para> + +<para> +Per film ripresi a 24 fps, il video sul DVD NTSC è o con telecine a 30000/1001, +oppure è progressivo a 24000/1001 fps e destinato a subire il telecine al volo +da un lettore DVD. D'altro canto le serie TV sono solitamente solo +interlacciate, senza telecine. Questa non è una regola ferrea: alcune serie TV +sono interlacciate (come Buffy the Vampire Slayer) mentre alcune sono un misto +di progressivo e interlacciato (come Angel, o 24). +</para> + +<para> +Si consiglia vivamente di leggere la sezione su +<link linkend="menc-feat-telecine">Come trattare il telecine e l'interlacciamento nei DVD NTSC</link> +per imparare come gestire le varie possibilità. +</para> + +<para> +Ciononostante, se stai principalmente rippando solo film, solitamente ti +troverai di fronte a video a 24 fps progressivo o con telecine, nel qual caso +puoi usare il filtro <option>pullup</option> <option>-vf +pullup,softskip</option>. +</para> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-encoding-interlaced"> +<title>Codificare video interlacciato</title> + +<para> +Se il film che vuoi codificare è interlacciato (video NTSC o PAL) dovrai +scegliere se vuoi de-interlacciare o no. +Se da un lato de-interlacciare renderà il tuo filmato utilizzabile su +schermi a scansione progressiva come monitor di computer o proiettori, porta +con sé un costo: la frequenza dei campi di 50 o 60000/1001 campi al secondo +viene dimezzata a 25 o 30000/1001 fotogrammi al secondo, e circa la metà delle +informazioni nel tuo film saranno perdute, in scene con movimento significativo. +</para> + +<para> +Per di più, se stai codificando puntando ad alta qualità di archiviazione. +si consiglia di non de-interlacciare. +Puoi sempre de-interlacciare il film durante la riproduzione attraverso +dispositivi a scansione progressiva. +La potenza dei computer attuali forza per i riproduttori l'utilizzo di un filtro +di de-interlacciamento, che porta un leggero degrado dell'immagine. +Ma i lettori del futuro saranno in grado di simulare lo schermo di una TV, +de-interlacciando a piena frequenza di campi e interpolando 50 o 60000/1001 +fotogrammi interi al secondo dal video interlacciato +</para> + +<para> +Bisogna porre speciale attenzione quando si lavora con video interlacciato: +</para> + +<orderedlist> +<listitem><para> + Altezza e scostamento del taglio devono essere multipli di 4. +</para></listitem> +<listitem><para> + Qualsiasi ridimensionamento verticale va fatto in modalità interlacciata. +</para></listitem> +<listitem><para> + I filtri di post elaborazione e di rimozione disturbo potrebbero non + funzionare come ci si aspetta a meno che tu non ponga particolare attenzione + per farli lavorare su un campo per volta, e possono rovinare il video quando + usati in modo non corretto. +</para></listitem> +</orderedlist> + +<para> +Tenendo a mente queste cose, ecco il nostro primo esempio: +<screen> +mencoder <replaceable>capture.avi</replaceable> -mc 0 -oac lavc -ovc lavc -lavcopts \ + vcodec=mpeg2video:vbitrate=6000:ilme:ildct:acodec=mp2:abitrate=224 +</screen> +Nota le opzioni <option>ilme</option> e <option>ildct</option>. +</para> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-av-sync"> +<title>Notes on Audio/Video synchronization</title> + +<para> +<application>MEncoder</application>'s audio/video synchronization +algorithms were designed with the intention of recovering files with +broken sync. +However, in some cases they can cause unnecessary skipping and duplication of +frames, and possibly slight A/V desync, when used with proper input +(of course, A/V sync issues apply only if you process or copy the +audio track while transcoding the video, which is strongly encouraged). +Therefore, you may have to switch to basic A/V sync with +the <option>-mc 0</option> option, or put this in your +<systemitem>~/.mplayer/mencoder</systemitem> config file, as long as +you are only working with good sources (DVD, TV capture, high quality +MPEG-4 rips, etc) and not broken ASF/RM/MOV files. +</para> + +<para> +If you want to further guard against strange frame skips and +duplication, you can use both <option>-mc 0</option> and +<option>-noskip</option>. +This will prevent <emphasis>all</emphasis> A/V sync, and copy frames +one-to-one, so you cannot use it if you will be using any filters that +unpredictably add or drop frames, or if your input file has variable +framerate! +Therefore, using <option>-noskip</option> is not in general recommended. +</para> + +<para> +The so-called "three-pass" audio encoding which +<application>MEncoder</application> supports has been reported to cause A/V +desync. +This will definitely happen if it is used in conjunction with certain +filters, therefore, it is now recommended <emphasis>not</emphasis> to +use three-pass audio mode. +This feature is only left for compatibility purposes and for expert +users who understand when it is safe to use and when it is not. +If you have never heard of three-pass mode before, forget that we +even mentioned it! +</para> + +<para> +There have also been reports of A/V desync when encoding from stdin +with <application>MEncoder</application>. +Do not do this! Always use a file or CD/DVD/etc device as input. +</para> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-codec"> +<title>Choosing the video codec</title> + +<para> +Which video codec is best to choose depends on several factors, +like size, quality, streamability, usability and popularity, some of +which widely depend on personal taste and technical constraints. +</para> +<itemizedlist> +<listitem> + <para> + <emphasis role="bold">Compression efficiency</emphasis>: + It is quite easy to understand that most newer-generation codecs are + made to increase quality and compression. + Therefore, the authors of this guide and many other people suggest that + you cannot go wrong + <footnote id='fn-menc-feat-dvd-mpeg4-codec-cpu'><para> + Be careful, however: Decoding DVD-resolution MPEG-4 AVC videos + requires a fast machine (i.e. a Pentium 4 over 1.5GHz or a Pentium M + over 1GHz). + </para></footnote> + when choosing MPEG-4 AVC codecs like + <systemitem class="library">x264</systemitem> instead of MPEG-4 ASP codecs + such as <systemitem class="library">libavcodec</systemitem> MPEG-4 or + <systemitem class="library">Xvid</systemitem>. + (Advanced codec developers may be interested in reading Michael + Niedermayer's opinion on + "<ulink url="http://guru.multimedia.cx/?p=10">why MPEG4-ASP sucks</ulink>".) + Likewise, you should get better quality using MPEG-4 ASP than you + would with MPEG-2 codecs. + </para> + + <para> + However, newer codecs which are in heavy development can suffer from + bugs which have not yet been noticed and which can ruin an encode. + This is simply the tradeoff for using bleeding-edge technology. + </para> + + <para> + What is more, beginning to use a new codec requires that you spend some + time becoming familiar with its options, so that you know what + to adjust to achieve a desired picture quality. + </para> +</listitem> + +<listitem><para> + <emphasis role="bold">Hardware compatibility</emphasis>: + It usually takes a long time for standalone video players to begin to + include support for the latest video codecs. + As a result, most only support MPEG-1 (like VCD, XVCD and KVCD), MPEG-2 + (like DVD, SVCD and KVCD) and MPEG-4 ASP (like DivX, + <systemitem class="library">libavcodec</systemitem>'s LMP4 and + <systemitem class="library">Xvid</systemitem>) + (Beware: Usually, not all MPEG-4 ASP features are supported). + Please refer to the technical specs of your player (if they are available), + or google around for more information. +</para></listitem> + +<listitem> + <para> + <emphasis role="bold">Best quality per encoding time</emphasis>: + Codecs that have been around for some time (such as + <systemitem class="library">libavcodec</systemitem> MPEG-4 and + <systemitem class="library">Xvid</systemitem>) are usually heavily + optimized with all kinds of smart algorithms and SIMD assembly code. + That is why they tend to yield the best quality per encoding time ratio. + However, they may have some very advanced options that, if enabled, + will make the encode really slow for marginal gains. + </para> + + <para> + If you are after blazing speed you should stick around the default + settings of the video codec (although you should still try the other + options which are mentioned in other sections of this guide). + </para> + + <para> + You may also consider choosing a codec which can do multi-threaded + processing, though this is only useful for users of machines with + several CPUs. + <systemitem class="library">libavcodec</systemitem> MPEG-4 does + allow that, but speed gains are limited, and there is a slight + negative effect on picture quality. + <systemitem class="library">Xvid</systemitem>'s multi-threaded encoding, + activated by the <option>threads</option> option, can be used to + boost encoding speed — by about 40-60% in typical cases — + with little if any picture degradation. + <systemitem class="library">x264</systemitem> also allows multi-threaded + encoding, which currently speeds up encoding by 94% per CPU core while + lowering PSNR between 0.005dB and 0.01dB on a typical setup. + </para> +</listitem> + +<listitem> + <para> + <emphasis role="bold">Personal taste</emphasis>: + This is where it gets almost irrational: For the same reason that some + hung on to DivX 3 for years when newer codecs were already doing wonders, + some folks will prefer <systemitem class="library">Xvid</systemitem> + or <systemitem class="library">libavcodec</systemitem> MPEG-4 over + <systemitem class="library">x264</systemitem>. + </para> + <para> + You should make your own judgement; do not take advice from people who + swear by one codec. + Take a few sample clips from raw sources and compare different + encoding options and codecs to find one that suits you best. + The best codec is the one you master, and the one that looks + best to your eyes on your display + <footnote id='fn-menc-feat-dvd-mpeg4-codec-playback'><para> + The same encode may not look the same on someone else's monitor or + when played back by a different decoder, so future-proof your encodes by + playing them back on different setups. + </para></footnote>! + </para> +</listitem> +</itemizedlist> + +<para> +Please refer to the section +<link linkend="menc-feat-selecting-codec">selecting codecs and container formats</link> +to get a list of supported codecs. +</para> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-audio"> +<title>Audio</title> + +<para> +Audio is a much simpler problem to solve: if you care about quality, just +leave it as is. +Even AC-3 5.1 streams are at most 448Kbit/s, and they are worth every bit. +You might be tempted to transcode the audio to high quality Vorbis, but +just because you do not have an A/V receiver for AC-3 pass-through today +does not mean you will not have one tomorrow. Future-proof your DVD rips by +preserving the AC-3 stream. +You can keep the AC-3 stream either by copying it directly into the video +stream <link linkend="menc-feat-mpeg4">during the encoding</link>. +You can also extract the AC-3 stream in order to mux it into containers such +as NUT or Matroska. +<screen> +mplayer <replaceable>source_file.vob</replaceable> -aid 129 -dumpaudio -dumpfile <replaceable>sound.ac3</replaceable> +</screen> +will dump into the file <replaceable>sound.ac3</replaceable> the +audio track number 129 from the file +<replaceable>source_file.vob</replaceable> (NB: DVD VOB files +usually use a different audio numbering, +which means that the VOB audio track 129 is the 2nd audio track of the file). +</para> + +<para> +But sometimes you truly have no choice but to further compress the +sound so that more bits can be spent on the video. +Most people choose to compress audio with either MP3 or Vorbis audio codecs. +While the latter is a very space-efficient codec, MP3 is better supported +by hardware players, although this trend is changing. +</para> + +<para> +Do <emphasis>not</emphasis> use <option>-nosound</option> when encoding +a file with audio, even if you will be encoding and muxing audio +separately later. +Though it may work in ideal cases, using <option>-nosound</option> is +likely to hide some problems in your encoding command line setting. +In other words, having a soundtrack during your encode assures you that, +provided you do not see messages such as +<quote>Too many audio packets in the buffer</quote>, you will be able +to get proper sync. +</para> + +<para> +You need to have <application>MEncoder</application> process the sound. +You can for example copy the orignal soundtrack during the encode with +<option>-oac copy</option> or convert it to a "light" 4 kHz mono WAV +PCM with <option>-oac pcm -channels 1 -srate 4000</option>. +Otherwise, in some cases, it will generate a video file that will not sync +with the audio. +Such cases are when the number of video frames in the source file does +not match up to the total length of audio frames or whenever there +are discontinuities/splices where there are missing or extra audio frames. +The correct way to handle this kind of problem is to insert silence or +cut audio at these points. +However <application>MPlayer</application> cannot do that, so if you +demux the AC-3 audio and encode it with a separate app (or dump it to PCM with +<application>MPlayer</application>), the splices will be left incorrect +and the only way to correct them is to drop/dup video frames at the +splice. +As long as <application>MEncoder</application> sees the audio when it is +encoding the video, it can do this dropping/duping (which is usually OK +since it takes place at full black/scenechange), but if +<application>MEncoder</application> cannot see the audio, it will just +process all frames as-is and they will not fit the final audio stream when +you for example merge your audio and video track into a Matroska file. +</para> + +<para> +First of all, you will have to convert the DVD sound into a WAV file that the +audio codec can use as input. +For example: +<screen> +mplayer <replaceable>source_file.vob</replaceable> -ao pcm:file=<replaceable>destination_sound.wav</replaceable> \ + -vc dummy -aid 1 -vo null +</screen> +will dump the second audio track from the file +<replaceable>source_file.vob</replaceable> into the file +<replaceable>destination_sound.wav</replaceable>. +You may want to normalize the sound before encoding, as DVD audio tracks +are commonly recorded at low volumes. +You can use the tool <application>normalize</application> for instance, +which is available in most distributions. +If you are using Windows, a tool such as <application>BeSweet</application> +can do the same job. +You will compress in either Vorbis or MP3. +For example: +<screen>oggenc -q1 <replaceable>destination_sound.wav</replaceable></screen> +will encode <replaceable>destination_sound.wav</replaceable> with +the encoding quality 1, which is roughly equivalent to 80Kb/s, and +is the minimum quality at which you should encode if you care about +quality. +Please note that <application>MEncoder</application> currently cannot +mux Vorbis audio tracks +into the output file because it only supports AVI and MPEG +containers as an output, each of which may lead to audio/video +playback synchronization problems with some players when the AVI file +contain VBR audio streams such as Vorbis. +Do not worry, this document will show you how you can do that with third +party programs. +</para> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-muxing"> +<title>Muxing</title> + +<para> +Now that you have encoded your video, you will most likely want +to mux it with one or more audio tracks into a movie container, such +as AVI, MPEG, Matroska or NUT. +<application>MEncoder</application> is currently only able to natively output +audio and video into MPEG and AVI container formats. +for example: +<screen> +mencoder -oac copy -ovc copy -o <replaceable>output_movie.avi</replaceable> \ + -audiofile <replaceable>input_audio.mp2</replaceable> <replaceable>input_video.avi</replaceable> +</screen> +This would merge the video file <replaceable>input_video.avi</replaceable> +and the audio file <replaceable>input_audio.mp2</replaceable> +into the AVI file <replaceable>output_movie.avi</replaceable>. +This command works with MPEG-1 layer I, II and III (more commonly known +as MP3) audio, WAV and a few other audio formats too. +</para> + +<para> +<application>MEncoder</application> features experimental support for +<systemitem class="library">libavformat</systemitem>, which is a +library from the FFmpeg project that supports muxing and demuxing +a variety of containers. +For example: +<screen> +mencoder -oac copy -ovc copy -o <replaceable>output_movie.asf</replaceable> -audiofile <replaceable>input_audio.mp2</replaceable> \ + <replaceable>input_video.avi</replaceable> -of lavf -lavfopts format=asf +</screen> +This will do the same thing as the previous example, except that +the output container will be ASF. +Please note that this support is highly experimental (but getting +better every day), and will only work if you compiled +<application>MPlayer</application> with the support for +<systemitem class="library">libavformat</systemitem> enabled (which +means that a pre-packaged binary version will not work in most cases). +</para> + + +<sect3 id="menc-feat-dvd-mpeg4-muxing-filter-issues"> +<title>Improving muxing and A/V sync reliability</title> + +<para> +You may experience some serious A/V sync problems while trying to mux +your video and some audio tracks, where no matter how you adjust the +audio delay, you will never get proper sync. +That may happen when you use some video filters that will drop or +duplicate some frames, like the inverse telecine filters. +It is strongly encouraged to append the <option>harddup</option> video +filter at the end of the filter chain to avoid this kind of problem. +</para> + +<para> +Without <option>harddup</option>, if <application>MEncoder</application> +wants to duplicate a frame, it relies on the muxer to put a mark on the +container so that the last frame will be displayed again to maintain +sync while writing no actual frame. +With <option>harddup</option>, <application>MEncoder</application> +will instead just push the last frame displayed again into the filter +chain. +This means that the encoder receives the <emphasis>exact</emphasis> +same frame twice, and compresses it. +This will result in a slightly bigger file, but will not cause problems +when demuxing or remuxing into other container formats. +</para> + +<para> +You may also have no choice but to use <option>harddup</option> with +container formats that are not too tightly linked with +<application>MEncoder</application> such as the ones supported through +<systemitem class="library">libavformat</systemitem>, which may not +support frame duplication at the container level. +</para> +</sect3> + + +<sect3 id="menc-feat-dvd-mpeg4-muxing-avi-limitations"> +<title>Limitations of the AVI container</title> + +<para> +Although it is the most widely-supported container format after MPEG-1, +AVI also has some major drawbacks. +Perhaps the most obvious is the overhead. +For each chunk of the AVI file, 24 bytes are wasted on headers and index. +This translates into a little over 5 MB per hour, or 1-2.5% +overhead for a 700 MB movie. This may not seem like much, but it could +mean the difference between being able to use 700 kbit/sec video or +714 kbit/sec, and every bit of quality counts. +</para> + +<para> +In addition this gross inefficiency, AVI also has the following major +limitations: +</para> + +<orderedlist> +<listitem><para> + Only fixed-fps content can be stored. This is particularly limiting + if the original material you want to encode is mixed content, for + example a mix of NTSC video and film material. + Actually there are hacks that can be used to store mixed-framerate + content in AVI, but they increase the (already huge) overhead + fivefold or more and so are not practical. +</para></listitem> +<listitem><para> + Audio in AVI files must be either constant-bitrate (CBR) or + constant-framesize (i.e. all frames decode to the same number of + samples). + Unfortunately, the most efficient codec, Vorbis, does not meet + either of these requirements. + Therefore, if you plan to store your movie in AVI, you will have to + use a less efficient codec such as MP3 or AC-3. +</para></listitem> +</orderedlist> + +<para> +Having said all that, <application>MEncoder</application> does not +currently support variable-fps output or Vorbis encoding. +Therefore, you may not see these as limitations if +<application>MEncoder</application> is the +only tool you will be using to produce your encodes. +However, it is possible to use <application>MEncoder</application> +only for video encoding, and then use external tools to encode +audio and mux it into another container format. +</para> +</sect3> + + +<sect3 id="menc-feat-dvd-mpeg4-muxing-matroska"> +<title>Muxing into the Matroska container</title> + +<para> +Matroska is a free, open standard container format, aiming +to offer a lot of advanced features, which older containers +like AVI cannot handle. +For example, Matroska supports variable bitrate audio content +(VBR), variable framerates (VFR), chapters, file attachments, +error detection code (EDC) and modern A/V Codecs like "Advanced Audio +Coding" (AAC), "Vorbis" or "MPEG-4 AVC" (H.264), next to nothing +handled by AVI. +</para> + +<para> +The tools required to create Matroska files are collectively called +<application>mkvtoolnix</application>, and are available for most +Unix platforms as well as <application>Windows</application>. +Because Matroska is an open standard you may find other +tools that suit you better, but since mkvtoolnix is the most +common, and is supported by the Matroska team itself, we will +only cover its usage. +</para> + +<para> +Probably the easiest way to get started with Matroska is to use +<application>MMG</application>, the graphical frontend shipped with +<application>mkvtoolnix</application>, and follow the +<ulink url="http://www.bunkus.org/videotools/mkvtoolnix/doc/mkvmerge-gui.html">guide to mkvmerge GUI (mmg)</ulink> +</para> + +<para> +You may also mux audio and video files using the command line: +<screen> +mkvmerge -o <replaceable>output.mkv</replaceable> <replaceable>input_video.avi</replaceable> <replaceable>input_audio1.mp3</replaceable> <replaceable>input_audio2.ac3</replaceable> +</screen> +This would merge the video file <replaceable>input_video.avi</replaceable> +and the two audio files <replaceable>input_audio1.mp3</replaceable> +and <replaceable>input_audio2.ac3</replaceable> into the Matroska +file <replaceable>output.mkv</replaceable>. +Matroska, as mentioned earlier, is able to do much more than that, like +multiple audio tracks (including fine-tuning of audio/video +synchronization), chapters, subtitles, splitting, etc... +Please refer to the documentation of those applications for +more details. +</para> +</sect3> +</sect2> +</sect1> + + +<!-- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --> + + +<sect1 id="menc-feat-telecine"> +<title>How to deal with telecine and interlacing within NTSC DVDs</title> + +<sect2 id="menc-feat-telecine-intro"> +<title>Introduction</title> + +<formalpara> +<title>What is telecine?</title> +<para> +If you do not understand much of what is written in this document, read the +<ulink url="http://en.wikipedia.org/wiki/Telecine">Wikipedia entry on telecine</ulink>. +It is an understandable and reasonably comprehensive +description of what telecine is. +</para></formalpara> + +<formalpara> +<title>A note about the numbers.</title> +<para> +Many documents, including the guide linked above, refer to the fields +per second value of NTSC video as 59.94 and the corresponding frames +per second values as 29.97 (for telecined and interlaced) and 23.976 +(for progressive). For simplicity, some documents even round these +numbers to 60, 30, and 24. +</para></formalpara> + +<para> +Strictly speaking, all those numbers are approximations. Black and +white NTSC video was exactly 60 fields per second, but 60000/1001 +was later chosen to accomodate color data while remaining compatible +with contemporary black and white televisions. Digital NTSC video +(such as on a DVD) is also 60000/1001 fields per second. From this, +interlaced and telecined video are derived to be 30000/1001 frames +per second; progressive video is 24000/1001 frames per second. +</para> + +<para> +Older versions of the <application>MEncoder</application> documentation +and many archived mailing list posts refer to 59.94, 29.97, and 23.976. +All <application>MEncoder</application> documentation has been updated +to use the fractional values, and you should use them too. +</para> + +<para> +<option>-ofps 23.976</option> is incorrect. +<option>-ofps 24000/1001</option> should be used instead. +</para> + +<formalpara> +<title>How telecine is used.</title> +<para> +All video intended to be displayed on an NTSC +television set must be 60000/1001 fields per second. Made-for-TV movies +and shows are often filmed directly at 60000/1001 fields per second, but +the majority of cinema is filmed at 24 or 24000/1001 frames per +second. When cinematic movie DVDs are mastered, the video is then +converted for television using a process called telecine. +</para></formalpara> + +<para> +On a DVD, the video is never actually stored as 60000/1001 fields per +second. For video that was originally 60000/1001, each pair of fields is +combined to form a frame, resulting in 30000/1001 frames per +second. Hardware DVD players then read a flag embedded in the video +stream to determine whether the odd- or even-numbered lines should +form the first field. +</para> + +<para> +Usually, 24000/1001 frames per second content stays as it is when +encoded for a DVD, and the DVD player must perform telecining +on-the-fly. Sometimes, however, the video is telecined +<emphasis>before</emphasis> being stored on the DVD; even though it +was originally 24000/1001 frames per second, it becomes 60000/1001 fields per +second. When it is stored on the DVD, pairs of fields are combined to form +30000/1001 frames per second. +</para> + +<para> +When looking at individual frames formed from 60000/1001 fields per +second video, telecined or otherwise, interlacing is clearly visible +wherever there is any motion, because one field (say, the +even-numbered lines) represents a moment in time 1/(60000/1001) +seconds later than the other. Playing interlaced video on a computer +looks ugly both because the monitor is higher resolution and because +the video is shown frame-after-frame instead of field-after-field. +</para> + +<itemizedlist> +<title>Notes:</title> +<listitem><para> + This section only applies to NTSC DVDs, and not PAL. +</para></listitem> +<listitem><para> + The example <application>MEncoder</application> lines throughout the + document are <emphasis role="bold">not</emphasis> intended for + actual use. They are simply the bare minimum required to encode the + pertaining video category. How to make good DVD rips or fine-tune + <systemitem class="library">libavcodec</systemitem> for maximal + quality is not within the scope of this document. +</para></listitem> +<listitem><para> + There are a couple footnotes specific to this guide, linked like this: + <link linkend="menc-feat-telecine-footnotes">[1]</link> +</para></listitem> +</itemizedlist> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-telecine-ident"> +<title>How to tell what type of video you have</title> + +<sect3 id="menc-feat-telecine-ident-progressive"> +<title>Progressive</title> + +<para> +Progressive video was originally filmed at 24000/1001 fps, and stored +on the DVD without alteration. +</para> + +<para> +When you play a progressive DVD in <application>MPlayer</application>, +<application>MPlayer</application> will print the following line as +soon as the movie begins to play: +<screen> +demux_mpg: 24000/1001 fps progressive NTSC content detected, switching framerate. +</screen> +From this point forward, demux_mpg should never say it finds +"30000/1001 fps NTSC content." +</para> + +<para> +When you watch progressive video, you should never see any +interlacing. Beware, however, because sometimes there is a tiny bit +of telecine mixed in where you would not expect. I have encountered TV +show DVDs that have one second of telecine at every scene change, or +at seemingly random places. I once watched a DVD that had a +progressive first half, and the second half was telecined. If you +want to be <emphasis>really</emphasis> thorough, you can scan the +entire movie: +<screen>mplayer dvd://1 -nosound -vo null -benchmark</screen> +Using <option>-benchmark</option> makes +<application>MPlayer</application> play the movie as quickly as it +possibly can; still, depending on your hardware, it can take a +while. Every time demux_mpg reports a framerate change, the line +immediately above will show you the time at which the change +occurred. +</para> + +<para> +Sometimes progressive video on DVDs is referred to as +"soft-telecine" because it is intended to +be telecined by the DVD player. +</para> +</sect3> + + +<sect3 id="menc-feat-telecine-ident-telecined"> +<title>Telecined</title> + +<para> +Telecined video was originally filmed at 24000/1001, but was telecined +<emphasis>before</emphasis> it was written to the DVD. +</para> + +<para> +<application>MPlayer</application> does not (ever) report any +framerate changes when it plays telecined video. +</para> + +<para> +Watching a telecined video, you will see interlacing artifacts that +seem to "blink": they repeatedly appear and disappear. +You can look closely at this by +<orderedlist> +<listitem><screen>mplayer dvd://1</screen></listitem> +<listitem><para> + Seek to a part with motion. +</para></listitem> +<listitem><para> + Use the <keycap>.</keycap> key to step forward one frame at a time. +</para></listitem> +<listitem><para> + Look at the pattern of interlaced-looking and progressive-looking + frames. If the pattern you see is PPPII,PPPII,PPPII,... then the + video is telecined. If you see some other pattern, then the video + may have been telecined using some non-standard method; + <application>MEncoder</application> cannot losslessly convert + non-standard telecine to progressive. If you do not see any + pattern at all, then it is most likely interlaced. +</para></listitem> +</orderedlist> +</para> + +<para> +Sometimes telecined video on DVDs is referred to as +"hard-telecine". Since hard-telecine is already 60000/1001 fields +per second, the DVD player plays the video without any manipulation. +</para> + +<para> +Another way to tell if your source is telecined or not is to play +the source with the <option>-vf pullup</option> and <option>-v</option> +command line options to see how <option>pullup</option> matches frames. +If the source is telecined, you should see on the console a 3:2 pattern +with <systemitem>0+.1.+2</systemitem> and <systemitem>0++1</systemitem> +alternating. +This technique has the advantage that you do not need to watch the +source to identify it, which could be useful if you wish to automate +the encoding procedure, or to carry out said procedure remotely via +a slow connection. +</para> +</sect3> + + +<sect3 id="menc-feat-telecine-ident-interlaced"> +<title>Interlaced</title> + +<para> +Interlaced video was originally filmed at 60000/1001 fields per second, +and stored on the DVD as 30000/1001 frames per second. The interlacing effect +(often called "combing") is a result of combining pairs of +fields into frames. Each field is supposed to be 1/(60000/1001) seconds apart, +and when they are displayed simultaneously the difference is apparent. +</para> + +<para> +As with telecined video, <application>MPlayer</application> should +not ever report any framerate changes when playing interlaced content. +</para> + +<para> +When you view an interlaced video closely by frame-stepping with the +<keycap>.</keycap> key, you will see that every single frame is interlaced. +</para> +</sect3> + + +<sect3 id="menc-feat-telecine-ident-mixedpt"> +<title>Mixed progressive and telecine</title> + +<para> +All of a "mixed progressive and telecine" video was originally +24000/1001 frames per second, but some parts of it ended up being telecined. +</para> + +<para> +When <application>MPlayer</application> plays this category, it will +(often repeatedly) switch back and forth between "30000/1001 fps NTSC" +and "24000/1001 fps progressive NTSC". Watch the bottom of +<application>MPlayer</application>'s output to see these messages. +</para> + +<para> +You should check the "30000/1001 fps NTSC" sections to make sure +they are actually telecine, and not just interlaced. +</para> +</sect3> + + +<sect3 id="menc-feat-telecine-ident-mixedpi"> +<title>Mixed progressive and interlaced</title> + +<para> +In "mixed progressive and interlaced" content, progressive +and interlaced video have been spliced together. +</para> + +<para> +This category looks just like "mixed progressive and telecine", +until you examine the 30000/1001 fps sections and see that they do not have the +telecine pattern. +</para> +</sect3> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-telecine-encode"> +<title>How to encode each category</title> +<para> +As I mentioned in the beginning, example <application>MEncoder</application> +lines below are <emphasis role="bold">not</emphasis> meant to actually be used; +they only demonstrate the minimum parameters to properly encode each category. +</para> + + +<sect3 id="menc-feat-telecine-encode-progressive"> +<title>Progressive</title> +<para> +Progressive video requires no special filtering to encode. The only +parameter you need to be sure to use is <option>-ofps 24000/1001</option>. +Otherwise, <application>MEncoder</application> +will try to encode at 30000/1001 fps and will duplicate frames. +</para> + +<para> +<screen>mencoder dvd://1 -oac copy -ovc lavc -ofps 24000/1001</screen> +</para> + +<para> +It is often the case, however, that a video that looks progressive +actually has very short parts of telecine mixed in. Unless you are +sure, it is safest to treat the video as +<link linkend="menc-feat-telecine-encode-mixedpt">mixed progressive and telecine</link>. +The performance loss is small +<link linkend="menc-feat-telecine-footnotes">[3]</link>. +</para> +</sect3> + + +<sect3 id="menc-feat-telecine-encode-telecined"> +<title>Telecined</title> + +<para> +Telecine can be reversed to retrieve the original 24000/1001 content, +using a process called inverse-telecine. +<application>MPlayer</application> contains several filters to +accomplish this; the best filter, <option>pullup</option>, is described +in the <link linkend="menc-feat-telecine-encode-mixedpt">mixed +progressive and telecine</link> section. +</para> +</sect3> + + +<sect3 id="menc-feat-telecine-encode-interlaced"> +<title>Interlaced</title> + +<para> +For most practical cases it is not possible to retrieve a complete +progressive video from interlaced content. The only way to do so +without losing half of the vertical resolution is to double the +framerate and try to "guess" what ought to make up the +corresponding lines for each field (this has drawbacks - see method 3). +</para> + +<orderedlist> +<listitem><para> + Encode the video in interlaced form. Normally, interlacing wreaks + havoc with the encoder's ability to compress well, but + <systemitem class="library">libavcodec</systemitem> has two + parameters specifically for dealing with storing interlaced video a + bit better: <option> ildct</option> and <option>ilme</option>. Also, + using <option>mbd=2</option> is strongly recommended + <link linkend="menc-feat-telecine-footnotes">[2] </link> because it + will encode macroblocks as non-interlaced in places where there is + no motion. Note that <option>-ofps</option> is NOT needed here. + <screen>mencoder dvd://1 -oac copy -ovc lavc -lavcopts ildct:ilme:mbd=2</screen> +</para></listitem> +<listitem><para> + Use a deinterlacing filter before encoding. There are several of + these filters available to choose from, each with its own advantages + and disadvantages. Consult <option>mplayer -pphelp</option> and + <option>mplayer -vf help</option> to see what is available + (grep for "deint"), read Michael's Niedermayer + <ulink url="http://guru.multimedia.cx/deinterlacing-filters/">Deinterlacing filters comparison</ulink>, + and search the + <ulink url="http://www.mplayerhq.hu/design7/mailing_lists.html"> + MPlayer mailing lists</ulink> to find many discussions about the + various filters. + Again, the framerate is not changing, so no + <option>-ofps</option>. Also, deinterlacing should be done after + cropping <link linkend="menc-feat-telecine-footnotes">[1]</link> and + before scaling. + <screen>mencoder dvd://1 -oac copy -vf yadif -ovc lavc</screen> +</para></listitem> +<listitem><para> + Unfortunately, this option is buggy with + <application>MEncoder</application>; it ought to work well with + <application>MEncoder G2</application>, but that is not here yet. You + might experience crahes. Anyway, the purpose of <option> -vf + tfields</option> is to create a full frame out of each field, which + makes the framerate 60000/1001. The advantage of this approach is that no + data is ever lost; however, since each frame comes from only one + field, the missing lines have to be interpolated somehow. There are + no very good methods of generating the missing data, and so the + result will look a bit similar to when using some deinterlacing + filters. Generating the missing lines creates other issues, as well, + simply because the amount of data doubles. So, higher encoding + bitrates are required to maintain quality, and more CPU power is + used for both encoding and decoding. tfields has several different + options for how to create the missing lines of each frame. If you + use this method, then Reference the manual, and chose whichever + option looks best for your material. Note that when using + <option>tfields</option> you + <emphasis role="bold">have to</emphasis> specify both + <option>-fps</option> and <option>-ofps</option> to be twice the + framerate of your original source. + <screen> +mencoder dvd://1 -oac copy -vf tfields=2 -ovc lavc \ + -fps 60000/1001 -ofps 60000/1001<!-- + --></screen> +</para></listitem> +<listitem><para> + If you plan on downscaling dramatically, you can extract and encode + only one of the two fields. Of course, you will lose half the vertical + resolution, but if you plan on downscaling to at most 1/2 of the + original, the loss will not matter much. The result will be a + progressive 30000/1001 frames per second file. The procedure is to use + <option>-vf field</option>, then crop + <link linkend="menc-feat-telecine-footnotes">[1]</link> and scale + appropriately. Remember that you will have to adjust the scale to + compensate for the vertical resolution being halved. + <screen>mencoder dvd://1 -oac copy -vf field=0 -ovc lavc</screen> +</para></listitem> +</orderedlist> +</sect3> + + +<sect3 id="menc-feat-telecine-encode-mixedpt"> +<title>Mixed progressive and telecine</title> + +<para> +In order to turn mixed progressive and telecine video into entirely +progressive video, the telecined parts have to be +inverse-telecined. There are three ways to accomplish this, +described below. Note that you should +<emphasis role="bold">always</emphasis> inverse-telecine before any +rescaling; unless you really know what you are doing, +inverse-telecine before cropping, too +<link linkend="menc-feat-telecine-footnotes">[1]</link>. +<option>-ofps 24000/1001</option> is needed here because the output video +will be 24000/1001 frames per second. +</para> + +<itemizedlist> +<listitem><para> + <option>-vf pullup</option> is designed to inverse-telecine + telecined material while leaving progressive data alone. In order to + work properly, <option>pullup</option> <emphasis role="bold">must</emphasis> + be followed by the <option>softskip</option> filter or + else <application>MEncoder</application> will crash. + <option>pullup</option> is, however, the cleanest and most + accurate method available for encoding both telecine and + "mixed progressive and telecine". + <screen> +mencoder dvd://1 -oac copy -vf pullup,softskip + -ovc lavc -ofps 24000/1001<!-- + --></screen> +</para></listitem> +<listitem><para> + An older method + is to, rather than inverse-telecine the telecined parts, telecine + the non-telecined parts and then inverse-telecine the whole + video. Sound confusing? softpulldown is a filter that goes through + a video and makes the entire file telecined. If we follow + softpulldown with either <option>detc</option> or + <option>ivtc</option>, the final result will be entirely + progressive. <option>-ofps 24000/1001</option> is needed. + <screen> +mencoder dvd://1 -oac copy -vf softpulldown,ivtc=1 -ovc lavc -ofps 24000/1001 + </screen> +</para></listitem> + +<listitem><para> + I have not used <option>-vf filmdint</option> myself, but here is what + D Richard Felker III has to say: + + <blockquote><para>It is OK, but IMO it tries to deinterlace rather + than doing inverse telecine too often (much like settop DVD + players & progressive TVs) which gives ugly flickering and + other artifacts. If you are going to use it, you at least need to + spend some time tuning the options and watching the output first + to make sure it is not messing up. + </para></blockquote> +</para></listitem> +</itemizedlist> +</sect3> + + +<sect3 id="menc-feat-telecine-encode-mixedpi"> +<title>Mixed progressive and interlaced</title> + +<para> +There are two options for dealing with this category, each of +which is a compromise. You should decide based on the +duration/location of each type. +</para> + +<itemizedlist> +<listitem> + <para> + Treat it as progressive. The interlaced parts will look interlaced, + and some of the interlaced fields will have to be dropped, resulting + in a bit of uneven jumpiness. You can use a postprocessing filter if + you want to, but it may slightly degrade the progressive parts. + </para> + + <para> + This option should definitely not be used if you want to eventually + display the video on an interlaced device (with a TV card, for + example). If you have interlaced frames in a 24000/1001 frames per + second video, they will be telecined along with the progressive + frames. Half of the interlaced "frames" will be displayed for three + fields' duration (3/(60000/1001) seconds), resulting in a flicking + "jump back in time" effect that looks quite bad. If you + even attempt this, you <emphasis role="bold">must</emphasis> use a + deinterlacing filter like <option>lb</option> or + <option>l5</option>. + </para> + + <para> + It may also be a bad idea for progressive display, too. It will drop + pairs of consecutive interlaced fields, resulting in a discontinuity + that can be more visible than with the second method, which shows + some progressive frames twice. 30000/1001 frames per second interlaced + video is already a bit choppy because it really should be shown at + 60000/1001 fields per second, so the duplicate frames do not stand out as + much. + </para> + + <para> + Either way, it is best to consider your content and how you intend to + display it. If your video is 90% progressive and you never intend to + show it on a TV, you should favor a progressive approach. If it is + only half progressive, you probably want to encode it as if it is all + interlaced. + </para> +</listitem> + +<listitem><para> + Treat it as interlaced. Some frames of the progressive parts will + need to be duplicated, resulting in uneven jumpiness. Again, + deinterlacing filters may slightly degrade the progressive parts. +</para></listitem> +</itemizedlist> +</sect3> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-telecine-footnotes"> +<title>Footnotes</title> + +<orderedlist> +<listitem> + <formalpara> + <title>About cropping:</title> + <para> + Video data on DVDs are stored in a format called YUV 4:2:0. In YUV + video, luma ("brightness") and chroma ("color") + are stored separately. Because the human eye is somewhat less + sensitive to color than it is to brightness, in a YUV 4:2:0 picture + there is only one chroma pixel for every four luma pixels. In a + progressive picture, each square of four luma pixels (two on each + side) has one common chroma pixel. You must crop progressive YUV + 4:2:0 to even resolutions, and use even offsets. For example, + <option>crop=716:380:2:26</option> is OK but + <option>crop=716:380:3:26 </option> is not. + </para> + </formalpara> + + <para> + When you are dealing with interlaced YUV 4:2:0, the situation is a + bit more complicated. Instead of every four luma pixels in the + <emphasis>frame</emphasis> sharing a chroma pixel, every four luma + pixels in each <emphasis> field</emphasis> share a chroma + pixel. When fields are interlaced to form a frame, each scanline is + one pixel high. Now, instead of all four luma pixels being in a + square, there are two pixels side-by-side, and the other two pixels + are side-by-side two scanlines down. The two luma pixels in the + intermediate scanline are from the other field, and so share a + different chroma pixel with two luma pixels two scanlines away. All + this confusion makes it necessary to have vertical crop dimensions + and offsets be multiples of four. Horizontal can stay even. + </para> + + <para> + For telecined video, I recommend that cropping take place after + inverse telecining. Once the video is progressive you only need to + crop by even numbers. If you really want to gain the slight speedup + that cropping first may offer, you must crop vertically by multiples + of four or else the inverse-telecine filter will not have proper data. + </para> + + <para> + For interlaced (not telecined) video, you must always crop + vertically by multiples of four unless you use <option>-vf + field</option> before cropping. + </para> +</listitem> + +<listitem><formalpara> + <title>About encoding parameters and quality:</title> + <para> + Just because I recommend <option>mbd=2</option> here does not mean it + should not be used elsewhere. Along with <option>trell</option>, + <option>mbd=2</option> is one of the two + <systemitem class="library">libavcodec</systemitem> options that + increases quality the most, and you should always use at least those + two unless the drop in encoding speed is prohibitive (e.g. realtime + encoding). There are many other options to + <systemitem class="library">libavcodec</systemitem> that increase + encoding quality (and decrease encoding speed) but that is beyond + the scope of this document. + </para> +</formalpara></listitem> + +<listitem><formalpara> + <title>About the performance of pullup:</title> + <para> + It is safe to use <option>pullup</option> (along with <option>softskip + </option>) on progressive video, and is usually a good idea unless + the source has been definitively verified to be entirely progressive. + The performace loss is small for most cases. On a bare-minimum encode, + <option>pullup</option> causes <application>MEncoder</application> to + be 50% slower. Adding sound processing and advanced <option>lavcopts + </option> overshadows that difference, bringing the performance + decrease of using <option>pullup</option> down to 2%. + </para> +</formalpara></listitem> +</orderedlist> +</sect2> +</sect1> + + +<!-- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --> + + +<sect1 id="menc-feat-enc-libavcodec"> +<title>Encoding with the <systemitem class="library">libavcodec</systemitem> + codec family</title> + +<para> +<link linkend="ffmpeg"><systemitem class="library">libavcodec</systemitem></link> +provides simple encoding to a lot of interesting video and audio formats. +You can encode to the following codecs (more or less up to date): +</para> + +<!-- ********** --> + +<sect2 id="menc-feat-enc-libavcodec-video-codecs"> +<title><systemitem class="library">libavcodec</systemitem>'s + video codecs</title> + +<para> +<informaltable frame="all"> +<tgroup cols="2"> +<thead> + <row><entry>Video codec name</entry><entry>Description</entry></row> +</thead> +<tbody> +<row> + <entry>mjpeg</entry> + <entry>Motion JPEG</entry> +</row> +<row> + <entry>ljpeg</entry> + <entry>lossless JPEG</entry> +</row> +<row> + <entry>jpegls</entry> + <entry>JPEG LS</entry> +</row> +<row> + <entry>targa</entry> + <entry>Targa image</entry> +</row> +<row> + <entry>gif</entry> + <entry>GIF image</entry> +</row> +<row> + <entry>bmp</entry> + <entry>BMP image</entry> +</row> +<row> + <entry>png</entry> + <entry>PNG image</entry> +</row> +<row> + <entry>h261</entry> + <entry>H.261</entry> +</row> +<row> + <entry>h263</entry> + <entry>H.263 </entry> +</row> +<row> + <entry>h263p</entry> + <entry>H.263+</entry> +</row> +<row> + <entry>mpeg4</entry> + <entry>ISO standard MPEG-4 (DivX, Xvid compatible)</entry> +</row> +<row> + <entry>msmpeg4</entry> + <entry>pre-standard MPEG-4 variant by MS, v3 (AKA DivX3)</entry> +</row> +<row> + <entry>msmpeg4v2</entry> + <entry>pre-standard MPEG-4 by MS, v2 (used in old ASF files)</entry> +</row> +<row> + <entry>wmv1</entry> + <entry>Windows Media Video, version 1 (AKA WMV7)</entry> +</row> +<row> + <entry>wmv2</entry> + <entry>Windows Media Video, version 2 (AKA WMV8)</entry> +</row> +<row> + <entry>rv10</entry> + <entry>RealVideo 1.0</entry> +</row> +<row> + <entry>rv20</entry> + <entry>RealVideo 2.0</entry> +</row> +<row> + <entry>mpeg1video</entry> + <entry>MPEG-1 video</entry> +</row> +<row> + <entry>mpeg2video</entry> + <entry>MPEG-2 video</entry> +</row> +<row> + <entry>huffyuv</entry> + <entry>lossless compression</entry> +</row> +<row> + <entry>ffvhuff</entry> + <entry>FFmpeg modified huffyuv lossless</entry> +</row> +<row> + <entry>asv1</entry> + <entry>ASUS Video v1</entry> +</row> +<row> + <entry>asv2</entry> + <entry>ASUS Video v2</entry> +</row> +<row> + <entry>ffv1</entry> + <entry>FFmpeg's lossless video codec</entry> +</row> +<row> + <entry>svq1</entry> + <entry>Sorenson video 1</entry> +</row> +<row> + <entry>flv</entry> + <entry>Sorenson H.263 used in Flash Video</entry> +</row> +<row> + <entry>flashsv</entry> + <entry>Flash Screen Video</entry> +</row> +<row> + <entry>dvvideo</entry> + <entry>Sony Digital Video</entry> +</row> +<row> + <entry>snow</entry> + <entry>FFmpeg's experimental wavelet-based codec</entry> +</row> +<row> + <entry>zbmv</entry> + <entry>Zip Blocks Motion Video</entry> +</row> +</tbody> +</tgroup> +</informaltable> + +The first column contains the codec names that should be passed after the +<literal>vcodec</literal> config, +like: <option>-lavcopts vcodec=msmpeg4</option> +</para> + +<informalexample><para> +An example with MJPEG compression: +<screen> +mencoder dvd://2 -o <replaceable>title2.avi</replaceable> -ovc lavc -lavcopts vcodec=mjpeg -oac copy +</screen> +</para></informalexample> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-enc-libavcodec-audio-codecs"> +<title><systemitem class="library">libavcodec</systemitem>'s + audio codecs</title> + +<para> +<informaltable frame="all"> +<tgroup cols="2"> +<thead> +<row><entry>Audio codec name</entry><entry>Description</entry></row> +</thead> +<tbody> +<row> + <entry>mp2</entry> + <entry>MPEG Layer 2</entry> +</row> +<row> + <entry>ac3</entry> + <entry>AC-3, AKA Dolby Digital</entry> +</row> +<row> + <entry>adpcm_ima_wav</entry> + <entry>IMA adaptive PCM (4 bits per sample, 4:1 compression)</entry> +</row> +<row> + <entry>sonic</entry> + <entry>experimental FFmpeg lossy codec</entry> +</row> +<row> + <entry>sonicls</entry> + <entry>experimental FFmpeg lossless codec</entry> +</row> +<row> + <entry>vorbis</entry> + <entry>Xiph Ogg Vorbis codec</entry> +</row> +<row> + <entry>wmav1</entry> + <entry>Windows Media Audio v1 codec</entry> +</row> +<row> + <entry>wmav2</entry> + <entry>Windows Media Audio v2 codec</entry> +</row> +</tbody> +</tgroup> +</informaltable> + +The first column contains the codec names that should be passed after the +<literal>acodec</literal> option, like: <option>-lavcopts acodec=ac3</option> +</para> + +<informalexample><para> +An example with AC-3 compression: +<screen> +mencoder dvd://2 -o <replaceable>title2.avi</replaceable> -oac lavc -lavcopts acodec=ac3 -ovc copy +</screen> +</para></informalexample> + +<para> +Contrary to <systemitem class="library">libavcodec</systemitem>'s video +codecs, its audio codecs do not make a wise usage of the bits they are +given as they lack some minimal psychoacoustic model (if at all) +which most other codec implementations feature. +However, note that all these audio codecs are very fast and work +out-of-the-box everywhere <application>MEncoder</application> has been +compiled with <systemitem class="library">libavcodec</systemitem> (which +is the case most of time), and do not depend on external libraries. +</para> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-lavc-encoding-options"> +<title>Encoding options of libavcodec</title> + +<para> +Ideally, you would probably want to be able to just tell the encoder to switch +into "high quality" mode and move on. +That would probably be nice, but unfortunately hard to implement as different +encoding options yield different quality results depending on the source +material. That is because compression depends on the visual properties of the +video in question. +For example, anime and live action have very different properties and +thus require different options to obtain optimum encoding. +The good news is that some options should never be left out, like +<option>mbd=2</option>, <option>trell</option>, and <option>v4mv</option>. +See below for a detailed description of common encoding options. +</para> + +<itemizedlist> +<title>Options to adjust:</title> +<listitem><para> + <emphasis role="bold">vmax_b_frames</emphasis>: 1 or 2 is good, depending on + the movie. + Note that if you need to have your encode be decodable by DivX5, you + need to activate closed GOP support, using + <systemitem class="library">libavcodec</systemitem>'s <option>cgop</option> + option, but you need to deactivate scene detection, which + is not a good idea as it will hurt encode efficiency a bit. +</para></listitem> +<listitem><para> + <emphasis role="bold">vb_strategy=1</emphasis>: helps in high-motion scenes. + On some videos, vmax_b_frames may hurt quality, but vmax_b_frames=2 along + with vb_strategy=1 helps. +</para></listitem> +<listitem><para> + <emphasis role="bold">dia</emphasis>: motion search range. Bigger is better + and slower. + Negative values are a completely different scale. + Good values are -1 for a fast encode, or 2-4 for slower. +</para></listitem> +<listitem><para> + <emphasis role="bold">predia</emphasis>: motion search pre-pass. + Not as important as dia. Good values are 1 (default) to 4. Requires preme=2 + to really be useful. +</para></listitem> +<listitem><para> + <emphasis role="bold">cmp, subcmp, precmp</emphasis>: Comparison function for + motion estimation. + Experiment with values of 0 (default), 2 (hadamard), 3 (dct), and 6 (rate + distortion). + 0 is fastest, and sufficient for precmp. + For cmp and subcmp, 2 is good for anime, and 3 is good for live action. + 6 may or may not be slightly better, but is slow. +</para></listitem> +<listitem><para> + <emphasis role="bold">last_pred</emphasis>: Number of motion predictors to + take from the previous frame. + 1-3 or so help at little speed cost. + Higher values are slow for no extra gain. +</para></listitem> +<listitem><para> + <emphasis role="bold">cbp, mv0</emphasis>: Controls the selection of + macroblocks. Small speed cost for small quality gain. +</para></listitem> +<listitem><para> + <emphasis role="bold">qprd</emphasis>: adaptive quantization based on the + macroblock's complexity. + May help or hurt depending on the video and other options. + This can cause artifacts unless you set vqmax to some reasonably small value + (6 is good, maybe as low as 4); vqmin=1 should also help. +</para></listitem> +<listitem><para> + <emphasis role="bold">qns</emphasis>: very slow, especially when combined + with qprd. + This option will make the encoder minimize noise due to compression + artifacts instead of making the encoded video strictly match the source. + Do not use this unless you have already tweaked everything else as far as it + will go and the results still are not good enough. +</para></listitem> +<listitem><para> + <emphasis role="bold">vqcomp</emphasis>: Tweak ratecontrol. + What values are good depends on the movie. + You can safely leave this alone if you want. + Reducing vqcomp puts more bits on low-complexity scenes, increasing it puts + them on high-complexity scenes (default: 0.5, range: 0-1. recommended range: + 0.5-0.7). +</para></listitem> +<listitem><para> + <emphasis role="bold">vlelim, vcelim</emphasis>: Sets the single coefficient + elimination threshold for luminance and chroma planes. + These are encoded separately in all MPEG-like algorithms. + The idea behind these options is to use some good heuristics to determine + when the change in a block is less than the threshold you specify, and in + such a case, to just encode the block as "no change". + This saves bits and perhaps speeds up encoding. vlelim=-4 and vcelim=9 + seem to be good for live movies, but seem not to help with anime; + when encoding animation, you should probably leave them unchanged. +</para></listitem> +<listitem><para> + <emphasis role="bold">qpel</emphasis>: Quarter pixel motion estimation. + MPEG-4 uses half pixel precision for its motion search by default, + therefore this option comes with an overhead as more information will be + stored in the encoded file. + The compression gain/loss depends on the movie, but it is usually not very + effective on anime. + qpel always incurs a significant cost in CPU decode time (+25% in + practice). +</para></listitem> +<listitem><para> + <emphasis role="bold">psnr</emphasis>: does not affect the actual encoding, + but writes a log file giving the type/size/quality of each frame, and + prints a summary of PSNR (Peak Signal to Noise Ratio) at the end. +</para></listitem> +</itemizedlist> + +<itemizedlist> +<title>Options not recommended to play with:</title> +<listitem><para> + <emphasis role="bold">vme</emphasis>: The default is best. +</para></listitem> +<listitem><para> + <emphasis role="bold">lumi_mask, dark_mask</emphasis>: Psychovisual adaptive + quantization. + You do not want to play with those options if you care about quality. + Reasonable values may be effective in your case, but be warned this is very + subjective. +</para></listitem> +<listitem><para> + <emphasis role="bold">scplx_mask</emphasis>: Tries to prevent blocky + artifacts, but postprocessing is better. +</para></listitem> +</itemizedlist> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-mpeg4-lavc-example-settings"> +<title>Encoding setting examples</title> + +<para> +The following settings are examples of different encoding +option combinations that affect the speed vs quality tradeoff +at the same target bitrate. +</para> + +<para> +All the encoding settings were tested on a 720x448 @30000/1001 fps +video sample, the target bitrate was 900kbps, and the machine was an +AMD-64 3400+ at 2400 MHz in 64 bits mode. +Each encoding setting features the measured encoding speed (in +frames per second) and the PSNR loss (in dB) compared to the "very +high quality" setting. +Please understand that depending on your source, your machine type +and development advancements, you may get very different results. +</para> + +<para> +<informaltable frame="all"> +<tgroup cols="4"> +<thead> +<row> + <entry>Description</entry> + <entry>Encoding options</entry> + <entry>speed (in fps)</entry> + <entry>Relative PSNR loss (in dB)</entry> +</row> +</thead> +<tbody> +<row> + <entry>Very high quality</entry> + <entry><option>vcodec=mpeg4:mbd=2:mv0:trell:v4mv:cbp:last_pred=3:predia=2:dia=2:vmax_b_frames=2:vb_strategy=1:precmp=2:cmp=2:subcmp=2:preme=2:qns=2</option></entry> + <entry>6fps</entry> + <entry>0dB</entry> +</row> +<row> + <entry>High quality</entry> + <entry><option>vcodec=mpeg4:mbd=2:trell:v4mv:last_pred=2:dia=-1:vmax_b_frames=2:vb_strategy=1:cmp=3:subcmp=3:precmp=0:vqcomp=0.6:turbo</option></entry> + <entry>15fps</entry> + <entry>-0.5dB</entry> +</row> +<row> + <entry>Fast</entry> + <entry><option>vcodec=mpeg4:mbd=2:trell:v4mv:turbo</option></entry> + <entry>42fps</entry> + <entry>-0.74dB</entry> +</row> +<row> + <entry>Realtime</entry> + <entry><option>vcodec=mpeg4:mbd=2:turbo</option></entry> + <entry>54fps</entry> + <entry>-1.21dB</entry> +</row> +</tbody> +</tgroup> +</informaltable> +</para> +</sect2> + +<!-- ********** --> + +<sect2 id="custommatrices"> +<title>Custom inter/intra matrices</title> + +<para> +With this feature of +<link linkend="ffmpeg"><systemitem class="library">libavcodec</systemitem></link> +you are able to set custom inter (I-frames/keyframes) and intra +(P-frames/predicted frames) matrices. It is supported by many of the codecs: +<systemitem>mpeg1video</systemitem> and <systemitem>mpeg2video</systemitem> +are reported as working. +</para> + +<para> +A typical usage of this feature is to set the matrices preferred by the +<ulink url="http://www.kvcd.net/">KVCD</ulink> specifications. +</para> + +<para> +The <emphasis role="bold">KVCD "Notch" Quantization Matrix:</emphasis> +</para> + +<para> +Intra: +<screen> + 8 9 12 22 26 27 29 34 + 9 10 14 26 27 29 34 37 +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 29 34 37 38 40 48 58 +29 34 37 38 40 48 58 69 +34 37 38 40 48 58 69 79 +</screen> + +Inter: +<screen> +16 18 20 22 24 26 28 30 +18 20 22 24 26 28 30 32 +20 22 24 26 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 36 38 40 +28 30 32 34 36 38 42 42 +30 32 34 36 38 40 42 44 +</screen> +</para> + +<para> +Usage: +<screen> +mencoder <replaceable>input.avi</replaceable> -o <replaceable>output.avi</replaceable> -oac copy -ovc lavc \ + -lavcopts inter_matrix=...:intra_matrix=... +</screen> +</para> + +<para> +<screen> +mencoder <replaceable>input.avi</replaceable> -ovc lavc -lavcopts \ +vcodec=mpeg2video:intra_matrix=8,9,12,22,26,27,29,34,9,10,14,26,27,29,34,37,\ +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,\ +29,34,37,38,40,48,58,29,34,37,38,40,48,58,69,34,37,38,40,48,58,69,79\ +:inter_matrix=16,18,20,22,24,26,28,30,18,20,22,24,26,28,30,32,20,22,24,26,\ +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,\ +36,38,40,28,30,32,34,36,38,42,42,30,32,34,36,38,40,42,44 -oac copy -o svcd.mpg +</screen> +</para> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-dvd-mpeg4-example"> +<title>Example</title> + +<para> +So, you have just bought your shiny new copy of Harry Potter and the Chamber +of Secrets (widescreen edition, of course), and you want to rip this DVD +so that you can add it to your Home Theatre PC. This is a region 1 DVD, +so it is NTSC. The example below will still apply to PAL, except you will +omit <option>-ofps 24000/1001</option> (because the output framerate is the +same as the input framerate), and of course the crop dimensions will be +different. +</para> + +<para> +After running <option>mplayer dvd://1</option>, we follow the process +detailed in the section <link linkend="menc-feat-telecine">How to deal +with telecine and interlacing in NTSC DVDs</link> and discover that it is +24000/1001 fps progressive video, which means that we need not use an inverse +telecine filter, such as <option>pullup</option> or +<option>filmdint</option>. +</para> + +<para id="menc-feat-dvd-mpeg4-example-crop"> +Next, we want to determine the appropriate crop rectangle, so we use the +cropdetect filter: +<screen>mplayer dvd://1 -vf cropdetect</screen> +Make sure you seek to a fully filled frame (such as a bright scene, +past the opening credits and logos), and +you will see in <application>MPlayer</application>'s console output: +<screen>crop area: X: 0..719 Y: 57..419 (-vf crop=720:362:0:58)</screen> +We then play the movie back with this filter to test its correctness: +<screen>mplayer dvd://1 -vf crop=720:362:0:58</screen> +And we see that it looks perfectly fine. Next, we ensure the width and +height are a multiple of 16. The width is fine, however the height is +not. Since we did not fail 7th grade math, we know that the nearest +multiple of 16 lower than 362 is 352. +</para> + +<para> +We could just use <option>crop=720:352:0:58</option>, but it would be nice +to take a little off the top and a little off the bottom so that we +retain the center. We have shrunk the height by 10 pixels, but we do not +want to increase the y-offset by 5-pixels since that is an odd number and +will adversely affect quality. Instead, we will increase the y-offset by +4 pixels: +<screen>mplayer dvd://1 -vf crop=720:352:0:62</screen> +Another reason to shave pixels from both the top and the bottom is that we +ensure we have eliminated any half-black pixels if they exist. Note that if +your video is telecined, make sure the <option>pullup</option> filter (or +whichever inverse telecine filter you decide to use) appears in the filter +chain before you crop. If it is interlaced, deinterlace before cropping. +(If you choose to preserve the interlaced video, then make sure your +vertical crop offset is a multiple of 4.) +</para> + +<para> +If you are really concerned about losing those 10 pixels, you might +prefer instead to scale the dimensions down to the nearest multiple of 16. +The filter chain would look like: +<screen>-vf crop=720:362:0:58,scale=720:352</screen> +Scaling the video down like this will mean that some small amount of +detail is lost, though it probably will not be perceptible. Scaling up will +result in lower quality (unless you increase the bitrate). Cropping +discards those pixels altogether. It is a tradeoff that you will want to +consider for each circumstance. For example, if the DVD video was made +for television, you might want to avoid vertical scaling, since the line +sampling corresponds to the way the content was originally recorded. +</para> + +<para> +On inspection, we see that our movie has a fair bit of action and high +amounts of detail, so we pick 2400Kbit for our bitrate. +</para> + +<para> +We are now ready to do the two pass encode. Pass one: +<screen> +mencoder dvd://1 -ofps 24000/1001 -oac copy -o <replaceable>Harry_Potter_2.avi</replaceable> -ovc lavc \ + -lavcopts vcodec=mpeg4:vbitrate=2400:v4mv:mbd=2:trell:cmp=3:subcmp=3:autoaspect:vpass=1 \ + -vf pullup,softskip,crop=720:352:0:62,hqdn3d=2:1:2 +</screen> +And pass two is the same, except that we specify <option>vpass=2</option>: +<screen> +mencoder dvd://1 -ofps 24000/1001 -oac copy -o <replaceable>Harry_Potter_2.avi</replaceable> -ovc lavc \ + -lavcopts vcodec=mpeg4:vbitrate=2400:v4mv:mbd=2:trell:cmp=3:subcmp=3:autoaspect:vpass=2 \ + -vf pullup,softskip,crop=720:352:0:62,hqdn3d=2:1:2 +</screen> +</para> + +<para> +The options <option>v4mv:mbd=2:trell</option> will greatly increase the +quality at the expense of encoding time. There is little reason to leave +these options out when the primary goal is quality. The options +<option>cmp=3:subcmp=3</option> select a comparison function that +yields higher quality than the defaults. You might try experimenting with +this parameter (refer to the man page for the possible values) as +different functions can have a large impact on quality depending on the +source material. For example, if you find +<systemitem class="library">libavcodec</systemitem> produces too much +blocky artifacting, you could try selecting the experimental NSSE as +comparison function via <option>*cmp=10</option>. +</para> + +<para> +For this movie, the resulting AVI will be 138 minutes long and nearly +3GB. And because you said that file size does not matter, this is a +perfectly acceptable size. However, if you had wanted it smaller, you +could try a lower bitrate. Increasing bitrates have diminishing +returns, so while we might clearly see an improvement from 1800Kbit to +2000Kbit, it might not be so noticeable above 2000Kbit. Feel +free to experiment until you are happy. +</para> + +<para> +Because we passed the source video through a denoise filter, you may want +to add some of it back during playback. This, along with the +<option>spp</option> post-processing filter, drastically improves the +perception of quality and helps eliminate blocky artifacts in the video. +With <application>MPlayer</application>'s <option>autoq</option> option, +you can vary the amount of post-processing done by the spp filter +depending on available CPU. Also, at this point, you may want to apply +gamma and/or color correction to best suit your display. For example: +<screen> +mplayer <replaceable>Harry_Potter_2.avi</replaceable> -vf spp,noise=9ah:5ah,eq2=1.2 -autoq 3 +</screen> +</para> +</sect2> +</sect1> + + +<!-- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --> + + +<sect1 id="menc-feat-xvid"> +<title>Encoding with the <systemitem class="library">Xvid</systemitem> + codec</title> + +<para> +<systemitem class="library">Xvid</systemitem> is a free library for +encoding MPEG-4 ASP video streams. +Before starting to encode, you need to <link linkend="xvid"> +set up <application>MEncoder</application> to support it</link>. +</para> + +<para> +This guide mainly aims at featuring the same kind of information +as x264's encoding guide. +Therefore, please begin by reading +<link linkend="menc-feat-x264-encoding-options-intro">the first part</link> +of that guide. +</para> + +<!-- ********** --> + +<sect2 id="menc-feat-xvid-intro"> +<title>What options should I use to get the best results?</title> + +<para> +Please begin by reviewing the +<systemitem class="library">Xvid</systemitem> section of +<application>MPlayer</application>'s man page. +This section is intended to be a supplement to the man page. +</para> + +<para> +The Xvid default settings are already a good tradeoff between +speed and quality, therefore you can safely stick to them if +the following section puzzles you. +</para> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-xvid-encoding-options"> +<title>Encoding options of <systemitem class="library">Xvid</systemitem></title> + +<itemizedlist> +<listitem><para> + <emphasis role="bold">vhq</emphasis> + This setting affects the macroblock decision algorithm, where the + higher the setting, the wiser the decision. + The default setting may be safely used for every encode, while + higher settings always help PSNR but are significantly slower. + Please note that a better PSNR does not necessarily mean + that the picture will look better, but tells you that it is + closer to the original. + Turning it off will noticeably speed up encoding; if speed is + critical for you, the tradeoff may be worth it. +</para></listitem> +<listitem><para> + <emphasis role="bold">bvhq</emphasis> + This does the same job as vhq, but does it on B-frames. + It has a negligible impact on speed, and slightly improves quality + (around +0.1dB PSNR). +</para></listitem> +<listitem><para> + <emphasis role="bold">max_bframes</emphasis> + A higher number of consecutive allowed B-frames usually improves + compressibility, although it may also lead to more blocking artifacts. + The default setting is a good tradeoff between compressibility and + quality, but you may increase it up to 3 if you are bitrate-starved. + You may also decrease it to 1 or 0 if you are aiming at perfect + quality, though in that case you should make sure your + target bitrate is high enough to ensure that the encoder does not + have to increase quantizers to reach it. +</para></listitem> +<listitem><para> + <emphasis role="bold">bf_threshold</emphasis> + This controls the B-frame sensitivity of the encoder, where a higher + value leads to more B-frames being used (and vice versa). + This setting is to be used together with <option>max_bframes</option>; + if you are bitrate-starved, you should increase both + <option>max_bframes</option> and <option>bf_threshold</option>, + while you may increase <option>max_bframes</option> and reduce + <option>bf_threshold</option> so that the encoder may use more + B-frames in places that only <emphasis role="bold">really</emphasis> + need them. + A low number of <option>max_bframes</option> and a high value of + <option>bf_threshold</option> is probably not a wise choice as it + will force the encoder to put B-frames in places that would not + benefit from them, therefore reducing visual quality. + However, if you need to be compatible with standalone players that + only support old DivX profiles (which only supports up to 1 + consecutive B-frame), this would be your only way to + increase compressibility through using B-frames. +</para></listitem> +<listitem><para> + <emphasis role="bold">trellis</emphasis> + Optimizes the quantization process to get an optimal tradeoff + between PSNR and bitrate, which allows significant bit saving. + These bits will in return be spent elsewhere on the video, + raising overall visual quality. + You should always leave it on as its impact on quality is huge. + Even if you are looking for speed, do not disable it until you + have turned down <option>vhq</option> and all other more + CPU-hungry options to the minimum. +</para></listitem> +<listitem><para> + <emphasis role="bold">hq_ac</emphasis> + Activates a better coefficient cost estimation method, which slightly + reduces filesize by around 0.15 to 0.19% (which corresponds to less + than 0.01dB PSNR increase), while having a negligible impact on speed. + It is therefore recommended to always leave it on. +</para></listitem> +<listitem><para> + <emphasis role="bold">cartoon</emphasis> + Designed to better encode cartoon content, and has no impact on + speed as it just tunes the mode decision heuristics for this type + of content. +</para></listitem> +<listitem> + <para> + <emphasis role="bold">me_quality</emphasis> + This setting is to control the precision of the motion estimation. + The higher <option>me_quality</option>, the more + precise the estimation of the original motion will be, and the + better the resulting clip will capture the original motion. + </para> + <para> + The default setting is best in all cases; + thus it is not recommended to turn it down unless you are + really looking for speed, as all the bits saved by a good motion + estimation would be spent elsewhere, raising overall quality. + Therefore, do not go any lower than 5, and even that only as a last + resort. + </para> +</listitem> +<listitem><para> + <emphasis role="bold">chroma_me</emphasis> + Improves motion estimation by also taking the chroma (color) + information into account, whereas <option>me_quality</option> + alone only uses luma (grayscale). + This slows down encoding by 5-10% but improves visual quality + quite a bit by reducing blocking effects and reduces filesize by + around 1.3%. + If you are looking for speed, you should disable this option before + starting to consider reducing <option>me_quality</option>. +</para></listitem> +<listitem><para> + <emphasis role="bold">chroma_opt</emphasis> + Is intended to increase chroma image quality around pure + white/black edges, rather than improving compression. + This can help to reduce the "red stairs" effect. +</para></listitem> +<listitem><para> + <emphasis role="bold">lumi_mask</emphasis> + Tries to give less bitrate to part of the picture that the + human eye cannot see very well, which should allow the encoder + to spend the saved bits on more important parts of the picture. + The quality of the encode yielded by this option highly depends + on personal preferences and on the type and monitor settings + used to watch it (typically, it will not look as good if it is + bright or if it is a TFT monitor). +</para></listitem> +<listitem> + <para> + <emphasis role="bold">qpel</emphasis> + Raise the number of candidate motion vectors by increasing + the precision of the motion estimation from halfpel to + quarterpel. + The idea is to find better motion vectors which will in return + reduce bitrate (hence increasing quality). + However, motion vectors with quarterpel precision require a + few extra bits to code, but the candidate vectors do not always + give (much) better results. + Quite often, the codec still spends bits on the extra precision, + but little or no extra quality is gained in return. + Unfortunately, there is no way to foresee the possible gains of + <option>qpel</option>, so you need to actually encode with and + without it to know for sure. + </para> + <para> + <option>qpel</option> can be almost double encoding time, and + requires as much as 25% more processing power to decode. + It is not supported by all standalone players. + </para> +</listitem> +<listitem><para> + <emphasis role="bold">gmc</emphasis> + Tries to save bits on panning scenes by using a single motion + vector for the whole frame. + This almost always raises PSNR, but significantly slows down + encoding (as well as decoding). + Therefore, you should only use it when you have turned + <option>vhq</option> to the maximum. + <systemitem class="library">Xvid</systemitem>'s GMC is more + sophisticated than DivX's, but is only supported by few + standalone players. +</para></listitem> +</itemizedlist> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-xvid-encoding-profiles"> +<title>Encoding profiles</title> + +<para> +Xvid supports encoding profiles through the <option>profile</option> option, +which are used to impose restrictions on the properties of the Xvid video +stream such that it will be playable on anything which supports the +chosen profile. +The restrictions relate to resolutions, bitrates and certain MPEG-4 +features. +The following table shows what each profile supports. +</para> + +<informaltable> +<tgroup cols="16" align="center"> +<colspec colnum="1" colname="col1"/> +<colspec colnum="2" colname="col2"/> +<colspec colnum="3" colname="col3"/> +<colspec colnum="4" colname="col4"/> +<colspec colnum="5" colname="col5"/> +<colspec colnum="6" colname="col6"/> +<colspec colnum="7" colname="col7"/> +<colspec colnum="8" colname="col8"/> +<colspec colnum="9" colname="col9"/> +<colspec colnum="10" colname="col10"/> +<colspec colnum="11" colname="col11"/> +<colspec colnum="12" colname="col12"/> +<colspec colnum="13" colname="col13"/> +<colspec colnum="14" colname="col14"/> +<colspec colnum="15" colname="col15"/> +<colspec colnum="16" colname="col16"/> +<colspec colnum="17" colname="col17"/> +<spanspec spanname="spa2-5" namest="col2" nameend="col5"/> +<spanspec spanname="spa6-11" namest="col6" nameend="col11"/> +<spanspec spanname="spa12-17" namest="col12" nameend="col17"/> +<tbody> +<row> + <entry></entry> + <entry spanname="spa2-5">Simple</entry> + <entry spanname="spa6-11">Advanced Simple</entry> + <entry spanname="spa12-17">DivX</entry> +</row> +<row> + <entry>Profile name</entry> + <entry>0</entry> + <entry>1</entry> + <entry>2</entry> + <entry>3</entry> + <entry>0</entry> + <entry>1</entry> + <entry>2</entry> + <entry>3</entry> + <entry>4</entry> + <entry>5</entry> + <entry>Handheld</entry> + <entry>Portable NTSC</entry> + <entry>Portable PAL</entry> + <entry>Home Theater NTSC</entry> + <entry>Home Theater PAL</entry> + <entry>HDTV</entry> +</row> +<row> + <entry>Width [pixels]</entry> + <entry>176</entry> + <entry>176</entry> + <entry>352</entry> + <entry>352</entry> + <entry>176</entry> + <entry>176</entry> + <entry>352</entry> + <entry>352</entry> + <entry>352</entry> + <entry>720</entry> + <entry>176</entry> + <entry>352</entry> + <entry>352</entry> + <entry>720</entry> + <entry>720</entry> + <entry>1280</entry> +</row> +<row> + <entry>Height [pixels]</entry> + <entry>144</entry> + <entry>144</entry> + <entry>288</entry> + <entry>288</entry> + <entry>144</entry> + <entry>144</entry> + <entry>288</entry> + <entry>288</entry> + <entry>576</entry> + <entry>576</entry> + <entry>144</entry> + <entry>240</entry> + <entry>288</entry> + <entry>480</entry> + <entry>576</entry> + <entry>720</entry> +</row> +<row> + <entry>Frame rate [fps]</entry> + <entry>15</entry> + <entry>15</entry> + <entry>15</entry> + <entry>15</entry> + <entry>30</entry> + <entry>30</entry> + <entry>15</entry> + <entry>30</entry> + <entry>30</entry> + <entry>30</entry> + <entry>15</entry> + <entry>30</entry> + <entry>25</entry> + <entry>30</entry> + <entry>25</entry> + <entry>30</entry> +</row> +<row> + <entry>Max average bitrate [kbps]</entry> + <entry>64</entry> + <entry>64</entry> + <entry>128</entry> + <entry>384</entry> + <entry>128</entry> + <entry>128</entry> + <entry>384</entry> + <entry>768</entry> + <entry>3000</entry> + <entry>8000</entry> + <entry>537.6</entry> + <entry>4854</entry> + <entry>4854</entry> + <entry>4854</entry> + <entry>4854</entry> + <entry>9708.4</entry> +</row> +<row> + <entry>Peak average bitrate over 3 secs [kbps]</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry>800</entry> + <entry>8000</entry> + <entry>8000</entry> + <entry>8000</entry> + <entry>8000</entry> + <entry>16000</entry> +</row> +<row> + <entry>Max. B-frames</entry> + <entry>0</entry> + <entry>0</entry> + <entry>0</entry> + <entry>0</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry>0</entry> + <entry>1</entry> + <entry>1</entry> + <entry>1</entry> + <entry>1</entry> + <entry>2</entry> +</row> +<row> + <entry>MPEG quantization</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> +</row> +<row> + <entry>Adaptive quantization</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> +</row> +<row> + <entry>Interlaced encoding</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> +</row> +<row> + <entry>Quaterpixel</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> +</row> +<row> + <entry>Global motion compensation</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry>X</entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> + <entry></entry> +</row> +</tbody> +</tgroup> +</informaltable> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-xvid-example-settings"> +<title>Encoding setting examples</title> + +<para> +The following settings are examples of different encoding +option combinations that affect the speed vs quality tradeoff +at the same target bitrate. +</para> + +<para> +All the encoding settings were tested on a 720x448 @30000/1001 fps +video sample, the target bitrate was 900kbps, and the machine was an +AMD-64 3400+ at 2400 MHz in 64 bits mode. +Each encoding setting features the measured encoding speed (in +frames per second) and the PSNR loss (in dB) compared to the "very +high quality" setting. +Please understand that depending on your source, your machine type +and development advancements, you may get very different results. +</para> + +<informaltable frame="all"> +<tgroup cols="4"> +<thead> +<row><entry>Description</entry><entry>Encoding options</entry><entry>speed (in fps)</entry><entry>Relative PSNR loss (in dB)</entry></row> +</thead> +<tbody> +<row> + <entry>Very high quality</entry> + <entry><option>chroma_opt:vhq=4:bvhq=1:quant_type=mpeg</option></entry> + <entry>16fps</entry> + <entry>0dB</entry> +</row> +<row> + <entry>High quality</entry> + <entry><option>vhq=2:bvhq=1:chroma_opt:quant_type=mpeg</option></entry> + <entry>18fps</entry> + <entry>-0.1dB</entry> +</row> +<row> + <entry>Fast</entry> + <entry><option>turbo:vhq=0</option></entry> + <entry>28fps</entry> + <entry>-0.69dB</entry> +</row> +<row> + <entry>Realtime</entry> + <entry><option>turbo:nochroma_me:notrellis:max_bframes=0:vhq=0</option></entry> + <entry>38fps</entry> + <entry>-1.48dB</entry> +</row> +</tbody> +</tgroup> +</informaltable> +</sect2> +</sect1> + + +<!-- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --> + + +<sect1 id="menc-feat-x264"> +<title>Encoding with the + <systemitem class="library">x264</systemitem> codec</title> + +<para> +<systemitem class="library">x264</systemitem> is a free library for +encoding H.264/AVC video streams. +Before starting to encode, you need to +<link linkend="codec-x264-encode">set up <application>MEncoder</application> to support it</link>. +</para> + +<!-- ********** --> + +<sect2 id="menc-feat-x264-encoding-options"> +<title>Encoding options of x264</title> + +<para> +Please begin by reviewing the +<systemitem class="library">x264</systemitem> section of +<application>MPlayer</application>'s man page. +This section is intended to be a supplement to the man page. +Here you will find quick hints about which options are most +likely to interest most people. The man page is more terse, +but also more exhaustive, and it sometimes offers much better +technical detail. +</para> + + +<sect3 id="menc-feat-x264-encoding-options-intro"> +<title>Introduction</title> + +<para> +This guide considers two major categories of encoding options: +</para> + +<orderedlist> +<listitem><para> + Options which mainly trade off encoding time vs. quality +</para></listitem> +<listitem><para> + Options which may be useful for fulfilling various personal + preferences and special requirements +</para></listitem> +</orderedlist> + +<para> +Ultimately, only you can decide which options are best for your +purposes. The decision for the first class of options is the simplest: +you only have to decide whether you think the quality differences +justify the speed differences. For the second class of options, +preferences may be far more subjective, and more factors may be +involved. Note that some of the "personal preferences and special +requirements" options can still have large impacts on speed or quality, +but that is not what they are primarily useful for. A couple of the +"personal preference" options may even cause changes that look better +to some people, but look worse to others. +</para> + +<para> +Before continuing, you need to understand that this guide uses only one +quality metric: global PSNR. +For a brief explanation of what PSNR is, see +<ulink url="http://en.wikipedia.org/wiki/PSNR">the Wikipedia article on PSNR</ulink>. +Global PSNR is the last PSNR number reported when you include +the <option>psnr</option> option in <option>x264encopts</option>. +Any time you read a claim about PSNR, one of the assumptions +behind the claim is that equal bitrates are used. +</para> + +<para> +Nearly all of this guide's comments assume you are using two pass. +When comparing options, there are two major reasons for using +two pass encoding. +First, using two pass often gains around 1dB PSNR, which is a +very big difference. +Secondly, testing options by doing direct quality comparisons +with one pass encodes introduces a major confounding +factor: bitrate often varies significantly with each encode. +It is not always easy to tell whether quality changes are due +mainly to changed options, or if they mostly reflect essentially +random differences in the achieved bitrate. +</para> +</sect3> + + +<sect3 id="menc-feat-x264-encoding-options-speedvquality"> +<title>Options which primarily affect speed and quality</title> + +<itemizedlist> +<listitem> + <para> + <emphasis role="bold">subq</emphasis>: + Of the options which allow you to trade off speed for quality, + <option>subq</option> and <option>frameref</option> (see below) are usually + by far the most important. + If you are interested in tweaking either speed or quality, these + are the first options you should consider. + On the speed dimension, the <option>frameref</option> and + <option>subq</option> options interact with each other fairly + strongly. + Experience shows that, with one reference frame, + <option>subq=5</option> (the default setting) takes about 35% more time than + <option>subq=1</option>. + With 6 reference frames, the penalty grows to over 60%. + <option>subq</option>'s effect on PSNR seems fairly constant + regardless of the number of reference frames. + Typically, <option>subq=5</option> achieves 0.2-0.5 dB higher global + PSNR in comparison <option>subq=1</option>. + This is usually enough to be visible. + </para> + <para> + <option>subq=6</option> is slower and yields better quality at a reasonable + cost. + In comparison to <option>subq=5</option>, it usually gains 0.1-0.4 dB + global PSNR with speed costs varying from 25%-100%. + Unlike other levels of <option>subq</option>, the behavior of + <option>subq=6</option> does not depend much on <option>frameref</option> + and <option>me</option>. Instead, the effectiveness of <option>subq=6 + </option> depends mostly upon the number of B-frames used. In normal + usage, this means <option>subq=6</option> has a large impact on both speed + and quality in complex, high motion scenes, but it may not have much effect + in low-motion scenes. Note that it is still recommended to always set + <option>bframes</option> to something other than zero (see below). + </para> + <para> + <option>subq=7</option> is the slowest, highest quality mode. + In comparison to <option>subq=6</option>, it usually gains 0.01-0.05 dB + global PSNR with speed costs varying from 15%-33%. + Since the tradeoff encoding time vs. quality is quite low, you should + only use it if you are after every bit saving and if encoding time is + not an issue. + </para> +</listitem> +<listitem> + <para> + <emphasis role="bold">frameref</emphasis>: + <option>frameref</option> is set to 1 by default, but this + should not be taken to imply that it is reasonable to set it to 1. + Merely raising <option>frameref</option> to 2 gains around + 0.15dB PSNR with a 5-10% speed penalty; this seems like a good tradeoff. + <option>frameref=3</option> gains around 0.25dB PSNR over + <option>frameref=1</option>, which should be a visible difference. + <option>frameref=3</option> is around 15% slower than + <option>frameref=1</option>. + Unfortunately, diminishing returns set in rapidly. + <option>frameref=6</option> can be expected to gain only + 0.05-0.1 dB over <option>frameref=3</option> at an additional + 15% speed penalty. + Above <option>frameref=6</option>, the quality gains are + usually very small (although you should keep in mind throughout + this whole discussion that it can vary quite a lot depending on your source). + In a fairly typical case, <option>frameref=12</option> + will improve global PSNR by a tiny 0.02dB over + <option>frameref=6</option>, at a speed cost of 15%-20%. + At such high <option>frameref</option> values, the only really + good thing that can be said is that increasing it even further will + almost certainly never <emphasis role="bold">harm</emphasis> + PSNR, but the additional quality benefits are barely even + measurable, let alone perceptible. + </para> + <note><title>Note:</title> + <para> + Raising <option>frameref</option> to unnecessarily high values + <emphasis role="bold">can</emphasis> and + <emphasis role="bold">usually does</emphasis> + hurt coding efficiency if you turn CABAC off. + With CABAC on (the default behavior), the possibility of setting + <option>frameref</option> "too high" currently seems too remote + to even worry about, and in the future, optimizations may remove + the possibility altogether. + </para></note> + <para> + If you care about speed, a reasonable compromise is to use low + <option>subq</option> and <option>frameref</option> values on + the first pass, and then raise them on the second pass. + Typically, this has a negligible negative effect on the final + quality: You will probably lose well under 0.1dB PSNR, which + should be much too small of a difference to see. + However, different values of <option>frameref</option> can + occasionally affect frametype decision. + Most likely, these are rare outlying cases, but if you want to + be pretty sure, consider whether your video has either + fullscreen repetitive flashing patterns or very large temporary + occlusions which might force an I-frame. + Adjust the first-pass <option>frameref</option> so it is large + enough to contain the duration of the flashing cycle (or occlusion). + For example, if the scene flashes back and forth between two images + over a duration of three frames, set the first pass + <option>frameref</option> to 3 or higher. + This issue is probably extremely rare in live action video material, + but it does sometimes come up in video game captures. + </para> +</listitem> +<listitem> + <para> + <emphasis role="bold">me</emphasis>: + This option is for choosing the motion estimation search method. + Altering this option provides a straightforward quality-vs-speed + tradeoff. <option>me=dia</option> is only a few percent faster than + the default search, at a cost of under 0.1dB global PSNR. The + default setting (<option>me=hex</option>) is a reasonable tradeoff + between speed and quality. <option>me=umh</option> gains a little under + 0.1dB global PSNR, with a speed penalty that varies depending on + <option>frameref</option>. At high values of + <option>frameref</option> (e.g. 12 or so), <option>me=umh</option> + is about 40% slower than the default <option> me=hex</option>. With + <option>frameref=3</option>, the speed penalty incurred drops to + 25%-30%. + </para> + <para> + <option>me=esa</option> uses an exhaustive search that is too slow for + practical use. + </para> +</listitem> +<listitem><para> + <emphasis role="bold">partitions=all</emphasis>: + This option enables the use of 8x4, 4x8 and 4x4 subpartitions in + predicted macroblocks (in addition to the default partitions). + Enabling it results in a fairly consistent + 10%-15% loss of speed. This option is rather useless in source + containing only low motion, however in some high-motion source, + particularly source with lots of small moving objects, gains of + about 0.1dB can be expected. +</para></listitem> +<listitem> + <para> + <emphasis role="bold">bframes</emphasis>: + If you are used to encoding with other codecs, you may have found + that B-frames are not always useful. + In H.264, this has changed: there are new techniques and block + types that are possible in B-frames. + Usually, even a naive B-frame choice algorithm can have a + significant PSNR benefit. + It is interesting to note that using B-frames usually speeds up + the second pass somewhat, and may also speed up a single + pass encode if adaptive B-frame decision is turned off. + </para> + <para> + With adaptive B-frame decision turned off + (<option>x264encopts</option>'s <option>nob_adapt</option>), + the optimal value for this setting is usually no more than + <option>bframes=1</option>, or else high-motion scenes can suffer. + With adaptive B-frame decision on (the default behavior), it is + safe to use higher values; the encoder will reduce the use of + B-frames in scenes where they would hurt compression. + The encoder rarely chooses to use more than 3 or 4 B-frames; + setting this option any higher will have little effect. + </para> +</listitem> +<listitem> + <para> + <emphasis role="bold">b_adapt</emphasis>: + Note: This is on by default. + </para> + <para> + With this option enabled, the encoder will use a reasonably fast + decision process to reduce the number of B-frames used in scenes that + might not benefit from them as much. + You can use <option>b_bias</option> to tweak how B-frame-happy + the encoder is. + The speed penalty of adaptive B-frames is currently rather modest, + but so is the potential quality gain. + It usually does not hurt, however. + Note that this only affects speed and frametype decision on the + first pass. + <option>b_adapt</option> and <option>b_bias</option> have no + effect on subsequent passes. + </para> +</listitem> +<listitem><para> + <emphasis role="bold">b_pyramid</emphasis>: + You might as well enable this option if you are using >=2 B-frames; + as the man page says, you get a little quality improvement at no + speed cost. + Note that these videos cannot be read by libavcodec-based decoders + older than about March 5, 2005. +</para></listitem> +<listitem> + <para> + <emphasis role="bold">weight_b</emphasis>: + In typical cases, there is not much gain with this option. + However, in crossfades or fade-to-black scenes, weighted + prediction gives rather large bitrate savings. + In MPEG-4 ASP, a fade-to-black is usually best coded as a series + of expensive I-frames; using weighted prediction in B-frames + makes it possible to turn at least some of these into much smaller + B-frames. + Encoding time cost is minimal, as no extra decisions need to be made. + Also, contrary to what some people seem to guess, the decoder + CPU requirements are not much affected by weighted prediction, + all else being equal. + </para> + <para> + Unfortunately, the current adaptive B-frame decision algorithm + has a strong tendency to avoid B-frames during fades. + Until this changes, it may be a good idea to add + <option>nob_adapt</option> to your x264encopts, if you expect + fades to have a large effect in your particular video + clip. + </para> +</listitem> +<listitem id="menc-feat-x264-encoding-options-speedvquality-threads"> + <para> + <emphasis role="bold">threads</emphasis>: + This option allows to spawn threads to encode in parallel on multiple CPUs. + You can manually select the number of threads to be created or, better, set + <option>threads=auto</option> and let + <systemitem class="library">x264</systemitem> detect how many CPUs are + available and pick an appropriate number of threads. + If you have a multi-processor machine, you should really consider using it + as it can to increase encoding speed linearly with the number of CPU cores + (about 94% per CPU core), with very little quality reduction (about 0.005dB + for dual processor, about 0.01dB for a quad processor machine). + </para> +</listitem> +</itemizedlist> +</sect3> + + +<sect3 id="menc-feat-x264-encoding-options-misc-preferences"> +<title>Options pertaining to miscellaneous preferences</title> + +<itemizedlist> +<listitem> + <para> + <emphasis role="bold">Two pass encoding</emphasis>: + Above, it was suggested to always use two pass encoding, but there + are still reasons for not using it. For instance, if you are capturing + live TV and encoding in realtime, you are forced to use single-pass. + Also, one pass is obviously faster than two passes; if you use the + exact same set of options on both passes, two pass encoding is almost + twice as slow. + </para> + <para> + Still, there are very good reasons for using two pass encoding. For + one thing, single pass ratecontrol is not psychic, and it often makes + unreasonable choices because it cannot see the big picture. For example, + suppose you have a two minute long video consisting of two distinct + halves. The first half is a very high-motion scene lasting 60 seconds + which, in isolation, requires about 2500kbps in order to look decent. + Immediately following it is a much less demanding 60-second scene + that looks good at 300kbps. Suppose you ask for 1400kbps on the theory + that this is enough to accomodate both scenes. Single pass ratecontrol + will make a couple of "mistakes" in such a case. First of all, it + will target 1400kbps in both segments. The first segment may end up + heavily overquantized, causing it to look unacceptably and unreasonably + blocky. The second segment will be heavily underquantized; it may look + perfect, but the bitrate cost of that perfection will be completely + unreasonable. What is even harder to avoid is the problem at the + transition between the two scenes. The first seconds of the low motion + half will be hugely over-quantized, because the ratecontrol is still + expecting the kind of bitrate requirements it met in the first half + of the video. This "error period" of heavily over-quantized low motion + will look jarringly bad, and will actually use less than the 300kbps + it would have taken to make it look decent. There are ways to + mitigate the pitfalls of single-pass encoding, but they may tend to + increase bitrate misprediction. + </para> + <para> + Multipass ratecontrol can offer huge advantages over a single pass. + Using the statistics gathered from the first pass encode, the encoder + can estimate, with reasonable accuracy, the "cost" (in bits) of + encoding any given frame, at any given quantizer. This allows for + a much more rational, better planned allocation of bits between the + expensive (high-motion) and cheap (low-motion) scenes. See + <option>qcomp</option> below for some ideas on how to tweak this + allocation to your liking. + </para> + <para> + Moreover, two passes need not take twice as long as one pass. You can + tweak the options in the first pass for higher speed and lower quality. + If you choose your options well, you can get a very fast first pass. + The resulting quality in the second pass will be slightly lower because size + prediction is less accurate, but the quality difference is normally much + too small to be visible. Try, for example, adding + <option>subq=1:frameref=1</option> to the first pass + <option>x264encopts</option>. Then, on the second pass, use slower, + higher-quality options: + <option>subq=6:frameref=15:partitions=all:me=umh</option> + </para> +</listitem> +<listitem><para> + <emphasis role="bold">Three pass encoding</emphasis>? + x264 offers the ability to make an arbitrary number of consecutive + passes. If you specify <option>pass=1</option> on the first pass, + then use <option>pass=3</option> on a subsequent pass, the subsequent + pass will both read the statistics from the previous pass, and write + its own statistics. An additional pass following this one will have + a very good base from which to make highly accurate predictions of + framesizes at a chosen quantizer. In practice, the overall quality + gain from this is usually close to zero, and quite possibly a third + pass will result in slightly worse global PSNR than the pass before + it. In typical usage, three passes help if you get either bad bitrate + prediction or bad looking scene transitions when using only two passes. + This is somewhat likely to happen on extremely short clips. There are + also a few special cases in which three (or more) passes are handy + for advanced users, but for brevity, this guide omits discussing those + special cases. +</para></listitem> +<listitem><para> + <emphasis role="bold">qcomp</emphasis>: + <option>qcomp</option> trades off the number of bits allocated + to "expensive" high-motion versus "cheap" low-motion frames. At + one extreme, <option>qcomp=0</option> aims for true constant + bitrate. Typically this would make high-motion scenes look completely + awful, while low-motion scenes would probably look absolutely + perfect, but would also use many times more bitrate than they + would need in order to look merely excellent. At the other extreme, + <option>qcomp=1</option> achieves nearly constant quantization parameter + (QP). Constant QP does not look bad, but most people think it is more + reasonable to shave some bitrate off of the extremely expensive scenes + (where the loss of quality is not as noticeable) and reallocate it to + the scenes that are easier to encode at excellent quality. + <option>qcomp</option> is set to 0.6 by default, which may be slightly + low for many peoples' taste (0.7-0.8 are also commonly used). +</para></listitem> +<listitem><para> + <emphasis role="bold">keyint</emphasis>: + <option>keyint</option> is solely for trading off file seekability against + coding efficiency. By default, <option>keyint</option> is set to 250. In + 25fps material, this guarantees the ability to seek to within 10 seconds + precision. If you think it would be important and useful to be able to + seek within 5 seconds of precision, set <option>keyint=125</option>; + this will hurt quality/bitrate slightly. If you care only about quality + and not about seekability, you can set it to much higher values + (understanding that there are diminishing returns which may become + vanishingly low, or even zero). The video stream will still have seekable + points as long as there are some scene changes. +</para></listitem> +<listitem> + <para> + <emphasis role="bold">deblock</emphasis>: + This topic is going to be a bit controversial. + </para> + <para> + H.264 defines a simple deblocking procedure on I-blocks that uses + pre-set strengths and thresholds depending on the QP of the block + in question. + By default, high QP blocks are filtered heavily, and low QP blocks + are not deblocked at all. + The pre-set strengths defined by the standard are well-chosen and + the odds are very good that they are PSNR-optimal for whatever + video you are trying to encode. + The <option>deblock</option> allow you to specify offsets to the preset + deblocking thresholds. + </para> + <para> + Many people seem to think it is a good idea to lower the deblocking + filter strength by large amounts (say, -3). + This is however almost never a good idea, and in most cases, + people who are doing this do not understand very well how + deblocking works by default. + </para> + <para> + The first and most important thing to know about the in-loop + deblocking filter is that the default thresholds are almost always + PSNR-optimal. + In the rare cases that they are not optimal, the ideal offset is + plus or minus 1. + Adjusting deblocking parameters by a larger amount is almost + guaranteed to hurt PSNR. + Strengthening the filter will smear more details; weakening the + filter will increase the appearance of blockiness. + </para> + <para> + It is definitely a bad idea to lower the deblocking thresholds if + your source is mainly low in spacial complexity (i.e., not a lot + of detail or noise). + The in-loop filter does a rather excellent job of concealing + the artifacts that occur. + If the source is high in spacial complexity, however, artifacts + are less noticeable. + This is because the ringing tends to look like detail or noise. + Human visual perception easily notices when detail is removed, + but it does not so easily notice when the noise is wrongly + represented. + When it comes to subjective quality, noise and detail are somewhat + interchangeable. + By lowering the deblocking filter strength, you are most likely + increasing error by adding ringing artifacts, but the eye does + not notice because it confuses the artifacts with detail. + </para> + <para> + This <emphasis role="bold">still</emphasis> does not justify + lowering the deblocking filter strength, however. + You can generally get better quality noise from postprocessing. + If your H.264 encodes look too blurry or smeared, try playing with + <option>-vf noise</option> when you play your encoded movie. + <option>-vf noise=8a:4a</option> should conceal most mild + artifacting. + It will almost certainly look better than the results you + would have gotten just by fiddling with the deblocking filter. + </para> +</listitem> +</itemizedlist> +</sect3> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-x264-example-settings"> +<title>Encoding setting examples</title> + +<para> +The following settings are examples of different encoding +option combinations that affect the speed vs quality tradeoff +at the same target bitrate. +</para> + +<para> +All the encoding settings were tested on a 720x448 @30000/1001 fps +video sample, the target bitrate was 900kbps, and the machine was an +AMD-64 3400+ at 2400 MHz in 64 bits mode. +Each encoding setting features the measured encoding speed (in +frames per second) and the PSNR loss (in dB) compared to the "very +high quality" setting. +Please understand that depending on your source, your machine type +and development advancements, you may get very different results. +</para> + +<informaltable frame="all"> +<tgroup cols="4"> +<thead> +<row> + <entry>Description</entry> + <entry>Encoding options</entry> + <entry>speed (in fps)</entry> + <entry>Relative PSNR loss (in dB)</entry> +</row> +</thead> +<tbody> +<row> + <entry>Very high quality</entry> + <entry><option>subq=6:partitions=all:8x8dct:me=umh:frameref=5:bframes=3:b_pyramid:weight_b</option></entry> + <entry>6fps</entry> + <entry>0dB</entry> +</row> +<row> + <entry>High quality</entry> + <entry><option>subq=5:8x8dct:frameref=2:bframes=3:b_pyramid:weight_b</option></entry> + <entry>13fps</entry> + <entry>-0.89dB</entry> +</row> +<row> + <entry>Fast</entry> + <entry><option>subq=4:bframes=2:b_pyramid:weight_b</option></entry> + <entry>17fps</entry> + <entry>-1.48dB</entry> +</row> +</tbody> +</tgroup> +</informaltable> +</sect2> +</sect1> + + +<!-- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --> + + +<sect1 id="menc-feat-video-for-windows"> +<title> + Encoding with the <systemitem class="library">Video For Windows</systemitem> + codec family +</title> + +<para> +Video for Windows provides simple encoding by means of binary video codecs. +You can encode with the following codecs (if you have more, please tell us!) +</para> + +<para> +Note that support for this is very experimental and some codecs may not work +correctly. Some codecs will only work in certain colorspaces, try +<option>-vf format=bgr24</option> and <option>-vf format=yuy2</option> +if a codec fails or gives wrong output. +</para> + +<!-- ********** --> + +<sect2 id="menc-feat-enc-vfw-video-codecs"> +<title>Video for Windows supported codecs</title> + +<para> +<informaltable frame="all"> +<tgroup cols="4"> +<thead> +<row> + <entry>Video codec file name</entry> + <entry>Description (FourCC)</entry> + <entry>md5sum</entry> + <entry>Comment</entry> +</row> +</thead> +<tbody> +<row> + <entry>aslcodec_vfw.dll</entry> + <entry>Alparysoft lossless codec vfw (ASLC)</entry> + <entry>608af234a6ea4d90cdc7246af5f3f29a</entry> + <entry></entry> +</row> +<row> + <entry>avimszh.dll</entry> + <entry>AVImszh (MSZH)</entry> + <entry>253118fe1eedea04a95ed6e5f4c28878</entry> + <entry>needs <option>-vf format</option></entry> +</row> +<row> + <entry>avizlib.dll</entry> + <entry>AVIzlib (ZLIB)</entry> + <entry>2f1cc76bbcf6d77d40d0e23392fa8eda</entry> + <entry></entry> +</row> +<row> + <entry>divx.dll</entry> + <entry>DivX4Windows-VFW</entry> + <entry>acf35b2fc004a89c829531555d73f1e6</entry> + <entry></entry> +</row> +<row> + <entry>huffyuv.dll</entry> + <entry>HuffYUV (lossless) (HFYU)</entry> + <entry>b74695b50230be4a6ef2c4293a58ac3b</entry> + <entry></entry> +</row> +<row> + <entry>iccvid.dll</entry> + <entry>Cinepak Video (cvid)</entry> + <entry>cb3b7ee47ba7dbb3d23d34e274895133</entry> + <entry></entry> +</row> +<row> + <entry>icmw_32.dll</entry> + <entry>Motion Wavelets (MWV1)</entry> + <entry>c9618a8fc73ce219ba918e3e09e227f2</entry> + <entry></entry> +</row> +<row> + <entry>jp2avi.dll</entry> + <entry>ImagePower MJPEG2000 (IPJ2)</entry> + <entry>d860a11766da0d0ea064672c6833768b</entry> + <entry><option>-vf flip</option></entry> +</row> +<row> + <entry>m3jp2k32.dll</entry> + <entry>Morgan MJPEG2000 (MJ2C)</entry> + <entry>f3c174edcbaef7cb947d6357cdfde7ff</entry> + <entry></entry> +</row> +<row> + <entry>m3jpeg32.dll</entry> + <entry>Morgan Motion JPEG Codec (MJPG)</entry> + <entry>1cd13fff5960aa2aae43790242c323b1</entry> + <entry></entry> +</row> +<row> + <entry>mpg4c32.dll</entry> + <entry>Microsoft MPEG-4 v1/v2</entry> + <entry>b5791ea23f33010d37ab8314681f1256</entry> + <entry></entry> +</row> +<row> + <entry>tsccvid.dll</entry> + <entry>TechSmith Camtasia Screen Codec (TSCC)</entry> + <entry>8230d8560c41d444f249802a2700d1d5</entry> + <entry>shareware error on windows</entry> +</row> +<row> + <entry>vp31vfw.dll</entry> + <entry>On2 Open Source VP3 Codec (VP31)</entry> + <entry>845f3590ea489e2e45e876ab107ee7d2</entry> + <entry></entry> +</row> +<row> + <entry>vp4vfw.dll</entry> + <entry>On2 VP4 Personal Codec (VP40)</entry> + <entry>fc5480a482ccc594c2898dcc4188b58f</entry> + <entry></entry> +</row> +<row> + <entry>vp6vfw.dll</entry> + <entry>On2 VP6 Personal Codec (VP60)</entry> + <entry>04d635a364243013898fd09484f913fb</entry> + <entry></entry> +</row> +<row> + <entry>vp7vfw.dll</entry> + <entry>On2 VP7 Personal Codec (VP70)</entry> + <entry>cb4cc3d4ea7c94a35f1d81c3d750bc8d</entry> + <entry>wrong FourCC?</entry> +</row> +<row> + <entry>ViVD2.dll</entry> + <entry>SoftMedia ViVD V2 codec VfW (GXVE)</entry> + <entry>a7b4bf5cac630bb9262c3f80d8a773a1</entry> + <entry></entry> +</row> +<row> + <entry>msulvc06.DLL</entry> + <entry>MSU Lossless codec (MSUD)</entry> + <entry>294bf9288f2f127bb86f00bfcc9ccdda</entry> + <entry> + Decodable by <application>Window Media Player</application>, + not <application>MPlayer</application> (yet). + </entry> +</row> +<row> + <entry>camcodec.dll</entry> + <entry>CamStudio lossless video codec (CSCD)</entry> + <entry>0efe97ce08bb0e40162ab15ef3b45615</entry> + <entry>sf.net/projects/camstudio</entry> +</row> +</tbody> +</tgroup> +</informaltable> + +The first column contains the codec names that should be passed after the +<literal>codec</literal> parameter, +like: <option>-xvfwopts codec=divx.dll</option> +The FourCC code used by each codec is given in the parentheses. +</para> + +<informalexample> +<para> +An example to convert an ISO DVD trailer to a VP6 flash video file +using compdata bitrate settings: +<screen> +mencoder -dvd-device <replaceable>zeiram.iso</replaceable> dvd://7 -o <replaceable>trailer.flv</replaceable> \ +-ovc vfw -xvfwopts codec=vp6vfw.dll:compdata=onepass.mcf -oac mp3lame \ +-lameopts cbr:br=64 -af lavcresample=22050 -vf yadif,scale=320:240,flip \ +-of lavf -lavfopts i_certify_that_my_video_stream_does_not_use_b_frames +</screen> +</para> +</informalexample> +</sect2> + +<sect2 id="menc-feat-video-for-windows-bitrate-settings"> +<title>Using vfw2menc to create a codec settings file.</title> + +<para> +To encode with the Video for Windows codecs, you will need to set bitrate +and other options. This is known to work on x86 on both *NIX and Windows. +</para> +<para> +First you must build the <application>vfw2menc</application> program. +It is located in the <filename class="directory">TOOLS</filename> subdirectory +of the MPlayer source tree. +To build on Linux, this can be done using <application>Wine</application>: +<screen>winegcc vfw2menc.c -o vfw2menc -lwinmm -lole32</screen> + +To build on Windows in <application>MinGW</application> or +<application>Cygwin</application> use: +<screen>gcc vfw2menc.c -o vfw2menc.exe -lwinmm -lole32</screen> + +To build on <application>MSVC</application> you will need getopt. +Getopt can be found in the original <application>vfw2menc</application> +archive available at: +The <ulink url="http://oss.netfarm.it/mplayer-win32.php">MPlayer on win32</ulink> project. +</para> +<informalexample> +<para> +Below is an example with the VP6 codec. +<screen> +vfw2menc -f VP62 -d vp6vfw.dll -s firstpass.mcf +</screen> +This will open the VP6 codec dialog window. +Repeat this step for the second pass +and use <option>-s <replaceable>secondpass.mcf</replaceable></option>. +</para> +</informalexample> +<para> +Windows users can use +<option>-xvfwopts codec=vp6vfw.dll:compdata=dialog</option> to have +the codec dialog display before encoding starts. +</para> +</sect2> +</sect1> + + +<!-- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --> + + +<sect1 id="menc-feat-quicktime-7"> +<title>Using <application>MEncoder</application> to create +<application>QuickTime</application>-compatible files</title> + + +<sect2 id="menc-feat-quicktime-7-why-use-it"> +<title>Why would one want to produce <application>QuickTime</application>-compatible Files?</title> + +<para> + There are several reasons why producing + <application>QuickTime</application>-compatible files can be desirable. +</para> +<itemizedlist> +<listitem><para> + You want any computer illiterate to be able to watch your encode on + any major platform (Windows, Mac OS X, Unices …). +</para></listitem> +<listitem><para> + <application>QuickTime</application> is able to take advantage of more + hardware and software acceleration features of Mac OS X than + platform-independent players like <application>MPlayer</application> + or <application>VLC</application>. + That means that your encodes have a chance to be played smoothly by older + G4-powered machines. +</para></listitem> +<listitem><para> + <application>QuickTime</application> 7 supports the next-generation codec H.264, + which yields significantly better picture quality than previous codec + generations (MPEG-2, MPEG-4 …). +</para></listitem> +</itemizedlist> +</sect2> + +<sect2 id="menc-feat-quicktime-7-constraints"> +<title><application>QuickTime</application> 7 limitations</title> + +<para> + <application>QuickTime</application> 7 supports H.264 video and AAC audio, + but it does not support them muxed in the AVI container format. + However, you can use <application>MEncoder</application> to encode + the video and audio, and then use an external program such as + <application>mp4creator</application> (part of the + <ulink url="http://mpeg4ip.sourceforge.net/">MPEG4IP suite</ulink>) + to remux the video and audio tracks into an MP4 container. +</para> + +<para> + <application>QuickTime</application>'s support for H.264 is limited, + so you will need to drop some advanced features. + If you encode your video with features that + <application>QuickTime</application> 7 does not support, + <application>QuickTime</application>-based players will show you a pretty + white screen instead of your expected video. +</para> + +<itemizedlist> +<listitem><para> + <emphasis role="bold">B-frames</emphasis>: + <application>QuickTime</application> 7 supports a maximum of 1 B-frame, i.e. + <option>-x264encopts bframes=1</option>. This means that + <option>b_pyramid</option> and <option>weight_b</option> will have no + effect, since they require <option>bframes</option> to be greater than 1. +</para></listitem> +<listitem><para> + <emphasis role="bold">Macroblocks</emphasis>: + <application>QuickTime</application> 7 does not support 8x8 DCT macroblocks. + This option (<option>8x8dct</option>) is off by default, so just be sure + not to explicitly enable it. This also means that the <option>i8x8</option> + option will have no effect, since it requires <option>8x8dct</option>. +</para></listitem> +<listitem><para> + <emphasis role="bold">Aspect ratio</emphasis>: + <application>QuickTime</application> 7 does not support SAR (sample + aspect ratio) information in MPEG-4 files; it assumes that SAR=1. Read + <link linkend="menc-feat-quicktime-7-scale">the section on scaling</link> + for a workaround. +</para></listitem> +</itemizedlist> + +</sect2> + +<sect2 id="menc-feat-quicktime-7-crop"> +<title>Cropping</title> +<para> + Suppose you want to rip your freshly bought copy of "The Chronicles of + Narnia". Your DVD is region 1, + which means it is NTSC. The example below would still apply to PAL, + except you would omit <option>-ofps 24000/1001</option> and use slightly + different <option>crop</option> and <option>scale</option> dimensions. +</para> + +<para> + After running <option>mplayer dvd://1</option>, you follow the process + detailed in the section <link linkend="menc-feat-telecine">How to deal + with telecine and interlacing in NTSC DVDs</link> and discover that it is + 24000/1001 fps progressive video. This simplifies the process somewhat, + since you do not need to use an inverse telecine filter such as + <option>pullup</option> or a deinterlacing filter such as + <option>yadif</option>. +</para> + +<para> + Next, you need to crop out the black bars from the top and bottom of the + video, as detailed in <link linkend="menc-feat-dvd-mpeg4-example-crop">this</link> + previous section. +</para> + +</sect2> + +<sect2 id="menc-feat-quicktime-7-scale"> +<title>Scaling</title> + +<para> + The next step is truly heartbreaking. + <application>QuickTime</application> 7 does not support MPEG-4 videos + with a sample aspect ratio other than 1, so you will need to upscale + (which wastes a lot of disk space) or downscale (which loses some + details of the source) the video to square pixels. + Either way you do it, this is highly inefficient, but simply cannot + be avoided if you want your video to be playable by + <application>QuickTime</application> 7. + <application>MEncoder</application> can apply the appropriate upscaling + or downscaling by specifying respectively <option>-vf scale=-10:-1</option> + or <option>-vf scale=-1:-10</option>. + This will scale your video to the correct width for the cropped height, + rounded to the closest multiple of 16 for optimal compression. + Remember that if you are cropping, you should crop first, then scale: + + <screen>-vf crop=720:352:0:62,scale=-10:-1</screen> +</para> + +</sect2> + +<sect2 id="menc-feat-quicktime-7-avsync"> +<title>A/V sync</title> + +<para> + Because you will be remuxing into a different container, you should + always use the <option>harddup</option> option to ensure that duplicated + frames are actually duplicated in the video output. Without this option, + <application>MEncoder</application> will simply put a marker in the video + stream that a frame was duplicated, and rely on the client software to + show the same frame twice. Unfortunately, this "soft duplication" does + not survive remuxing, so the audio would slowly lose sync with the video. +</para> + +<para> + The final filter chain looks like this: + <screen>-vf crop=720:352:0:62,scale=-10:-1,harddup</screen> +</para> + +</sect2> + +<sect2 id="menc-feat-quicktime-7-bitrate"> +<title>Bitrate</title> + +<para> + As always, the selection of bitrate is a matter of the technical properties + of the source, as explained + <link linkend="menc-feat-dvd-mpeg4-resolution-bitrate">here</link>, as + well as a matter of taste. + This movie has a fair bit of action and lots of detail, but H.264 video + looks good at much lower bitrates than XviD or other MPEG-4 codecs. + After much experimentation, the author of this guide chose to encode + this movie at 900kbps, and thought that it looked very good. + You may decrease bitrate if you need to save more space, or increase + it if you need to improve quality. +</para> + +</sect2> + +<sect2 id="menc-feat-quicktime-7-example"> +<title>Encoding example</title> + +<para> + You are now ready to encode the video. Since you care about + quality, of course you will be doing a two-pass encode. To shave off + some encoding time, you can specify the <option>turbo</option> option + on the first pass; this reduces <option>subq</option> and + <option>frameref</option> to 1. To save some disk space, you can + use the <option>ss</option> option to strip off the first few seconds + of the video. (I found that this particular movie has 32 seconds of + credits and logos.) <option>bframes</option> can be 0 or 1. + The other options are documented in <link + linkend="menc-feat-x264-encoding-options-speedvquality">Encoding with + the <systemitem class="library">x264</systemitem> codec</link> and + the man page. + + <screen>mencoder dvd://1 -o /dev/null -ss 32 -ovc x264 \ +-x264encopts pass=1:turbo:bitrate=900:bframes=1:\ +me=umh:partitions=all:trellis=1:qp_step=4:qcomp=0.7:direct_pred=auto:keyint=300 \ +-vf crop=720:352:0:62,scale=-10:-1,harddup \ +-oac faac -faacopts br=192:mpeg=4:object=1 -channels 2 -srate 48000 \ +-ofps 24000/1001</screen> + + If you have a multi-processor machine, don't miss the opportunity to + dramatically speed-up encoding by enabling + <link linkend="menc-feat-x264-encoding-options-speedvquality-threads"> + <systemitem class="library">x264</systemitem>'s multi-threading mode</link> + by adding <option>threads=auto</option> to your <option>x264encopts</option> + command-line. +</para> + +<para> + The second pass is the same, except that you specify the output file + and set <option>pass=2</option>. + + <screen>mencoder dvd://1 <emphasis role="bold">-o narnia.avi</emphasis> -ss 32 -ovc x264 \ +-x264encopts <emphasis role="bold">pass=2</emphasis>:turbo:bitrate=900:frameref=5:bframes=1:\ +me=umh:partitions=all:trellis=1:qp_step=4:qcomp=0.7:direct_pred=auto:keyint=300 \ +-vf crop=720:352:0:62,scale=-10:-1,harddup \ +-oac faac -faacopts br=192:mpeg=4:object=1 -channels 2 -srate 48000 \ +-ofps 24000/1001</screen> +</para> + +<para> + The resulting AVI should play perfectly in + <application>MPlayer</application>, but of course + <application>QuickTime</application> can not play it because it does + not support H.264 muxed in AVI. + So the next step is to remux the video into an MP4 container. +</para> +</sect2> + +<sect2 id="menc-feat-quicktime-7-remux"> +<title>Remuxing as MP4</title> + +<para> + There are several ways to remux AVI files to MP4. You can use + <application>mp4creator</application>, which is part of the + <ulink url="http://mpeg4ip.sourceforge.net/">MPEG4IP suite</ulink>. +</para> + +<para> + First, demux the AVI into separate audio and video streams using + <application>MPlayer</application>. + + <screen>mplayer narnia.avi -dumpaudio -dumpfile narnia.aac +mplayer narnia.avi -dumpvideo -dumpfile narnia.h264</screen> + + The filenames are important; <application>mp4creator</application> + requires that AAC audio streams be named <systemitem>.aac</systemitem> + and H.264 video streams be named <systemitem>.h264</systemitem>. +</para> + +<para> + Now use <application>mp4creator</application> to create a new + MP4 file out of the audio and video streams. + + <screen>mp4creator -create=narnia.aac narnia.mp4 +mp4creator -create=narnia.h264 -rate=23.976 narnia.mp4</screen> + + Unlike the encoding step, you must specify the framerate as a + decimal (such as 23.976), not a fraction (such as 24000/1001). +</para> + +<para> + This <systemitem>narnia.mp4</systemitem> file should now be playable + with any <application>QuickTime</application> 7 application, such as + <application>QuickTime Player</application> or + <application>iTunes</application>. If you are planning to view the + video in a web browser with the <application>QuickTime</application> + plugin, you should also hint the movie so that the + <application>QuickTime</application> plugin can start playing it + while it is still downloading. <application>mp4creator</application> + can create these hint tracks: + + <screen>mp4creator -hint=1 narnia.mp4 +mp4creator -hint=2 narnia.mp4 +mp4creator -optimize narnia.mp4</screen> + + You can check the final result to ensure that the hint tracks were + created successfully: + + <screen>mp4creator -list narnia.mp4</screen> + + You should see a list of tracks: 1 audio, 1 video, and 2 hint tracks. + +<screen>Track Type Info +1 audio MPEG-4 AAC LC, 8548.714 secs, 190 kbps, 48000 Hz +2 video H264 Main@5.1, 8549.132 secs, 899 kbps, 848x352 @ 23.976001 fps +3 hint Payload mpeg4-generic for track 1 +4 hint Payload H264 for track 2 +</screen> +</para> + +</sect2> + +<sect2 id="menc-feat-quicktime-7-metadata"> +<title>Adding metadata tags</title> + +<para> + If you want to add tags to your video that show up in iTunes, you can use + <ulink url="http://atomicparsley.sourceforge.net/">AtomicParsley</ulink>. + + <screen>AtomicParsley narnia.mp4 --metaEnema --title "The Chronicles of Narnia" --year 2005 --stik Movie --freefree --overWrite</screen> + + The <option>--metaEnema</option> option removes any existing metadata + (<application>mp4creator</application> inserts its name in the + "encoding tool" tag), and <option>--freefree</option> reclaims the + space from the deleted metadata. + The <option>--stik</option> option sets the type of video (such as Movie + or TV Show), which iTunes uses to group related video files. + The <option>--overWrite</option> option overwrites the original file; + without it, <application>AtomicParsley</application> creates a new + auto-named file in the same directory and leaves the original file + untouched. +</para> + +</sect2> + +</sect1> + + +<!-- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --> + + +<sect1 id="menc-feat-vcd-dvd"> +<title>Using <application>MEncoder</application> + to create VCD/SVCD/DVD-compliant files</title> + +<sect2 id="menc-feat-vcd-dvd-constraints"> +<title>Format Constraints</title> + +<para> +<application>MEncoder</application> is capable of creating VCD, SCVD +and DVD format MPEG files using the +<systemitem class="library">libavcodec</systemitem> library. +These files can then be used in conjunction with +<ulink url="http://www.gnu.org/software/vcdimager/vcdimager.html">vcdimager</ulink> +or +<ulink url="http://dvdauthor.sourceforge.net/">dvdauthor</ulink> +to create discs that will play on a standard set-top player. +</para> + +<para> +The DVD, SVCD, and VCD formats are subject to heavy constraints. +Only a small selection of encoded picture sizes and aspect ratios are +available. +If your movie does not already meet these requirements, you may have +to scale, crop or add black borders to the picture to make it +compliant. +</para> + + +<sect3 id="menc-feat-vcd-dvd-constraints-resolution"> +<title>Format Constraints</title> + +<informaltable frame="all"> +<tgroup cols="9"> +<thead> +<row> + <entry>Format</entry> + <entry>Resolution</entry> + <entry>V. Codec</entry> + <entry>V. Bitrate</entry> + <entry>Sample Rate</entry> + <entry>A. Codec</entry> + <entry>A. Bitrate</entry> + <entry>FPS</entry> + <entry>Aspect</entry> +</row> +</thead> +<tbody> +<row> + <entry>NTSC DVD</entry> + <entry>720x480, 704x480, 352x480, 352x240</entry> + <entry>MPEG-2</entry> + <entry>9800 kbps</entry> + <entry>48000 Hz</entry> + <entry>AC-3,PCM</entry> + <entry>1536 kbps (max)</entry> + <entry>30000/1001, 24000/1001</entry> + <entry>4:3, 16:9 (only for 720x480)</entry> +</row> +<row> + <entry>NTSC DVD</entry> + <entry>352x240<footnote id='fn-rare-resolutions'><para> + These resolutions are rarely used for DVDs because + they are fairly low quality.</para></footnote></entry> + <entry>MPEG-1</entry> + <entry>1856 kbps</entry> + <entry>48000 Hz</entry> + <entry>AC-3,PCM</entry> + <entry>1536 kbps (max)</entry> + <entry>30000/1001, 24000/1001</entry> + <entry>4:3, 16:9</entry> +</row> +<row> + <entry>NTSC SVCD</entry> + <entry>480x480</entry> + <entry>MPEG-2</entry> + <entry>2600 kbps</entry> + <entry>44100 Hz</entry> + <entry>MP2</entry> + <entry>384 kbps (max)</entry> + <entry>30000/1001</entry> + <entry>4:3</entry> +</row> +<row> + <entry>NTSC VCD</entry> + <entry>352x240</entry> + <entry>MPEG-1</entry> + <entry>1150 kbps</entry> + <entry>44100 Hz</entry> + <entry>MP2</entry> + <entry>224 kbps</entry> + <entry>24000/1001, 30000/1001</entry> + <entry>4:3</entry> +</row> +<row> + <entry>PAL DVD</entry> + <entry>720x576, 704x576, 352x576, 352x288</entry> + <entry>MPEG-2</entry> + <entry>9800 kbps</entry> + <entry>48000 Hz</entry> + <entry>MP2,AC-3,PCM</entry> + <entry>1536 kbps (max)</entry> + <entry>25</entry> + <entry>4:3, 16:9 (only for 720x576)</entry> +</row> +<row> + <entry>PAL DVD</entry> + <entry>352x288<footnoteref linkend='fn-rare-resolutions'/></entry> + <entry>MPEG-1</entry> + <entry>1856 kbps</entry> + <entry>48000 Hz</entry> + <entry>MP2,AC-3,PCM</entry> + <entry>1536 kbps (max)</entry> + <entry>25</entry> + <entry>4:3, 16:9</entry> +</row> +<row> + <entry>PAL SVCD</entry> + <entry>480x576</entry> + <entry>MPEG-2</entry> + <entry>2600 kbps</entry> + <entry>44100 Hz</entry> + <entry>MP2</entry> + <entry>384 kbps (max)</entry> + <entry>25</entry> + <entry>4:3</entry> +</row> +<row> + <entry>PAL VCD</entry> + <entry>352x288</entry> + <entry>MPEG-1</entry> + <entry>1152 kbps</entry> + <entry>44100 Hz</entry> + <entry>MP2</entry> + <entry>224 kbps</entry> + <entry>25</entry> + <entry>4:3</entry> +</row> +</tbody> +</tgroup> +</informaltable> + +<para> +If your movie has 2.35:1 aspect (most recent action movies), you will +have to add black borders or crop the movie down to 16:9 to make a DVD or VCD. +If you add black borders, try to align them at 16-pixel boundaries in +order to minimize the impact on encoding performance. +Thankfully DVD has sufficiently excessive bitrate that you do not have +to worry too much about encoding efficiency, but SVCD and VCD are +highly bitrate-starved and require effort to obtain acceptable quality. +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-constraints-gop"> +<title>GOP Size Constraints</title> + +<para> +DVD, VCD, and SVCD also constrain you to relatively low +GOP (Group of Pictures) sizes. +For 30 fps material the largest allowed GOP size is 18. +For 25 or 24 fps, the maximum is 15. +The GOP size is set using the <option>keyint</option> option. +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-constraints-bitrate"> +<title>Bitrate Constraints</title> + +<para> +VCD video is required to be CBR at 1152 kbps. +This highly limiting constraint also comes along with an extremly low vbv +buffer size of 327 kilobits. +SVCD allows varying video bitrates up to 2500 kbps, and a somewhat less +restrictive vbv buffer size of 917 kilobits is allowed. +DVD video bitrates may range anywhere up to 9800 kbps (though typical +bitrates are about half that), and the vbv buffer size is 1835 kilobits. +</para> +</sect3> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-vcd-dvd-output"> +<title>Output Options</title> + +<para> +<application>MEncoder</application> has options to control the output +format. +Using these options we can instruct it to create the correct type of +file. +</para> + +<para> +The options for VCD and SVCD are called xvcd and xsvcd, because they +are extended formats. +They are not strictly compliant, mainly because the output does not +contain scan offsets. +If you need to generate an SVCD image, you should pass the output file to +<ulink url="http://www.gnu.org/software/vcdimager/vcdimager.html">vcdimager</ulink>. +</para> + +<para> +VCD: +<screen>-of mpeg -mpegopts format=xvcd</screen> +</para> + +<para> +SVCD: +<screen>-of mpeg -mpegopts format=xsvcd</screen> +</para> + +<para> +DVD (with timestamps on every frame, if possible): +<screen>-of mpeg -mpegopts format=dvd:tsaf</screen> +</para> + +<para> +DVD with NTSC Pullup: +<screen>-of mpeg -mpegopts format=dvd:tsaf:telecine -ofps 24000/1001</screen> +This allows 24000/1001 fps progressive content to be encoded at 30000/1001 +fps whilst maintaing DVD-compliance. +</para> + + +<sect3 id="menc-feat-vcd-dvd-output-aspect"> +<title>Aspect Ratio</title> + +<para> +The aspect argument of <option>-lavcopts</option> is used to encode +the aspect ratio of the file. +During playback the aspect ratio is used to restore the video to the +correct size. +</para> + +<para> +16:9 or "Widescreen" +<screen>-lavcopts aspect=16/9</screen> +</para> + +<para> +4:3 or "Fullscreen" +<screen>-lavcopts aspect=4/3</screen> +</para> + +<para> +2.35:1 or "Cinemascope" NTSC +<screen>-vf scale=720:368,expand=720:480 -lavcopts aspect=16/9</screen> +To calculate the correct scaling size, use the expanded NTSC width of +854/2.35 = 368 +</para> + +<para> +2.35:1 or "Cinemascope" PAL +<screen>-vf scale=720:432,expand=720:576 -lavcopts aspect=16/9</screen> +To calculate the correct scaling size, use the expanded PAL width of +1024/2.35 = 432 +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-a-v-sync"> +<title>Maintaining A/V sync</title> + +<para> +In order to maintain audio/video synchronization throughout the encode, +<application>MEncoder</application> has to drop or duplicate frames. +This works rather well when muxing into an AVI file, but is almost +guaranteed to fail to maintain A/V sync with other muxers such as MPEG. +This is why it is necessary to append the +<option>harddup</option> video filter at the end of the filter chain +to avoid this kind of problem. +You can find more technical information about <option>harddup</option> +in the section +<link linkend="menc-feat-dvd-mpeg4-muxing-filter-issues">Improving muxing and A/V sync reliability</link> +or in the manual page. +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-output-srate"> +<title>Sample Rate Conversion</title> + +<para> +If the audio sample rate in the original file is not the same as +required by the target format, sample rate conversion is required. +This is achieved using the <option>-srate</option> option and +the <option>-af lavcresample</option> audio filter together. +</para> + +<para> +DVD: +<screen>-srate 48000 -af lavcresample=48000</screen> +</para> + +<para> +VCD and SVCD: +<screen>-srate 44100 -af lavcresample=44100</screen> +</para> +</sect3> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-vcd-dvd-lavc"> +<title>Using libavcodec for VCD/SVCD/DVD Encoding</title> + +<sect3 id="menc-feat-vcd-dvd-lavc-intro"> +<title>Introduction</title> + +<para> +<systemitem class="library">libavcodec</systemitem> can be used to +create VCD/SVCD/DVD compliant video by using the appropriate options. +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-lavc-options"> +<title>lavcopts</title> + +<para> +This is a list of fields in <option>-lavcopts</option> that you may +be required to change in order to make a complaint movie for VCD, SVCD, +or DVD: +</para> + +<itemizedlist> +<listitem><para> + <emphasis role="bold">acodec</emphasis>: + <option>mp2</option> for VCD, SVCD, or PAL DVD; + <option>ac3</option> is most commonly used for DVD. + PCM audio may also be used for DVD, but this is mostly a big waste of + space. + Note that MP3 audio is not compliant for any of these formats, but + players often have no problem playing it anyway. +</para></listitem> +<listitem><para> + <emphasis role="bold">abitrate</emphasis>: + 224 for VCD; up to 384 for SVCD; up to 1536 for DVD, but commonly + used values range from 192 kbps for stereo to 384 kbps for 5.1 channel + sound. +</para></listitem> +<listitem><para> + <emphasis role="bold">vcodec</emphasis>: + <option>mpeg1video</option> for VCD; + <option>mpeg2video</option> for SVCD; + <option>mpeg2video</option> is usually used for DVD but you may also use + <option>mpeg1video</option> for CIF resolutions. +</para></listitem> +<listitem><para> + <emphasis role="bold">keyint</emphasis>: + Used to set the GOP size. + 18 for 30fps material, or 15 for 25/24 fps material. + Commercial producers seem to prefer keyframe intervals of 12. + It is possible to make this much larger and still retain compatibility + with most players. + A <option>keyint</option> of 25 should never cause any problems. +</para></listitem> +<listitem><para> + <emphasis role="bold">vrc_buf_size</emphasis>: + 327 for VCD, 917 for SVCD, and 1835 for DVD. +</para></listitem> +<listitem><para> + <emphasis role="bold">vrc_minrate</emphasis>: + 1152, for VCD. May be left alone for SVCD and DVD. +</para></listitem> +<listitem><para> + <emphasis role="bold">vrc_maxrate</emphasis>: + 1152 for VCD; 2500 for SVCD; 9800 for DVD. + For SVCD and DVD, you might wish to use lower values depending on your + own personal preferences and requirements. +</para></listitem> +<listitem><para> + <emphasis role="bold">vbitrate</emphasis>: + 1152 for VCD; + up to 2500 for SVCD; + up to 9800 for DVD. + For the latter two formats, vbitrate should be set based on personal + preference. + For instance, if you insist on fitting 20 or so hours on a DVD, you + could use vbitrate=400. + The resulting video quality would probably be quite bad. + If you are trying to squeeze out the maximum possible quality on a DVD, + use vbitrate=9800, but be warned that this could constrain you to less + than an hour of video on a single-layer DVD. +</para></listitem> +<listitem><para> + <emphasis role="bold">vstrict</emphasis>: + <option>vstrict</option>=0 should be used to create DVDs. + Without this option, <application>MEncoder</application> creates a + stream that cannot be correctly decoded by some standalone DVD + players. +</para></listitem> +</itemizedlist> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-lavc-examples"> +<title>Examples</title> + +<para> +This is a typical minimum set of <option>-lavcopts</option> for +encoding video: +</para> +<para> +VCD: +<screen> +-lavcopts vcodec=mpeg1video:vrc_buf_size=327:vrc_minrate=1152:\ +vrc_maxrate=1152:vbitrate=1152:keyint=15:acodec=mp2 +</screen> +</para> + +<para> +SVCD: +<screen> +-lavcopts vcodec=mpeg2video:vrc_buf_size=917:vrc_maxrate=2500:vbitrate=1800:\ +keyint=15:acodec=mp2 +</screen> +</para> + +<para> +DVD: +<screen> +-lavcopts vcodec=mpeg2video:vrc_buf_size=1835:vrc_maxrate=9800:vbitrate=5000:\ +keyint=15:vstrict=0:acodec=ac3 +</screen> +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-lavc-advanced"> +<title>Advanced Options</title> + +<para> +For higher quality encoding, you may also wish to add quality-enhancing +options to lavcopts, such as <option>trell</option>, +<option>mbd=2</option>, and others. +Note that <option>qpel</option> and <option>v4mv</option>, while often +useful with MPEG-4, are not usable with MPEG-1 or MPEG-2. +Also, if you are trying to make a very high quality DVD encode, it may +be useful to add <option>dc=10</option> to lavcopts. +Doing so may help reduce the appearance of blocks in flat-colored areas. +Putting it all together, this is an example of a set of lavcopts for a +higher quality DVD: +</para> + +<para> +<screen> +-lavcopts vcodec=mpeg2video:vrc_buf_size=1835:vrc_maxrate=9800:vbitrate=8000:\ +keyint=15:trell:mbd=2:precmp=2:subcmp=2:cmp=2:dia=-10:predia=-10:cbp:mv0:\ +vqmin=1:lmin=1:dc=10:vstrict=0 +</screen> +</para> +</sect3> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-vcd-dvd-audio"> +<title>Encoding Audio</title> + +<para> +VCD and SVCD support MPEG-1 layer II audio, using one of +<systemitem class="library">toolame</systemitem>, +<systemitem class="library">twolame</systemitem>, +or <systemitem class="library">libavcodec</systemitem>'s MP2 encoder. +The libavcodec MP2 is far from being as good as the other two libraries, +however it should always be available to use. +VCD only supports constant bitrate audio (CBR) whereas SVCD supports +variable bitrate (VBR), too. +Be careful when using VBR because some bad standalone players might not +support it too well. +</para> + +<para> +For DVD audio, <systemitem class="library">libavcodec</systemitem>'s +AC-3 codec is used. +</para> + + +<sect3 id="menc-feat-vcd-dvd-audio-toolame"> +<title>toolame</title> + +<para> +For VCD and SVCD: +<screen>-oac toolame -toolameopts br=224</screen> +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-audio-twolame"> +<title>twolame</title> + +<para> +For VCD and SVCD: +<screen>-oac twolame -twolameopts br=224</screen> +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-audio-lavc"> +<title>libavcodec</title> + +<para> +For DVD with 2 channel sound: +<screen>-oac lavc -lavcopts acodec=ac3:abitrate=192</screen> +</para> + +<para> +For DVD with 5.1 channel sound: +<screen>-channels 6 -oac lavc -lavcopts acodec=ac3:abitrate=384</screen> +</para> + +<para> +For VCD and SVCD: +<screen>-oac lavc -lavcopts acodec=mp2:abitrate=224</screen> +</para> +</sect3> +</sect2> + +<!-- ********** --> + +<sect2 id="menc-feat-vcd-dvd-all"> +<title>Putting it all Together</title> + +<para> +This section shows some complete commands for creating VCD/SVCD/DVD +compliant videos. +</para> + + +<sect3 id="menc-feat-vcd-dvd-all-pal-dvd"> +<title>PAL DVD</title> + +<para> +<screen> +mencoder -oac lavc -ovc lavc -of mpeg -mpegopts format=dvd:tsaf \ + -vf scale=720:576,harddup -srate 48000 -af lavcresample=48000 \ + -lavcopts vcodec=mpeg2video:vrc_buf_size=1835:vrc_maxrate=9800:vbitrate=5000:\ +keyint=15:vstrict=0:acodec=ac3:abitrate=192:aspect=16/9 -ofps 25 \ + -o <replaceable>movie.mpg</replaceable> <replaceable>movie.avi</replaceable> +</screen> +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-all-ntsc-dvd"> +<title>NTSC DVD</title> + +<para> +<screen> +mencoder -oac lavc -ovc lavc -of mpeg -mpegopts format=dvd:tsaf \ + -vf scale=720:480,harddup -srate 48000 -af lavcresample=48000 \ + -lavcopts vcodec=mpeg2video:vrc_buf_size=1835:vrc_maxrate=9800:vbitrate=5000:\ +keyint=18:vstrict=0:acodec=ac3:abitrate=192:aspect=16/9 -ofps 30000/1001 \ + -o <replaceable>movie.mpg</replaceable> <replaceable>movie.avi</replaceable> +</screen> +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-all-pal-ac3-copy"> +<title>PAL AVI Containing AC-3 Audio to DVD</title> + +<para> +If the source already has AC-3 audio, use -oac copy instead of re-encoding it. +<screen> +mencoder -oac copy -ovc lavc -of mpeg -mpegopts format=dvd:tsaf \ + -vf scale=720:576,harddup -ofps 25 \ + -lavcopts vcodec=mpeg2video:vrc_buf_size=1835:vrc_maxrate=9800:vbitrate=5000:\ +keyint=15:vstrict=0:aspect=16/9 -o <replaceable>movie.mpg</replaceable> <replaceable>movie.avi</replaceable> +</screen> +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-all-ntsc-ac3-copy"> +<title>NTSC AVI Containing AC-3 Audio to DVD</title> + +<para> +If the source already has AC-3 audio, and is NTSC @ 24000/1001 fps: +<screen> +mencoder -oac copy -ovc lavc -of mpeg -mpegopts format=dvd:tsaf:telecine \ + -vf scale=720:480,harddup -lavcopts vcodec=mpeg2video:vrc_buf_size=1835:\ + vrc_maxrate=9800:vbitrate=5000:keyint=15:vstrict=0:aspect=16/9 -ofps 24000/1001 \ + -o <replaceable>movie.mpg</replaceable> <replaceable>movie.avi</replaceable> +</screen> +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-all-pal-svcd"> +<title>PAL SVCD</title> + +<para> +<screen> +mencoder -oac lavc -ovc lavc -of mpeg -mpegopts format=xsvcd -vf \ + scale=480:576,harddup -srate 44100 -af lavcresample=44100 -lavcopts \ + vcodec=mpeg2video:mbd=2:keyint=15:vrc_buf_size=917:vrc_minrate=600:\ +vbitrate=2500:vrc_maxrate=2500:acodec=mp2:abitrate=224 -ofps 25 \ + -o <replaceable>movie.mpg</replaceable> <replaceable>movie.avi</replaceable> + </screen> +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-all-ntsc-svcd"> +<title>NTSC SVCD</title> + +<para> +<screen> +mencoder -oac lavc -ovc lavc -of mpeg -mpegopts format=xsvcd -vf \ + scale=480:480,harddup -srate 44100 -af lavcresample=44100 -lavcopts \ + vcodec=mpeg2video:mbd=2:keyint=18:vrc_buf_size=917:vrc_minrate=600:\ +vbitrate=2500:vrc_maxrate=2500:acodec=mp2:abitrate=224 -ofps 30000/1001 \ + -o <replaceable>movie.mpg</replaceable> <replaceable>movie.avi</replaceable> +</screen> +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-all-pal-vcd"> +<title>PAL VCD</title> + +<para> +<screen> +mencoder -oac lavc -ovc lavc -of mpeg -mpegopts format=xvcd -vf \ + scale=352:288,harddup -srate 44100 -af lavcresample=44100 -lavcopts \ + vcodec=mpeg1video:keyint=15:vrc_buf_size=327:vrc_minrate=1152:\ +vbitrate=1152:vrc_maxrate=1152:acodec=mp2:abitrate=224 -ofps 25 \ + -o <replaceable>movie.mpg</replaceable> <replaceable>movie.avi</replaceable> +</screen> +</para> +</sect3> + + +<sect3 id="menc-feat-vcd-dvd-all-ntsc-vcd"> +<title>NTSC VCD</title> + +<para> +<screen> +mencoder -oac lavc -ovc lavc -of mpeg -mpegopts format=xvcd -vf \ + scale=352:240,harddup -srate 44100 -af lavcresample=44100 -lavcopts \ + vcodec=mpeg1video:keyint=18:vrc_buf_size=327:vrc_minrate=1152:\ +vbitrate=1152:vrc_maxrate=1152:acodec=mp2:abitrate=224 -ofps 30000/1001 \ + -o <replaceable>movie.mpg</replaceable> <replaceable>movie.avi</replaceable> +</screen> +</para> +</sect3> +</sect2> +</sect1> +</chapter>