changeset 27869:c4fc6b71b123

Partial sync to 27843

--- a/DOCS/xml/pl/encoding-guide.xml	Sat Nov 08 09:51:12 2008 +0000
+++ b/DOCS/xml/pl/encoding-guide.xml	Tue Nov 11 13:57:29 2008 +0000
@@ -1,5 +1,5 @@
 <?xml version="1.0" encoding="utf-8"?>
-<!-- synced with 1.32 -->
+<!-- synced with 27843 -->
 <!-- Opiekun: Torinthiel -->
 <!-- INCOMPLETE!!!! -->
 <chapter id="encoding-guide">
@@ -30,7 +30,7 @@
 <para>
   Ciężko jest pokazać książkowy przepis na tworzenie ripu DVD bardzo wysokiej
   jakości. Trzeba wziąć pod uwagę kilka czynników, i powinieneś rozumieć
-  szczegóły albo masz dużą szansę że nie będziesz zadowolony z wyników.
+  szczegóły procesu, albo jest duża szansa że nie będziesz zadowolony z wyników.
   Poniżej zbadamy niektóre problemy i pokażemy przykład. Zakładamy że używasz
   <systemitem class="library">libavcodec</systemitem> do kodowania obrazu,
   chociaż ta sama teoria działą też przy innych kodekach.
@@ -46,12 +46,15 @@
   Ciebie mądre decyzje.
 </para>
 
+<!-- ********** -->
+
 <sect2 id="menc-feat-dvd-mpeg4-preparing-encode">
 <title>Przygotowanie do kodowania: Identyfikowanie materiału źródłowego
 i framerate</title>
-<para>
-  Zanim w ogóle zaczniesz myśleć o kodowaniu filmu, musisz podjąć kilka
-  początkowych kroków.
+
+<para>
+  Zanim w ogóle zaczniesz myśleć o kodowaniu filmu, musisz przejść kilka
+  wstępnych kroków.
 </para>
 
 <para>
@@ -61,14 +64,14 @@
   satelitarnej), będzie w jednym z dwóch formatów: NTSC w Ameryce Północnej
   i Japonii, PAL w Europie itp.
   Trzeba sobie jednak zdawać sprawę z tego, że jest to tylko format do
-  prezentacji w telewizji, i często <emphasis role="bold">ne</emphasis> jest
+  prezentacji w telewizji, i często <emphasis role="bold">nie</emphasis> jest
   oryginalnym formatem filmu.
   Doświadczenie pokazuje że filmy NTSC są trudniejsze do kodowania, ponieważ
   jest więcej elementów do zidentyfikowania w źródle.
   Żeby zrobić odpowienie kodowanie musisz znać oryginalny format filmu.
   Nieuwzględnienie tego skutkuje wieloma wadami wynikowego pliku, na przykład
   brzydkie artefakty przeplotu i powtórzone albo zagubione klatki.
-  Poza tym że są pbrzydkie, artefakty są też szkodliwe dla kodowania:
+  Poza tym że są brzydkie, artefakty są też szkodliwe dla kodowania:
   Dostaniesz gorszą jakość na jednostkę bitrate.
 </para>
 
@@ -87,18 +90,18 @@
   <emphasis role="bold">Film PAL</emphasis>: Nagrywany kamerą video PAL
   z prędkością 50 pól na sekundę.
   Pole składa się tylko z parzystych albo nieparzystych linii klatki.
-  Telewizja była projektowana by odświerzać je naprzemiennie, jako tania forma
-  analogowej kompresji.
+  Telewizja była projektowana by odświerzać je naprzemiennie, w charakterze
+  taniej formy analogowej kompresji.
   Ludzkie oko podobno kompensuje ten efekt, ale jeśli zrozumiesz przeplot
   nauczysz się go widzieć też w telewizji i nigdy już nie będziesz z niej
-  zadowolony.
+  ZADOWOLONY.
   Dwa pola <emphasis role="bold">nie</emphasis> dają pełnej klatki, ponieważ
   są uchwycone co 1/50 sekundy, więc nie pasują do siebie, chyba że nie ma
   ruchu.
 </para></listitem>
 <listitem><para>
   <emphasis role="bold">Film NTSC</emphasis>: Nagrany kamerą NTSC z prędkością
-  6000/1001 pól na sekundę, albo 60 pól na sekundę w erze przedkolorowej.
+  60000/1001 pól na sekundę, albo 60 pól na sekundę w erze przedkolorowej.
   Poza tym podobny do PAL.
 </para></listitem>
 <listitem><para>
@@ -116,6 +119,7 @@
 </itemizedlist>
 </sect3>
 
+
 <sect3 id="menc-feat-dvd-mpeg4-preparing-encode-material">
 <title>Identyfikowanie materiału źródłowego</title>
 <para>
@@ -131,8 +135,8 @@
   na klatkach a inne na polach.
   <emphasis role="bold">Zawsze</emphasis> gdy film jest przygotowywany do
   wyświetlania w telewizji jest przekształcany na format oparty na polach.
-  Rozliczne metody którymi się tego dokonuje są wspólnie nazywane "pulldown",
-  a niesławne "3:2 telecine" z NTSC jest jednym z jego rodzajów.
+  Rozliczne metody którymi się tego dokonuje są wspólnie nazywane "telecine",
+  a niesławne "3:2 pulldown" z NTSC jest jednym z jego rodzajów.
   Jeżeli oryginał nie był też oparty na polach (z tą samą prędkością),
   dostajesz film w innym formacie niż oryginał.
 </para>
@@ -164,19 +168,20 @@
 <listitem><para>
   <emphasis role="bold">NTSC 2:2 pulldown</emphasis>: Używane do pokazywania
   materiałów 30fps na NTSC.
-  Przyjemne, dokładnie jak pulldown 2:2 PAL.
+  Przyjemne, tak jak pulldown 2:2 PAL.
 </para></listitem>
 </itemizedlist>
 
 <para>
   Są też metody konwersji między filmami PAL i NTSC, ale ten temat
   wykracza poza zakres tego podręcznika.
-  Jeśli natkniesz się na taki film, i chcesz go zakodować, to największe
-  szanse masz odnajdując kopię w oryginalnym formacie.
+  Jeśli natkniesz się na taki film i chcesz go zakodować, to największe
+  szanse masz robiąc kopię w oryginalnym formacie.
   Konwersja między tymi dwoma formatami jest wysoce destrukcyjna i nie może
-  zostać czysto odwrócona, więc kodowanie będzie o wiele gorszej jakości jeśli
+  zostać ładnie odwrócona, więc kodowanie będzie o wiele gorszej jakości jeśli
   jest robione z przekonwertowanego źródła.
 </para>
+
 <para>
   Gdy film jest zapisywany na DVD, kolejne pary pól są zapisywane jako klatka,
   pomimo tego że nie są przezaczone do wyświetlania razem.
@@ -194,6 +199,7 @@
   telecine" (hard-telecine), gdzie pola są faktycznie powtórzone
   w zakodowanym MPEG-2.
 </para>
+
 <para>
   Procedury radzenia sobie z takimi przypadkami będą omówione
   <link linkend="menc-feat-telecine">w dalszej części przewodnika</link>.
@@ -205,7 +211,7 @@
 <title>Regiony NTSC:</title>
 <listitem><para>
   Jeśli <application>MPlayer</application> wyświetla w trakcie oglądania filmu
-  że framerate zostało zmienione na 24000/1001, i nigdy nie powraca, to jest
+  że framerate zostało zmienione na 24000/1001 i nigdy nie powraca, to jest
   to prawie na pewno progresywny materiał na którym zastosowano "miękkie
   telecine".
 </para></listitem>
@@ -253,13 +259,16 @@
   -speed albo odtwarzać klatka po klatce.
   Spróbuj użyć opcji <option>-speed</option> 0.2 żeby oglądać film bardzo
   wolno, albo naciskaj wielokrotnie klawisz "<keycap>.</keycap>" żeby
-  wyświetlać jedną klatkę na raz. Może to pomóc zidentyfikować wzorzec jeśli
+  wyświetlać klatka po klatce.
+  Może to pomóc zidentyfikować wzorzec jeśli
   nie możesz go dostrzec przy pełnej prędkości.
 </para>
 </note>
 </sect3>
 </sect2>
 
+<!-- ********** -->
+
 <sect2 id="menc-feat-dvd-mpeg4-2pass">
 <title>Stały kwantyzator a tryb wieloprzebiegowy</title>
 
@@ -286,8 +295,7 @@
   na bitrate w przyszłych scenach, więc nie mogą na długo przekraczać
   wymaganego bitrate.
   Bardziej zaawansowane tryby, takie jak kodowanie wieloprzebiegowe, potrafią
-  wziąć pod uwagę statystyki z poprzednich przebiegów; to naprawia wyżej
-  wymieniony problem.
+  wziąć pod uwagę statystyki z poprzednich przebiegów, co naprawia ten problem.
 </para>
 
 <note><title>Uwaga:</title>
@@ -295,7 +303,7 @@
   Większość kodeków obsługujących kodowanie ABR obsługuje tylko kodowanie
   dwuprzebiegowe, podczas gdy niektóre inne, na przykład
   <systemitem class="library">x264</systemitem> albo
-  <systemitem class="library">XviD</systemitem> potrafią wykonywać wiele
+  <systemitem class="library">Xvid</systemitem> potrafią wykonywać wiele
   przebiegów, z lekką poprawą jakości po każdym przebiegu. Jednak ta poprawa
   nie jest zauważalna ani mierzalna po około 4tym przebiegu.
   Dlatego też, w tej części, tryb dwuprzebiegowy i wieloprzebiegowy będą
@@ -326,7 +334,7 @@
   kwantyzatora, to prawie na pewno niszczysz film.
   Żeby tego uniknąć, powinieneś pewnie zmniejszyć rozdzielczość filmu, metodą
   opisaną dalej.
-  Ogólnie, jeśli troszczysz się o jakość, powinieneś unikać CBR.
+  Ogólnie, jeśli zależy Ci na jakości, powinieneś unikać CBR.
 </para>
 
 <para>
@@ -345,8 +353,8 @@
   niezależnie od tego czy makroblok tego wymaga czy nie. To znaczy że można by
   było zastosować do makrobloku wyższy kwantyzator bez utraty postrzegalnej
   jakości. Dlaczego marnować bity na niepotrzebnie niski kwantyzator?
-  Mikroprocesor ma tyle cykli ile jest czasu, ale jest tylko pewna ilość bitów
-  na twardym dysku.
+  Mikroprocesor ma tyle cykli ile jest czasu, ale jest tylko ograniczona ilość
+  bitów na twardym dysku.
 </para>
 
 <para>
@@ -371,7 +379,7 @@
 <para>
   Ponieważ jesteś już przekonany że prawidłowym wyborem są dwa przebiegi,
   prawdziwym pytaniem jest jakiego bitrate użyć. Nie ma jednej odpowiedzi.
-  Idealnie chcesz wybrać bitrate będący najbliżej równowagi między jakością
+  Idealnie chcesz wybrać bitrate będący najlepszym kompromisem między jakością
   a wielkością pliku. To się zmienia w zależności od filmu.
 </para>
 
@@ -391,153 +399,149 @@
   więc powinieneś <link linkend="menc-feat-dvd-mpeg4-audio">ściągnąć go</link>
   najpierw.
   Możesz wyliczyć bitrate z następującego równania:
-  <systemitem>bitrate = (wielkość_docelowa_w_MBajtach - wielkość_dźwięku_w_MB)
+  <systemitem>bitrate = (wielkość_docelowa_w_MBajtach - wielkość_dźwięku_w_MBajtach)
   * 1024 * 1024 / długość_w_sekundach * 8 / 1000</systemitem>
-  Na przykład by wcisność dwugodzinny film na płytkę 702MB, z 60MB ścieżki
+  Na przykład by wcisnąć dwugodzinny film na płytkę 702MB, z 60MB ścieżki
   dźwiękowej, bitrate video musi być:
   <systemitem>(702 - 60) * 1024 * 1024 / (120*60) * 8 / 1000
   = 740kbps</systemitem>
 </para>
-
 </sect2>
 
+<!-- ********** -->
 
 <sect2 id="menc-feat-dvd-mpeg4-constraints">
-<title>Constraints for efficient encoding</title>
-
-<para>
-  Due to the nature of MPEG-type compression, there are various
-  constraints you should follow for maximal quality.
-  MPEG splits the video up into 16x16 squares called macroblocks,
-  each composed of 4 8x8 blocks of luma (intensity) information and two
-  half-resolution 8x8 chroma (color) blocks (one for red-cyan axis and
-  the other for the blue-yellow axis).
-  Even if your movie width and height are not multiples of 16, the
-  encoder will use enough 16x16 macroblocks to cover the whole picture
-  area, and the extra space will go to waste.
-  So in the interests of maximizing quality at a fixed filesize, it is
-  a bad idea to use dimensions that are not multiples of 16.
-</para>
-
-<para>
-  Most DVDs also have some degree of black borders at the edges. Leaving
-  these in place can hurt quality in several ways.
+<title>Ograniczenia efektywnego kodowania</title>
+
+<para>
+Ze względu na naturę kodowania typu MPEG istnieją różne ograniczenia których
+warto się trzymać żeby osiągnąć najlepszą jakość.
+MPEG dzieli obraz na kwadraty 16x16 pikseli nazywane makroblokami,
+każdy z nich składa się z 4 bloków 8x8 informacji o jasności (luminancja, luma)
+i dwóch 8x8 z połową rozdzielczości (jeden na składową czerwono-morską, drugi
+na niebiesko-żółtą).
+Nawet jeśli wysokość i szerokość filmu nie są wielokrotnościami 16,
+koder użyje tyle makrobloków żeby przykryć cały obszar obrazu,
+dodatkowa przestrzeń zostanie zmarnowana.
+Zatem w interesie zwiększenai jakości przy utrzymaniu wielkości pliku kiepskim
+pomysłem jest używanie wymiarów które nie są wielokrotnością 16.
+</para>
+
+<para>
+Większość DVD ma też jakieś czarne ramki na brzegach.
+Zostawienie ich tam <emphasis role="bold">mocno</emphasis> zaszkodzi jakości
+na kilka sposobów.
 </para>
 
 <orderedlist>
 <listitem>
-<para>
-  MPEG-type compression is also highly dependent on frequency domain
-  transformations, in particular the Discrete Cosine Transform (DCT),
-  which is similar to the Fourier transform. This sort of encoding is
-  efficient for representing patterns and smooth transitions, but it
-  has a hard time with sharp edges. In order to encode them it must
-  use many more bits, or else an artifact known as ringing will
-  appear.
-</para>
-
-<para>
-  The frequency transform (DCT) takes place separately on each
-  macroblock (actually each block), so this problem only applies when
-  the sharp edge is inside a block. If your black borders begin
-  exactly at multiple-of-16 pixel boundaries, this is not a problem.
-  However, the black borders on DVDs rarely come nicely aligned, so
-  in practice you will always need to crop to avoid this penalty.
-</para>
+  <para>
+  Kompresje typu MPEG są zależne od transformat przestrzeni częstotliwości,
+  a dokładniej Dyskretnej Transformaty Cosinusowej (DCT), która jest podobna do
+  transformaty Fouriera.
+  Ten sposób kodowania jest efektywny przy wzorach i gładkich przejściach, ale
+  kiepsko sobie radzi z ostrymi krawędziami.
+  Żeby je zakoować, musi używać o wiele większej liczby bitów, albo wystąpią
+  artefakty znane jako pierścienie.
+  </para>
+
+  <para>
+  Transformacja częstotliwości (DCT) jest stosowana osobno do każdego
+  makrobloku (tak na prawdę do każdego bloku), więc ten problem istnieje tylko
+  gdy ostra krawędź jest wewnątrz bloku.
+  Jeśli czarna ramka zaczyna się dokładnie na krawędzi 16-pikselowego bloku,
+  nie stwarza problemów.
+  Jednakże, rzadko kiedy takie ramki są ładnie wyrównane, więc zazwyczaj będzie
+  trzeba przyciąć obraz żeby tego uniknąć.
+  </para>
 </listitem>
 </orderedlist>
 
 <para>
-  In addition to frequency domain transforms, MPEG-type compression uses
-  motion vectors to represent the change from one frame to the next.
-  Motion vectors naturally work much less efficiently for new content
-  coming in from the edges of the picture, because it is not present in
-  the previous frame. As long as the picture extends all the way to the
-  edge of the encoded region, motion vectors have no problem with
-  content moving out the edges of the picture. However, in the presence
-  of black borders, there can be trouble:
+Poza transformatami przestrzeni częstotliwości, kompresje typu MPEG używają
+wektorów ruchu, by reprezentować zmiany między sąsiednimi klatkami.
+Oczywiście wektory ruchu są mniej efektywne w stosunku do nowej treści
+przychodzącej z brzegów obrazka, ponieważ nie było jej na poprzedniej klatce.
+Jeśli obraz rozciąga się do krawędzi zakodowanego regionu,
+wektory ruchu radzą sobie z treścią wychodzącą poza krawędzie.
+Jednak jeśli są ramki, mogą być kłopoty:
 </para>
 
 <orderedlist continuation="continues">
 <listitem>
-<para>
-  For each macroblock, MPEG-type compression stores a vector
-  identifying which part of the previous frame should be copied into
-  this macroblock as a base for predicting the next frame. Only the
-  remaining differences need to be encoded. If a macroblock spans the
-  edge of the picture and contains part of the black border, then
-  motion vectors from other parts of the picture will overwrite the
-  black border. This means that lots of bits must be spent either
-  re-blackening the border that was overwritten, or (more likely) a
-  motion vector will not be used at all and all the changes in this
-  macroblock will have to be coded explicitly. Either way, encoding
-  efficiency is greatly reduced.
-</para>
-
-<para>
-  Again, this problem only applies if black borders do not line up on
-  multiple-of-16 boundaries.
-</para>
+  <para>
+  Dla każdego makrobloku, kompresja typu MPEG przechowuje wektor opisujący
+  która część poprzedniej klatki powinna być skopiowana do tego makrobloku jako
+  podstawa do przewidzenia następnej klatki.
+  Zakodowane wtedy muszą być tylko różnice.
+  Jeśli makroblok zawiera fragment ramki, to wektory ruchu z pozostałych cześci
+  obrazu zamażą obramowanie.
+  Oznacza to że dużo bitów będzie zużytych albo na jej powtórne zaczernienie
+  albo (co bardziej prawdopodobne), wektor ruchu w ogóle nie będzie użyty
+  i wszystkie zmiany w tym makrobloku będzie trzeba zakodować bezpośrednio.
+  W obu przypadkach, bardzo cierpi na tym efektywność kodowania.
+  </para>
+
+  <para>
+  Powtórnie, ten problem występuje tylko jeśli ramki nie są na krawędziach
+  16-pikselowych bloków.
+  </para>
 </listitem>
 
 <listitem>
-<para>
-  Finally, suppose we have a macroblock in the interior of the
-  picture, and an object is moving into this block from near the edge
-  of the image. MPEG-type coding cannot say "copy the part that is
-  inside the picture but not the black border." So the black border
-  will get copied inside too, and lots of bits will have to be spent
-  encoding the part of the picture that is supposed to be there.
-</para>
-
-<para>
-  If the picture runs all the way to the edge of the encoded area,
-  MPEG has special optimizations to repeatedly copy the pixels at the
-  edge of the picture when a motion vector comes from outside the
-  encoded area. This feature becomes useless when the movie has black
-  borders. Unlike problems 1 and 2, aligning the borders at multiples
-  of 16 does not help here.
-</para>
+  <para>
+  W końcu, przypuśćmy że mamy makroblok wewnątrz obrazu i obiekt dostaje się do
+  niego z okolic krawędzi.
+  Kodowanie typu MPEG nie potrafi powiedzieć "skopiuj część która jeest
+  wewnątrz obraka, ale nie czarne obramowanie." Dlatego obramowanie też
+  zostanie skopiowane i trzeba będzie zużyć sporo bitów żeby zakodować fragment
+  obrazu który powinien tam być.
+  </para>
+
+  <para>
+  Jeśli obraz sięga do krawędzi zakodowanego obszaru, MPEG ma specjalne
+  optymalizacje do wielokrotnego kopiowania ostatniego rzędu pikseli jeśli
+  wektor ruchu przychodzi z poza zakodoanego obszaru.
+  Staje się to bezużyteczne gry obraz ma czarne obramowanie.
+  W odróżnieniu od problemów 1 i 2 tutaj nic nie pomoże ustawienie obramowania
+  w odpowiednim miejscu.
+  </para>
 </listitem>
 
-<listitem>
-<para>
-  Despite the borders being entirely black and never changing, there
-  is at least a minimal amount of overhead involved in having more
-  macroblocks.
-</para>
-</listitem>
+<listitem><para>
+  Mimo tego, że obramowanie jest całkowicie czarne i nigdy się nie zmienia,
+  zawsze jest pewien narzut związany z większą ilością makrobloków.
+</para></listitem>
 </orderedlist>
 
 <para>
-  For all of these reasons, it is recommended to fully crop black
-  borders. Further, if there is an area of noise/distortion at the edge
-  of the picture, cropping this will improve encoding efficiency as
-  well. Videophile purists who want to preserve the original as close as
-  possible may object to this cropping, but unless you plan to encode at
-  constant quantizer, the quality you gain from cropping will
-  considerably exceed the amount of information lost at the edges.
+Ze wszystkich tych powodów zalecane jest całkowite wycięcie czarnych obramowań.
+Dodatkowo, jeśli przy krawędziach jest obszar zakłóceń/zniekształceń, obcięcie
+go również poprawi efektywność kodowania.
+Puryści, którzy chcą możliwie dokładnie zachować oryginał mogą się sprzeciwiać,
+ale jeśli nie planujesz używać stałego kwantyzatora to jakość uzyskana dzięki
+skadrowaniu znacząco przewyższy utratę informacji przy brzegach.
 </para>
 </sect2>
 
+<!-- ********** -->
 
 <sect2 id="menc-feat-dvd-mpeg4-crop">
-<title>Cropping and Scaling</title>
-
-<para>
-  Recall from the previous section that the final picture size you
-  encode should be a multiple of 16 (in both width and height).
-  This can be achieved by cropping, scaling, or a combination of both.
-</para>
-
-<para>
-  When cropping, there are a few guidelines that must be followed to
-  avoid damaging your movie.
-  The normal YUV format, 4:2:0, stores chroma (color) information
-  subsampled, i.e. chroma is only sampled half as often in each
-  direction as luma (intensity) information.
-  Observe this diagram, where L indicates luma sampling points and C
-  chroma.
+<title>Kadrowanie i skalowanie</title>
+
+<para>
+Przypomnijmy z poprzedniej części że ostateczna wielkość (wysokość i szerokość)
+obrazu do kodowania powinna być wielokrotnością 16.
+Można to osiągnąć kadrowaniem, skalowaniem albo kombinacją obydwu.
+</para>
+
+<para>
+Przy kadrowaniu, jest kilka reguł których musimy przestrzegać by uniknąć
+uszkodzenia filmu.
+Zwykły format YUV, 4:2:0, przechowuje wartości koloru podpróbkowane, czyli
+kolor jest próbkowany o połowę rzadziej w każdym kierunku niż jasność.
+Spójrzmy na diagram, na którym L oznacza punkty próbkowania jasności (luma)
+a C koloru (chroma).
 </para>
 
 <informaltable>
@@ -614,18 +618,17 @@
 </informaltable>
 
 <para>
-  As you can see, rows and columns of the image naturally come in pairs.
-  Thus your crop offsets and dimensions <emphasis>must</emphasis> be
-  even numbers.
-  If they are not, the chroma will no longer line up correctly with the
-  luma.
-  In theory, it is possible to crop with odd offsets, but it requires
-  resampling the chroma which is potentially a lossy operation and not
-  supported by the crop filter.
-</para>
-
-<para>
-  Further, interlaced video is sampled as follows:
+Jak widać, wiersze i kolumny obrazu w sposób naturalny łączą się w pary.
+Dlatego przesunięcia i wymiary kadrowania <emphasis>muszą</emphasis> być
+liczbami parzystymi.
+Jeśli nie są, barwa nie będzie już dobrze dopasowana do jasności.
+Teoretycznie możliwe jest kadrowanie z nieparzystym przesunięciem, ale wymaga
+to przepróbkowania kolorów, co jest potencjalnie stratną operacją nie
+obsługiwaną przez filtr kadrowania.
+</para>
+
+<para>
+Dalej, film z przeplotem jest kodowany jak poniżej:
 </para>
 
 <informaltable>
@@ -658,8 +661,8 @@
 <spanspec spanname="spa15-16" namest="col15" nameend="col16"/>
   <tbody>
     <row>
-      <entry namest="col1" nameend="col8">Top field</entry>
-      <entry namest="col9" nameend="col16">Bottom field</entry>
+      <entry namest="col1" nameend="col8">Górne pole</entry>
+      <entry namest="col9" nameend="col16">Dolne pole</entry>
     </row>
     <row>
       <entry>L</entry>
@@ -866,371 +869,391 @@
 </informaltable>
 
 <para>
-  As you can see, the pattern does not repeat until after 4 lines.
-  So for interlaced video, your y-offset and height for cropping must
-  be multiples of 4.
-</para>
-
-<para>
-  Native DVD resolution is 720x480 for NTSC, and 720x576 for PAL, but
-  there is an aspect flag that specifies whether it is full-screen (4:3) or
-  wide-screen (16:9). Many (if not most) widescreen DVDs are not strictly
-  16:9, and will be either 1.85:1 or 2.35:1 (cinescope). This means that
-  there will be black bands in the video that will need to be cropped out.
-</para>
-
-<para>
-  <application>MPlayer</application> provides a crop detection filter that
-  will determine the crop rectangle (<option>-vf cropdetect</option>).
-  Run <application>MPlayer</application> with
-  <option>-vf cropdetect</option> and it will print out the crop
-  settings to remove the borders.
-  You should let the movie run long enough that the whole picture
-  area is used, in order to get accurate crop values.
-</para>
-
-<para>
-  Then, test the values you get with <application>MPlayer</application>,
-  using the command line which was printed by
-  <option>cropdetect</option>, and adjust the rectangle as needed.
-  The <option>rectangle</option> filter can help by allowing you to
-  interactively position the crop rectangle over your movie.
-  Remember to follow the above divisibility guidelines so that you
-  do not misalign the chroma planes.
-</para>
-
-<para>
-  In certain cases, scaling may be undesirable.
-  Scaling in the vertical direction is difficult with interlaced
-  video, and if you wish to preserve the interlacing, you should
-  usually refrain from scaling.
-  If you will not be scaling but you still want to use multiple-of-16
-  dimensions, you will have to overcrop.
-  Do not undercrop, since black borders are very bad for encoding!
-</para>
-
-<para>
-  Because MPEG-4 uses 16x16 macroblocks, you will want to make sure that each
-  dimension of the video you are encoding is a multiple of 16 or else you
-  will be degrading quality, especially at lower bitrates. You can do this
-  by rounding the width and height of the crop rectangle down to the nearest
-  multiple of 16.
-  As stated earlier, when cropping, you will want to increase the Y offset by
-  half the difference of the old and the new height so that the resulting
-  video is taken from the center of the frame. And because of the way DVD
-  video is sampled, make sure the offset is an even number. (In fact, as a
-  rule, never use odd values for any parameter when you are cropping and
-  scaling video.) If you are not comfortable throwing a few extra pixels
-  away, you might prefer instead to scale the video instead. We will look
-  at this in our example below.
-  You can actually let the <option>cropdetect</option> filter do all of the
-  above for you, as it has an optional <option>round</option> parameter that
-  is equal to 16 by default.
-</para>
-
-<para>
-  Also, be careful about "half black" pixels at the edges. Make sure you
-  crop these out too, or else you will be wasting bits there that
-  are better spent elsewhere.
-</para>
-
-<para>
-  After all is said and done, you will probably end up with video whose pixels
-  are not quite 1.85:1 or 2.35:1, but rather something close to that. You
-  could calculate the new aspect ratio manually, but
-  <application>MEncoder</application> offers an option for <systemitem
-  class="library">libavcodec</systemitem> called <option>autoaspect</option>
-  that will do this for you. Absolutely do not scale this video up in order to
-  square the pixels unless you like to waste your hard disk space. Scaling
-  should be done on playback, and the player will use the aspect stored in
-  the AVI to determine the correct resolution.
-  Unfortunately, not all players enforce this auto-scaling information,
-  therefore you may still want to rescale.
+Jak widać, wzór powtarza się dopiero po 4 liniach.
+Dlatego przy filmie z przeplotem, pionowa współrzędna i wysokość kadrowania
+muszą być wielokrotnościami 4.
+</para>
+
+<para>
+Podstawową rozdzielczością DVD jest 720x480 dla NTSC i 720x576 dla PAL, ale
+jest też flaga proporcji, która określa czy obraz jest ekranowy (4:3) czy
+panoramiczny (16:9).
+Wiele (jeśli nie większość) panoramicznych DVD nie jest dokładnie 16:9 tylko
+raczej 1,85:1 lub 2,35:1 (cinescope).
+Oznacza to że będzie czarne obramowanie na filmie, które trzeba usunąć.
+</para>
+
+<para>
+<application>MPlayer</application> dostarcza filtr wykrywania kadrowania
+(<option>-vf cropdetect</option>), który określi prostokąt kadrowania.
+Uruchom <application>MPlayera</application> z opcją <option>-vf
+cropdetect</option> a wydrukuje on ustawienia kadrowania potrzebne do usunięcia
+obramowania.
+Powinieneś puścić film wystarczająco długo żeby został użyty cały obszar
+obrazu, inaczej wartości będą niedokładne.
+</para>
+
+<para>
+Potem przetestuj otrzymane wartości z użyciem
+<application>MPlayera</application>, przekazując opcje podane przez
+<option>cropdetect</option> i dostosowując prostokąt według potrzeb.
+Filtr <option>rectangle</option> może w tym pomóc, pozwalając na interaktywne
+ustawienie prostokąta kadrowania na filmie.
+Pamiętaj, by trzymać się powyższych reguł podzielności, żeby nie przestawić
+płaszczyzny koloru.
+</para>
+
+<para>
+W pewnych przypadkach skalowanie może być niepożądane.
+Skalowanie w kierunku pionowym jest trudne przy filmie z przeplotem, a jeśli
+chcesz zachować przeplot, zazwyczaj powinieneś się wstrzymać od skalowania.
+Jeśl nie chcesz skalować, ale nadal chcesz używać wymiarów będących wielokrotnościami 16 to musisz przekadrować.
+NIe należy niedokadrowywać, bo obramowania są bardzo szkodliwe przy kodowaniu!
+</para>
+
+<para>
+Ponieważ MPEG-4 używa makrobloków 16x16, powinieneś się upewnić,
+że każdy wymiar kodowanego filmu jest wielokrotnością 16, inaczej
+degradujemy jakość, zwłaszcza przy niższych bitrate.
+Można tego dokonać zaokrąglając wysokość i szerokość prostokąta kadrowania do
+najbliższej wielokrotności 16.
+Jak powiedziano wcześniej, trzeba zwiększyć przesunięcie
+pionowe o połowę różnicy między starą a nową wysokością,
+żeby wynikowy film był brany ze środka klatki.
+A ze względu na sposób w jaki próbkowane jest DVD, upewnij się że przesunięcie
+jest parzyste (w zasadzie, stosuj się do reguły, żeby nigdy nie używać
+nieparzystych wartości przy przycinaniu i skalowaniu obrazu).
+Jeśli nie czujesz się dobrze odrzucając dodatkowe piksele,
+może wolisz przeskalować video.
+Przyjżymy się temu w przykładzie poniżej.
+Możesz też pozwolić filtrowi <option>cropdetect</option> zrobić to wszystko za
+Ciebie, jako że ma on opcjonalny parametr <option>round</option>
+(zaokrąglenie), domyślnie równy 16.
+</para>
+
+<para>
+Uważaj też na "poł-czarne" piksele na przegach. Też je wykadruj, albo będziesz
+na nie marnował bity któ?e przydadzą się gdzie indziej.
+</para>
+
+<para>
+Po tym wszystkim prawdopodobnie dostaniesz film który nie ma dokładnie
+proporcji 1,85:1 ani 2,35:1 tylko coś podobnego.
+Mógłbyś samemu policzyć nowe proporcje, ale <application>MEncoder</application>
+ma pocję do <systemitem class="library">libavcodec</systemitem> nazywaną
+<option>autoaspect</option> która zrobi to za Ciebie.
+Nie powinieneś przeskalowywać video żeby wyrównać piksele, chyba że chcesz
+marnować miejsce na dysku.
+Skalowanie powinno być robione przy odtwarzaniu, a odtwarzacz używa informacji
+o proporcjach zapisanych w AVI żeby określić prawidłową rozdzielczość.
+Niestety, nie wszystkie odtwarzacze uznają te informacje,
+dlatego mimo wszystko możesz chcieć przeskalować.
 </para>
 </sect2>
 
+<!-- ********** -->
 
 <sect2 id="menc-feat-dvd-mpeg4-resolution-bitrate">
-<title>Choosing resolution and bitrate</title>
-
-<para>
-  If you will not be encoding in constant quantizer mode, you need to
-  select a bitrate.
-  The concept of bitrate is quite simple.
-  It is the (average) number of bits that will be consumed to store your
-  movie, per second.
-  Normally bitrate is measured in kilobits (1000 bits) per second.
-  The size of your movie on disk is the bitrate times the length of the
-  movie in time, plus a small amount of "overhead" (see the section on
-  <link linkend="menc-feat-dvd-mpeg4-muxing-avi-limitations">the AVI container</link>
-  for instance).
-  Other parameters such as scaling, cropping, etc. will
-  <emphasis role="bold">not</emphasis> alter the file size unless you
-  change the bitrate as well!.
-</para>
-<para>
-  Bitrate does <emphasis role="bold">not</emphasis> scale proportionally
-  to resolution.
-  That is to say, a 320x240 file at 200 kbit/sec will not be the same
-  quality as the same movie at 640x480 and 800 kbit/sec!
-  There are two reasons for this:
+<title>Dobieranie rozdzielczości i bitrate</title>
+
+<para>
+Jeśli nie kodujesz w trybie stałego kwantyzatora, musisz wybrać bitrate.
+Jest to dość prosta rzecz &ndash; to (średnia) ilość bitów jaka będzie
+używana do zakodowania jednej sekundy filmu.
+Zazwyczaj bitrate mierzy się w kilobitach (1000 bitów) na sekundę.
+Wielkość filmu na dysku to bitrate razy długość filmu,
+plus drobne "dodatki" (patrz na przykład sekcja o
+<link linkend="menc-feat-dvd-mpeg4-muxing-avi-limitations">kontenerze AVI</link>
+).
+Pozostałe parametry, takie jak skalowanie, kadrowanie itp.
+<emphasis role="bold">nie</emphasis> zmienią wielkości pliku jeśli nie
+zmienisz też bitrate!
+</para>
+
+<para>
+Bitrate <emphasis role="bold">nie</emphasis> skaluje się proporcjonalnie do
+rozdzielczości.
+To znaczy, film 320x240 w 200 kbit/s nie będzie tej samej jakości co ten sam
+film w 640x480 i 800 kbit/s!
+Są ku temu dwie przyczyny:
 <orderedlist>
-  <listitem><para>
-    <emphasis role="bold">Perceptual</emphasis>: You notice MPEG
-    artifacts more if they are scaled up bigger!
-    Artifacts appear on the scale of blocks (8x8).
-    Your eye will not see errors in 4800 small blocks as easily as it
-    sees errors in 1200 large blocks (assuming you will be scaling both
-    to fullscreen).
-  </para></listitem>
-  <listitem><para>
-    <emphasis role="bold">Theoretical</emphasis>: When you scale down
-    an image but still use the same size (8x8) blocks for the frequency
-    space transform, you move more data to the high frequency bands.
-    Roughly speaking, each pixel contains more of the detail than it
-    did before.
-    So even though your scaled-down picture contains 1/4 the information
-    in the spacial directions, it could still contain a large portion
-    of the information in the frequency domain (assuming that the high
-    frequencies were underutilized in the original 640x480 image).
-  </para></listitem>
-  </orderedlist>
-</para>
-<para>
-  Past guides have recommended choosing a bitrate and resolution based
-  on a "bits per pixel" approach, but this is usually not valid due to
-  the above reasons.
-  A better estimate seems to be that bitrates scale proportional to the
-  square root of resolution, so that 320x240 and 400 kbit/sec would be
-  comparable to 640x480 at 800 kbit/sec.
-  However this has not been verified with theoretical or empirical
-  rigor.
-  Further, given that movies vary greatly with regard to noise, detail,
-  degree of motion, etc., it is futile to make general recommendations
-  for bits per length-of-diagonal (the analog of bits per pixel,
-  using the square root).
-</para>
-<para>
-  So far we have discussed the difficulty of choosing a bitrate and
-  resolution.
+<listitem><para>
+  <emphasis role="bold">Wizualna</emphasis>: Łatwiej zauważyć artefakty MPEG
+  jeśli są bardziej powiększone!
+  Artefakty powstają na poziomie bloków (8x8).
+  Ludzkie oko trudniej dostrzega błędy w 4800 małych blokach niż w 1200 dużych
+  (zakładając że skalujesz na pełny ekran).
+</para></listitem>
+<listitem><para>
+  <emphasis role="bold">Teoretyczna</emphasis>: Kiedy zmniejszasz obraz ale
+  nadal używasz tych samych bloków 8x8 do transformacji przestrzeni
+  częstotliwości. masz więcej danych w pasmach wyższych częstotliwości.
+  W pewien sposób każdy piksel ma więcej szczegółów niż poprzednio.
+  Dlatego, mimo że przeskalowany obraz zawiera 1/4 informacji jeśli chodzi
+  o wielkość, to nadal może zawierać większość informacji w przestrzeni
+  częstotliwości (zakładając że wysokie częstotliwości były mało używane
+  w oryginalnym filmie 640x480).
+</para></listitem>
+</orderedlist>
+</para>
+
+<para>
+Poprzednie podręczniki zalecały dobranie bitrate i rozdzielczości w sposób
+bazujący na podejściu "bity na piksel", ale z powyższych powodów zazwyczaj nie
+jest to prawidłowe.
+Lepszym przybliżeniem zdaje się skalowanie bitrate proporcjonalnie do
+pierwiastka kwadratowego z&nbsp;rozdzielczości, czyli film 320x240 i 400 kbit/s
+powinien być podobny do 640x480 i 800 kbit/s.
+Nie zostało to jednak zweryfikowane ani teoretycznie ani empirycznie.
+Dodatkowo, ponieważ filmy są bardzo zróżnicowane jeśli chodzi o szum,
+szczegóły, ilość ruchu itp. bezsensowne jest podawanie ogólnych zaleceń na bity
+na przekątą (analogia bitów na piksel używająca pierwiastka).
+</para>
+<para>
+Omówiliśmy więc problemy z wyborem bitrate i rozdzielczości.
 </para>
 
 
 <sect3 id="menc-feat-dvd-mpeg4-resolution-bitrate-compute">
-<title>Computing the resolution</title>
-<para>
-  First, you should compute the encoded aspect ratio:
-  <systemitem>ARc = (Wc x (ARa / PRdvd )) / Hc</systemitem>
+<title>Obliczanie rozdzielczości</title>
+
+<para>
+Następne kroki przeprowadzą Cię przez obliczenie rozdzielczości dla Twojego
+filmu bez zniekształcania go za bardzo, biorąc pod uwagę kilka typów informacji
+o źródłowym filmie.
+Najpierw powinieneś policzyć zakodowane proporcje:
+<systemitem>ARc = (Wc x (ARa / PRdvd )) / Hc</systemitem>
+
 <itemizedlist>
-<title>where:</title>
+<title>gdzie:</title>
 <listitem><para>
-  Wc and Hc are the width and height of the cropped video,
+  Hc i Wc to wysokość i szerokość skadrowanego filmu.
 </para></listitem>
 <listitem><para>
-  ARa is the displayed aspect ratio, which usually is 4/3 or 16/9,
+  ARa do wyświetlane proporcje, zazwyczaj 4/3 lub 16/9.
 </para></listitem>
 <listitem><para>
-  PRdvd is the pixel ratio of the DVD which is equal to 1.25=(720/576) for PAL
-  DVDs and 1.5=(720/480) for NTSC DVDs,
+  PRdvd to proporcje na DVD równe 1,25=(720*576) dla DVD PAL i 1,5=(720/480) dla
+  VD NTSC.
 </para></listitem>
 </itemizedlist>
 </para>
 
 <para>
-  Then, you can compute the X and Y resolution, according to a certain
-  Compression Quality (CQ) factor:
-  <systemitem>ResY = INT(SQRT( 1000*Bitrate/25/ARc/CQ )/16) * 16</systemitem>
-  and
-  <systemitem>ResX = INT( ResY * ARc / 16) * 16</systemitem>
-</para>
-
-<para>
-  Okay, but what is the CQ?
-  The CQ represents the number of bits per pixel and per frame of the encode.
-  Roughly speaking, the greater the CQ, the less the likelihood to see
-  encoding artifacts.
-  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.
-</para>
-
-<para>
-  The CQ depends both on the bitrate and the movie resolution.
-  In order to raise the CQ, typically you would downscale the movie given that the
-  bitrate is computed in function of the target size and the length of the
-  movie, which are constant.
-  A CQ below 0.18 usually ends up in a very blocky picture, because there
-  are not enough bits to code the information of each macroblock (MPEG4, like
-  many other codecs, groups pixels by blocks of several pixels to compress the
-  image; if there are not enough bits, the edges of those blocks are
-  visible).
-  It is therefore wise to take a CQ ranging from 0.20 to 0.22 for a 1 CD rip,
-  and 0.26-0.28 for 2 CDs.
-</para>
-
-<para>
-  Please take note that the CQ is just an indicative figure, as depending on
-  the encoded content, a CQ of 0.18 may look just fine for a Bergman, contrary
-  to a movie such as The Matrix, which contains many high-motion scenes.
-  On the other hand, it is worthless to raise CQ higher than 0.30 as you would
-  be wasting bits without any noticeable quality gain.
+Potem możesz policzyć rozdzielczość X i Y, zgodnie z dobranym wskażnikiem
+Jakości Kompresji (Compression Quality, CQ):
+<systemitem>RozY = INT(Pierw( 1000*Bitrate/25/ARc/CQ )/16) * 16</systemitem>
+i
+<systemitem>RozX = INT( ResY * ARc / 16) * 16</systemitem>,
+gdzie INT oznacza zaokrąglenie do liczby całkowitej.
+</para>
+
+<para>
+Dobrze, ale co to jest CQ?
+CQ reprezentuje ilość bitów na piksel i klatkę kodowania.
+Z grubsza biorąc, im większe CQ tym mniejsza szansa na zobaczenie artefaktów
+kodowania.
+Jednakże, jeśli masz docelową wielkość filmu (na przykład 1 lub 2 płyty CD),
+masz ograniczoną ilość bitów do zużycia; dlatego musisz znaleźć równowagę
+między poziomem kompresji i jakością.
+</para>
+
+<para>
+CQ zależy od bitrate, efektywności kodeka video i rozdzielczości filmu.
+Żeby podnieść CQ zazwyczej zmniejszysz film, ponieważ bitrate jest funkcją docelowej wielkości i długości filmu, które są stałe.
+Przy użyciu kodeków MPEG-4 ASP, takich jak
+<systemitem class="library">Xvid</systemitem> i
+<systemitem class="library">libavcodec</systemitem>, CQ niższe niż 0,18
+zazwyczaj daje kiepski obraz, ponieważ nie ma dość bitów by zakodować
+informacje z każdego makrobloku.
+(MPEG4, jak wiele innych kodeków, grupuje piksele w bloki żeby
+skompresować obraz. Jeśli nie ma dość bitów widać krawędzie tych bloków.)
+Dlatego też mądrze jest wybrać CQ w zakresie 0,20 do 0,22 na film jednopłytkowy
+i 0,26-0,28 na dwupłytkowy przy standardowych opcjach kodowania.
+Bardziej zaawansowane opcje kodowania, takie jak te podane tutaj dla 
+<link linkend="menc-feat-mpeg4-lavc-example-settings"><systemitem class="library">libavcodec</systemitem></link>
+i
+<link linkend="menc-feat-xvid-example-settings"><systemitem class="library">Xvid</systemitem></link>
+powinny umożliwić otrzymanie takiej samej jakości z CQ w zakresie 0,18 do 0,20
+na 1 CD i 0,24 do 0,26 na 2 CD.
+Z kodekami MPEG-4 AVC, takimi jak
+<systemitem class="library">x264</systemitem>, możesz używać CQ w&nbsp;zakresie
+0,14 do 0,16 przy standardowych opcjach
+a powinno się też udać zejść do 0,10 do 0,12 z
+<link linkend="menc-feat-x264-example-settings">zaawansowanymi opcjami kodowania <systemitem class="library">x264</systemitem></link>.
+</para>
+
+<para>
+Pamiętajmy, że CQ jest tylko przydatnym odnośnikiem, zależnym od kodowanego
+filmu. CQ równe ,018 może wyglądać dobrze przy Bergmanie, w przeciwieństwie do
+filmu takiego jak Martix, który zaawiera wiele bardzo ruchliwych scen.
+Z drugiej strony, bezsensowne jest podnoszenie CQ powyżej 0,30 jako że marnuje się bity bez zauważalnej poprawy jakości.
+Pamiętajmy też że, jak było wspomniane wcześniej, filmy w niższej
+rozdzielczości potrzebują większego CQ (w porównaniu do na przykład
+rozdzielczości DVD) żeby dobrze wyglądać.
 </para>
 </sect3>
-
 </sect2>
 
+<!-- ********** -->
+<!-- synced 'till here -->
+
 <sect2 id="menc-feat-dvd-mpeg4-filtering">
 <title>Filtering</title>
 
 <para>
-  Learning how to use <application>MEncoder</application>'s video filters
-  is essential to producing good encodes.
-  All video processing is performed through the filters -- cropping,
-  scaling, color adjustment, noise removal, sharpening, deinterlacing,
-  telecine, inverse telecine, and deblocking, just to name a few.
-  Along with the vast number of supported input formats, the variety of
-  filters available in <application>MEncoder</application> is one of its
-  main advantages over other similar programs.
-</para>
-
-<para>
-  Filters are loaded in a chain using the -vf option:
-
-  <screen>-vf filter1=options,filter2=options,...</screen>
-
-  Most filters take several numeric options separated by colons, but
-  the syntax for options varies from filter to filter, so read the man
-  page for details on the filters you wish to use.
-</para>
-
-<para>
-  Filters operate on the video in the order they are loaded.
-  For example, the following chain:
-
-  <screen>-vf crop=688:464:12:4,scale=640:464</screen>
-
-  will first crop the 688x464 region of the picture with upper-left
-  corner at (12,4), and then scale the result down to 640x464.
-</para>
-
-<para>
-  Certain filters need to be loaded at or near the beginning of the
-  filter chain, in order to take advantage of information from the
-  video decoder that will be lost or invalidated by other filters.
-  The principal examples are <option>pp</option> (postprocessing, only
-  when it is performing deblock or dering operations),
-  <option>spp</option> (another postprocessor to remove MPEG artifacts),
-  <option>pullup</option> (inverse telecine), and
-  <option>softpulldown</option> (for converting soft telecine to hard
-  telecine).
-</para>
-
-<para>
-  In general, you want to do as little filtering as possible to the movie
-  in order to remain close to the original DVD source. Cropping is often
-  necessary (as described above), but avoid to scale the video. Although
-  scaling down is sometimes preferred to using higher quantizers, we want
-  to avoid both these things: remember that we decided from the start to
-  trade bits for quality.
-</para>
-
-<para>
-  Also, do not adjust gamma, contrast, brightness, etc. What looks good
-  on your display may not look good on others. These adjustments should
-  be done on playback only.
-</para>
-
-<para>
-  One thing you might want to do, however, is pass the video through a
-  very light denoise filter, such as <option>-vf hqdn3d=2:1:2</option>.
-  Again, it is a matter of putting those bits to better use: why waste them
-  encoding noise when you can just add that noise back in during playback?
-  Increasing the parameters for <option>hqdn3d</option> will further
-  improve compressibility, but if you increase the values too much, you
-  risk degrading the image visibily. The suggested values above
-  (<option>2:1:2</option>) are quite conservative; you should feel free to
-  experiment with higher values and observe the results for yourself.
-</para>
-
+Learning how to use <application>MEncoder</application>'s video filters
+is essential to producing good encodes.
+All video processing is performed through the filters -- cropping,
+scaling, color adjustment, noise removal, sharpening, deinterlacing,
+telecine, inverse telecine, and deblocking, just to name a few.
+Along with the vast number of supported input formats, the variety of
+filters available in <application>MEncoder</application> is one of its
+main advantages over other similar programs.
+</para>
+
+<para>
+Filters are loaded in a chain using the -vf option:
+
+<screen>-vf filter1=options,filter2=options,...</screen>
+
+Most filters take several numeric options separated by colons, but
+the syntax for options varies from filter to filter, so read the man
+page for details on the filters you wish to use.
+</para>
+
+<para>
+Filters operate on the video in the order they are loaded.
+For example, the following chain:
+
+<screen>-vf crop=688:464:12:4,scale=640:464</screen>
+
+will first crop the 688x464 region of the picture with upper-left
+corner at (12,4), and then scale the result down to 640x464.
+</para>
+
+<para>
+Certain filters need to be loaded at or near the beginning of the
+filter chain, in order to take advantage of information from the
+video decoder that will be lost or invalidated by other filters.
+The principal examples are <option>pp</option> (postprocessing, only
+when it is performing deblock or dering operations),
+<option>spp</option> (another postprocessor to remove MPEG artifacts),
+<option>pullup</option> (inverse telecine), and
+<option>softpulldown</option> (for converting soft telecine to hard telecine).
+</para>
+
+<para>
+In general, you want to do as little filtering as possible to the movie
+in order to remain close to the original DVD source. Cropping is often
+necessary (as described above), but avoid to scale the video. Although
+scaling down is sometimes preferred to using higher quantizers, we want
+to avoid both these things: remember that we decided from the start to
+trade bits for quality.
+</para>
+
+<para>
+Also, do not adjust gamma, contrast, brightness, etc. What looks good
+on your display may not look good on others. These adjustments should
+be done on playback only.
+</para>
+
+<para>
+One thing you might want to do, however, is pass the video through a
+very light denoise filter, such as <option>-vf hqdn3d=2:1:2</option>.
+Again, it is a matter of putting those bits to better use: why waste them
+encoding noise when you can just add that noise back in during playback?
+Increasing the parameters for <option>hqdn3d</option> will further
+improve compressibility, but if you increase the values too much, you
+risk degrading the image visibly. The suggested values above
+(<option>2:1:2</option>) are quite conservative; you should feel free to
+experiment with higher values and observe the results for yourself.
+</para>
 </sect2>
 
+<!-- ********** -->
 
 <sect2 id="menc-feat-dvd-mpeg4-interlacing">
 <title>Interlacing and Telecine</title>
 
 <para>
-  Almost all movies are shot at 24 fps. Because NTSC is 30000/1001 fps, some
-  processing must be done to this 24 fps video to make it run at the correct
-  NTSC framerate. The process is called 3:2 pulldown, commonly referred to
-  as telecine (because pulldown is often applied during the telecine
-  process), and, naively described, it works by slowing the film down to
-  24000/1001 fps, and repeating every fourth frame.
-</para>
-
-<para>
-  No special processing, however, is done to the video for PAL DVDs, which
-  run at 25 fps. (Technically, PAL can be telecined, called 2:2 pulldown,
-  but this does not become an issue in practice.) The 24 fps film is simply
-  played back at 25 fps. The result is that the movie runs slightly faster,
-  but unless you are an alien, you probably will not notice the difference.
-  Most PAL DVDs have pitch-corrected audio, so when they are played back at
-  25 fps things will sound right, even though the audio track (and hence the
-  whole movie) has a running time that is 4% less than NTSC DVDs.
-</para>
-
-<para>
-  Because the video in a PAL DVD has not been altered, you need not worry
-  much about framerate. The source is 25 fps, and your rip will be 25
-  fps. However, if you are ripping an NTSC DVD movie, you may need to
-  apply inverse telecine.
-</para>
-
-<para>
-  For movies shot at 24 fps, the video on the NTSC DVD is either telecined
-  30000/1001, or else it is progressive 24000/1001 fps and intended to be telecined
-  on-the-fly by a DVD player. On the other hand, TV series are usually
-  only interlaced, not telecined. This is not a hard rule: some TV series
-  are interlaced (such as Buffy the Vampire Slayer) whereas some are a
-  mixture of progressive and interlaced (such as Angel, or 24).
-</para>
-
-<para>
-  It is highly recommended that you read the section on
-  <link linkend="menc-feat-telecine">How to deal with telecine and interlacing in NTSC DVDs</link>
-  to learn how to handle the different possibilities.
-</para>
-
-<para>
-  However, if you are mostly just ripping movies, likely you are either
-  dealing with 24 fps progressive or telecined video, in which case you can
-  use the <option>pullup</option> filter <option>-vf
-  pullup,softskip</option>.
-</para>
-
+Almost all movies are shot at 24 fps. Because NTSC is 30000/1001 fps, some
+processing must be done to this 24 fps video to make it run at the correct
+NTSC framerate. The process is called 3:2 pulldown, commonly referred to
+as telecine (because pulldown is often applied during the telecine
+process), and, naively described, it works by slowing the film down to
+24000/1001 fps, and repeating every fourth frame.
+</para>
+
+<para>
+No special processing, however, is done to the video for PAL DVDs, which
+run at 25 fps. (Technically, PAL can be telecined, called 2:2 pulldown,
+but this does not become an issue in practice.) The 24 fps film is simply
+played back at 25 fps. The result is that the movie runs slightly faster,
+but unless you are an alien, you probably will not notice the difference.
+Most PAL DVDs have pitch-corrected audio, so when they are played back at
+25 fps things will sound right, even though the audio track (and hence the
+whole movie) has a running time that is 4% less than NTSC DVDs.
+</para>
+
+<para>
+Because the video in a PAL DVD has not been altered, you need not worry
+much about framerate. The source is 25 fps, and your rip will be 25
+fps. However, if you are ripping an NTSC DVD movie, you may need to
+apply inverse telecine.
+</para>
+
+<para>
+For movies shot at 24 fps, the video on the NTSC DVD is either telecined
+30000/1001, or else it is progressive 24000/1001 fps and intended to be
+telecined on-the-fly by a DVD player. On the other hand, TV series are usually
+only interlaced, not telecined. This is not a hard rule: some TV series
+are interlaced (such as Buffy the Vampire Slayer) whereas some are a
+mixture of progressive and interlaced (such as Angel, or 24).
+</para>
+
+<para>
+It is highly recommended that you read the section on
+<link linkend="menc-feat-telecine">How to deal with telecine and interlacing in NTSC DVDs</link>
+to learn how to handle the different possibilities.
+</para>
+
+<para>
+However, if you are mostly just ripping movies, likely you are either
+dealing with 24 fps progressive or telecined video, in which case you can
+use the <option>pullup</option> filter <option>-vf
+pullup,softskip</option>.
+</para>
 </sect2>
 
+<!-- ********** -->
+
 <sect2 id="menc-feat-dvd-mpeg4-encoding-interlaced">
 <title>Encoding interlaced video</title>
 
 <para>
-  If the movie you want to encode is interlaced (NTSC video or
-  PAL video), you will need to choose whether you want to
-  deinterlace or not.
-  While deinterlacing will make your movie usable on progressive
-  scan displays such a computer monitors and projectors, it comes
-  at a cost: The fieldrate of 50 or 60000/1001 fields per second
-  is halved to 25 or 30000/1001 frames per second, and roughly half of
-  the information in your movie will be lost during scenes with
-  significant motion.
-</para>
-
-<para>
-  Therefore, if you are encoding for high quality archival purposes,
-  it is recommended not to deinterlace.
-  You can always deinterlace the movie at playback time when
-  displaying it on progressive scan devices, and future players will
-  be able to deinterlace to full fieldrate, interpolating 50 or
-  60000/1001 entire frames per second from the interlaced video.
+If the movie you want to encode is interlaced (NTSC video or
+PAL video), you will need to choose whether you want to
+deinterlace or not.
+While deinterlacing will make your movie usable on progressive
+scan displays such a computer monitors and projectors, it comes
+at a cost: The fieldrate of 50 or 60000/1001 fields per second
+is halved to 25 or 30000/1001 frames per second, and roughly half of
+the information in your movie will be lost during scenes with
+significant motion.
+</para>
+
+<para>
+Therefore, if you are encoding for high quality archival purposes,
+it is recommended not to deinterlace.
+You can always deinterlace the movie at playback time when
+displaying it on progressive scan devices.
+The power of currently available computers forces players to use a
+deinterlacing filter, which results in a slight degradation in
+image quality.
+But future players will be able to mimic the interlaced display of
+a TV, deinterlacing to full fieldrate and interpolating 50 or
+60000/1001 entire frames per second from the interlaced video.
 </para>
 
 <para>
@@ -1253,19 +1276,19 @@
 
 <para>
 With these things in mind, here is our first example:
-</para>
 <screen>
-  mencoder <replaceable>capture.avi</replaceable> -mc 0 -oac lavc -ovc lavc -lavcopts \
-  vcodec=mpeg2video:vbitrate=6000:ilme:ildct:acodec=mp2:abitrate=224
+mencoder <replaceable>capture.avi</replaceable> -mc 0 -oac lavc -ovc lavc -lavcopts \
+    vcodec=mpeg2video:vbitrate=6000:ilme:ildct:acodec=mp2:abitrate=224
 </screen>
-<para>
 Note the <option>ilme</option> and <option>ildct</option> options. 
 </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
@@ -1280,6 +1303,7 @@
 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
@@ -1290,9 +1314,11 @@
 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.
+
+<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.
@@ -1301,6 +1327,7 @@
 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>.
@@ -1308,642 +1335,799 @@
 </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 &mdash; by about 40-60% in typical cases &mdash;
+  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&nbsp;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 AC3 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 AC3 pass-through today
-  does not mean you will not have one tomorrow. Future-proof your DVD rips by
-  preserving the AC3 stream.
-  You can keep the AC3 stream either by copying it directly into the video
-  stream <link linkend="menc-feat-mpeg4">during the encoding</link>.
-  You can also extract the AC3 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 AC3 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 MEncoder 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>
-
+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 original 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/duplicate 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/scene change), 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>
-  MEncoder 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>
+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>
+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>
+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>
+<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>
+</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 AC3.
-</para>
-</listitem>
+  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.
+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>
-
+
+<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>
-  I suggest you visit this page if you do not understand much of what
-  is written in this document:
-  <ulink url="http://www.divx.com/support/guides/guide.php?gid=10">http://www.divx.com/support/guides/guide.php?gid=10</ulink>
-  This URL links to an understandable and reasonably comprehensive
-  description of what telecine is.
+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.
+Many documents, including the article 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.
+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 accommodate 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
-4  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.
+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.
+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>
+</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>
+  quality is not within the scope of this section; refer to other
+  sections within the <link linkend="encoding-guide">MEncoder encoding
+  guide</link>.
+</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>
+</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
-  &quot;30000/1001 fps NTSC content.&quot;
-</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
-  &quot;soft-telecine&quot; because it is intended to
-  be telecined by the DVD player.
+
+<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 &quot;blink&quot;: 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
-  &quot;hard-telecine&quot;. 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>
-
+
+<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 &quot;combing&quot;) 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>
+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 &quot;mixed progressive and telecine&quot; 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 &quot;30000/1001 fps NTSC&quot;
-  and &quot;24000/1001 fps progressive NTSC&quot;. Watch the bottom of
-  <application>MPlayer</application>'s output to see these messages.
-</para>
-
-<para>
-  You should check the &quot;30000/1001 fps NTSC&quot; sections to make sure
-  they are actually telecine, and not just interlaced.
+
+<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 &quot;mixed progressive and interlaced&quot; content, progressive
-  and interlaced video have been spliced together.
-</para>
-
-<para>
-  This category looks just like &quot;mixed progressive and telecine&quot;,
-  until you examine the 30000/1001 fps sections and see that they do not have the
-  telecine pattern.
+
+<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>
+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>.
+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>
+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 &quot;guess&quot; what ought to make up the
-  corresponding lines for each field (this has drawbacks - see method
-  3).
+
+<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,
+  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>
+</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> to see
-  what is available (grep for &quot;deint&quot;), and search the
-  <ulink url="http://www.mplayerhq.hu/homepage/design6/info.html#mailing_lists">
+  and disadvantages. Consult <option>mplayer -pphelp</option> and
+  <option>mplayer -vf help</option> to see what is available
+  (grep for "deint"), read Michael Niedermayer's
+  <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
+  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 pp=lb -ovc lavc</screen>
-  </para></listitem>
+  <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
+  might experience crashes. 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
@@ -1961,9 +2145,11 @@
   <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>
+  <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
@@ -1975,23 +2161,25 @@
   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>
+</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>
+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>
@@ -2003,14 +2191,30 @@
   else <application>MEncoder</application> will crash.
   <option>pullup</option> is, however, the cleanest and most
   accurate method available for encoding both telecine and
-  &quot;mixed progressive and telecine&quot;.
-
-  <screen>mencoder dvd://1 -oac copy -vf pullup,softskip -ovc lavc -ofps 24000/1001</screen>
-  </para>
-
-
-  </listitem>
-  <listitem><para>
+  "mixed progressive and telecine".
+  <screen>
+mencoder dvd://1 -oac copy -vf pullup,softskip 
+    -ovc lavc -ofps 24000/1001<!--
+  --></screen>
+</para></listitem>
+<listitem><para>
+  <option>-vf filmdint</option> is similar to
+  <option>-vf pullup</option>: both filters attempt to match a pair of
+  fields to form a complete frame. <option>filmdint</option> will
+  deinterlace individual fields that it cannot match, however, whereas
+  <option>pullup</option> will simply drop them. Also, the two filters
+  have separate detection code, and <option>filmdint</option> may tend to match fields a
+  bit less often. Which filter works better may depend on the input
+  video and personal taste; feel free to experiment with fine-tuning
+  the filters' options if you encounter problems with either one (see
+  the man page for details). For most well-mastered input video,
+  however, both filters work quite well, so either one is a safe choice
+  to start with.
+  <screen>
+mencoder dvd://1 -oac copy -vf filmdint -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
@@ -2019,35 +2223,27 @@
   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 &amp; 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>
+  <screen>
+mencoder dvd://1 -oac copy -vf softpulldown,ivtc=1 -ovc lavc -ofps 24000/1001
+  </screen>
+</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>
+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>
+<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
@@ -2061,7 +2257,7 @@
   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
-  &quot;jump back in time&quot; effect that looks quite bad. If you
+  "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>.
@@ -2084,27 +2280,29 @@
   only half progressive, you probably want to encode it as if it is all
   interlaced.
   </para>
-  </listitem>
+</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>
-
+</para></listitem>
 </itemizedlist>
 </sect3>
-
 </sect2>
 
+<!-- ********** -->
+
 <sect2 id="menc-feat-telecine-footnotes">
 <title>Footnotes</title>
+
 <orderedlist>
-<listitem><formalpara>
+<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 (&quot;brightness&quot;) and chroma (&quot;color&quot;)
+  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
@@ -2144,7 +2342,7 @@
   vertically by multiples of four unless you use <option>-vf
   field</option> before cropping.
   </para>
-  </listitem>
+</listitem>
 
 <listitem><formalpara>
   <title>About encoding parameters and quality:</title>
@@ -2160,8 +2358,7 @@
   encoding quality (and decrease encoding speed) but that is beyond
   the scope of this document.
   </para>
-  </formalpara>
-  </listitem>
+</formalpara></listitem>
 
 <listitem><formalpara>
   <title>About the performance of pullup:</title>
@@ -2169,125 +2366,191 @@
   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,
+  The performance 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>
-
+</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>
+<systemitem class="library">libavcodec</systemitem>
 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>
+<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>
+  <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>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 5, 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>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>dvvideo</entry><entry>
-  Sony Digital Video
-  </entry></row>
-<row><entry>snow</entry><entry>
-  FFmpeg's experimental wavelet-based codec
-  </entry></row>
+<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>zmbv</entry>
+  <entry>Zip Motion Blocks Video</entry>
+</row>
+<row>
+  <entry>dnxhd</entry>
+  <entry>AVID DNxHD</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>
+<literal>vcodec</literal> config,
+like: <option>-lavcopts vcodec=msmpeg4</option>
+</para>
+
+<informalexample><para>
 An example with MJPEG compression:
-<screen>mencoder dvd://2 -o title2.avi -ovc lavc -lavcopts vcodec=mjpeg -oac copy</screen>
-</para>
-</informalexample>
+<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>
+<title><systemitem class="library">libavcodec</systemitem>'s
+  audio codecs</title>
+
 <para>
 <informaltable frame="all">
 <tgroup cols="2">
@@ -2295,22 +2558,78 @@
 <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>AC3, 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 lossy/lossless codec</entry>
-  </row>
+<row>
+  <entry>ac3</entry>
+  <entry>Dolby Digital (AC-3)</entry>
+</row>
+<row>
+  <entry>adpcm_*</entry>
+  <entry>Adaptive PCM formats - see supplementary table</entry>
+</row>
+<row>
+  <entry>flac</entry>
+  <entry>Free Lossless Audio Codec (FLAC)</entry>
+</row>
+<row>
+  <entry>g726</entry>
+  <entry>G.726 ADPCM</entry>
+</row>
+<row>
+  <entry>libamr_nb</entry>
+  <entry>3GPP Adaptive Multi-Rate (AMR) narrow-band</entry>
+</row>
+<row>
+  <entry>libamr_wb</entry>
+  <entry>3GPP Adaptive Multi-Rate (AMR) wide-band</entry>
+</row>
+<row>
+  <entry>libfaac</entry>
+  <entry>Advanced Audio Coding (AAC) - using FAAC</entry>
+</row>
+<row>
+  <entry>libgsm</entry>
+  <entry>ETSI GSM 06.10 full rate</entry>
+</row>
+<row>
+  <entry>libgsm_ms</entry>
+  <entry>Microsoft GSM</entry>
+</row>
+<row>
+  <entry>libmp3lame</entry>
+  <entry>MPEG-1 audio layer 3 (MP3) - using LAME</entry>
+</row>
+<row>
+  <entry>mp2</entry>
+  <entry>MPEG-1 audio layer 2 (MP2)</entry>
+</row>
+<row>
+  <entry>pcm_*</entry>
+  <entry>PCM formats - see supplementary table</entry>
+</row>
+<row>
+  <entry>roq_dpcm</entry>
+  <entry>Id Software RoQ DPCM</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>Vorbis</entry>
+</row>
+<row>
+  <entry>wmav1</entry>
+  <entry>Windows Media Audio v1</entry>
+</row>
+<row>
+  <entry>wmav2</entry>
+  <entry>Windows Media Audio v2</entry>
+</row>
 </tbody>
 </tgroup>
 </informaltable>
@@ -2319,43 +2638,204 @@
 <literal>acodec</literal> option, like: <option>-lavcopts acodec=ac3</option>
 </para>
 
-<informalexample>
-<para>
-An example with AC3 compression:
-<screen>mencoder dvd://2 -o title2.avi -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>
+<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>
+
+<sect3 id="menc-feat-enc-libavcodec-audio-codecs-pcmadpcm">
+<title>PCM/ADPCM format supplementary table</title>
+
+<para>
+<informaltable frame="all">
+<tgroup cols="2">
+<thead>
+<row><entry>PCM/ADPCM codec name</entry><entry>Description</entry></row>
+</thead>
+<tbody>
+<row>
+  <entry>pcm_s32le</entry>
+  <entry>signed 32-bit little-endian</entry>
+</row>
+<row>
+  <entry>pcm_s32be</entry>
+  <entry>signed 32-bit big-endian</entry>
+</row>
+<row>
+  <entry>pcm_u32le</entry>
+  <entry>unsigned 32-bit little-endian</entry>
+</row>
+<row>
+  <entry>pcm_u32be</entry>
+  <entry>unsigned 32-bit big-endian</entry>
+</row>
+<row>
+  <entry>pcm_s24le</entry>
+  <entry>signed 24-bit little-endian</entry>
+</row>
+<row>
+  <entry>pcm_s24be</entry>
+  <entry>signed 24-bit big-endian</entry>
+</row>
+<row>
+  <entry>pcm_u24le</entry>
+  <entry>unsigned 24-bit little-endian</entry>
+</row>
+<row>
+  <entry>pcm_u24be</entry>
+  <entry>unsigned 24-bit big-endian</entry>
+</row>
+<row>
+  <entry>pcm_s16le</entry>
+  <entry>signed 16-bit little-endian</entry>
+</row>
+<row>
+  <entry>pcm_s16be</entry>
+  <entry>signed 16-bit big-endian</entry>
+</row>
+<row>
+  <entry>pcm_u16le</entry>
+  <entry>unsigned 16-bit little-endian</entry>
+</row>
+<row>
+  <entry>pcm_u16be</entry>
+  <entry>unsigned 16-bit big-endian</entry>
+</row>
+<row>
+  <entry>pcm_s8</entry>
+  <entry>signed 8-bit</entry>
+</row>
+<row>
+  <entry>pcm_u8</entry>
+  <entry>unsigned 8-bit</entry>
+</row>
+<row>
+  <entry>pcm_alaw</entry>
+  <entry>G.711 A-LAW </entry>
+</row>
+<row>
+  <entry>pcm_mulaw</entry>
+  <entry>G.711 &mu;-LAW</entry>
+</row>
+<row>
+  <entry>pcm_s24daud</entry>
+  <entry>signed 24-bit D-Cinema Audio format</entry>
+</row>
+<row>
+  <entry>pcm_zork</entry>
+  <entry>Activision Zork Nemesis</entry>
+</row>
+<row>
+  <entry>adpcm_ima_qt</entry>
+  <entry>Apple QuickTime</entry>
+</row>
+<row>
+  <entry>adpcm_ima_wav</entry>
+  <entry>Microsoft/IBM WAVE</entry>
+</row>
+<row>
+  <entry>adpcm_ima_dk3</entry>
+  <entry>Duck DK3</entry>
+</row>
+<row>
+  <entry>adpcm_ima_dk4</entry>
+  <entry>Duck DK4</entry>
+</row>
+<row>
+  <entry>adpcm_ima_ws</entry>
+  <entry>Westwood Studios</entry>
+</row>
+<row>
+  <entry>adpcm_ima_smjpeg</entry>
+  <entry>SDL Motion JPEG</entry>
+</row>
+<row>
+  <entry>adpcm_ms</entry>
+  <entry>Microsoft</entry>
+</row>
+<row>
+  <entry>adpcm_4xm</entry>
+  <entry>4X Technologies</entry>
+</row>
+<row>
+  <entry>adpcm_xa</entry>
+  <entry>Phillips Yellow Book CD-ROM eXtended Architecture</entry>
+</row>
+<row>
+  <entry>adpcm_ea</entry>
+  <entry>Electronic Arts</entry>
+</row>
+<row>
+  <entry>adpcm_ct</entry>
+  <entry>Creative 16->4-bit</entry>
+</row>
+<row>
+  <entry>adpcm_swf</entry>
+  <entry>Adobe Shockwave Flash</entry>
+</row>
+<row>
+  <entry>adpcm_yamaha</entry>
+  <entry>Yamaha</entry>
+</row>
+<row>
+  <entry>adpcm_sbpro_4</entry>
+  <entry>Creative VOC SoundBlaster Pro 8->4-bit</entry>
+</row>
+<row>
+  <entry>adpcm_sbpro_3</entry>
+  <entry>Creative VOC SoundBlaster Pro 8->2.6-bit</entry>
+</row>
+<row>
+  <entry>adpcm_sbpro_2</entry>
+  <entry>Creative VOC SoundBlaster Pro 8->2-bit</entry>
+</row>
+<row>
+  <entry>adpcm_thp</entry>
+  <entry>Nintendo GameCube FMV THP</entry>
+</row>
+<row>
+  <entry>adpcm_adx</entry>
+  <entry>Sega/CRI ADX</entry>
+</row>
+</tbody>
+</tgroup>
+</informaltable>
+</para>
+</sect3>
+
 </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>
-
+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>
@@ -2368,48 +2848,41 @@
   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.
+  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.
+  <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.
@@ -2417,7 +2890,6 @@
   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.
@@ -2426,7 +2898,6 @@
   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.
@@ -2435,7 +2906,6 @@
   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.
@@ -2444,27 +2914,24 @@
   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;
+  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.
+  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>
@@ -2472,7 +2939,6 @@
 <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.
@@ -2480,7 +2946,6 @@
   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.
@@ -2488,36 +2953,43 @@
 </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.
+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>
+<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:vme=5:naq:qns=2</option></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>
@@ -2545,11 +3017,14 @@
 </para>
 </sect2>
 
-<sect2 id="custommatrices"><title>Custom inter/intra matrices</title>
+<!-- ********** -->
+
+<sect2 id="custommatrices">
+<title>Custom inter/intra matrices</title>
 
 <para>
 With this feature of
-<link linkend="ffmpeg"><systemitem class="library">libavcodec</systemitem></link>
+<systemitem class="library">libavcodec</systemitem>
 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>
@@ -2562,7 +3037,7 @@
 </para>
 
 <para>
-The <emphasis role="bold">KVCD &quot;Notch&quot; Quantization Matrix:</emphasis>
+The <emphasis role="bold">KVCD "Notch" Quantization Matrix:</emphasis>
 </para>
 
 <para>
@@ -2594,202 +3069,205 @@
 <para>
 Usage:
 <screen>
-$ mencoder <replaceable>input.avi</replaceable> -o <replaceable>output.avi</replaceable> -oac copy -ovc lavc -lavcopts inter_matrix=...:intra_matrix=...
+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,
+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>
-  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), 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 -vf crop=720:352:0:62,hqdn3d=2:1:2 -ovc lavc \
--lavcopts vcodec=mpeg4:vbitrate=2400:v4mv:mbd=2:trell:cmp=3:subcmp=3:mbcmp=3:autoaspect:vpass=1 \
--o Harry_Potter_2.avi</screen>
-
-  And pass two is the same, except that we specify <option>vpass=2</option>:
-
-  <screen>mencoder dvd://1 -ofps 24000/1001 -oac copy -vf crop=720:352:0:62,hqdn3d=2:1:2 -ovc lavc \
--lavcopts vcodec=mpeg4:vbitrate=2400:v4mv:mbd=2:trell:cmp=3:subcmp=3:mbcmp=3:autoaspect:vpass=2 \
--o Harry_Potter_2.avi</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:mbcmp=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 Harry_Potter_2.avi -vf spp,noise=9ah:5ah,eq2=1.2 -autoq 3</screen>
-
+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 artifacts, 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>
-
+<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.
+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>
+<title>Encoding options of <systemitem class="library">Xvid</systemitem></title>
 
 <itemizedlist>
 <listitem><para>
- <emphasis role="bold">vhq</emphasis>
+  <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
@@ -2800,16 +3278,14 @@
   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>
+  <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>
+  <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
@@ -2819,9 +3295,8 @@
   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>
+  <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>;
@@ -2840,9 +3315,8 @@
   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>
+  <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,
@@ -2852,116 +3326,116 @@
   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
+  reduces file size 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>
+<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>
+  </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>
-
+  </para>
+</listitem>
 <listitem><para>
- <emphasis role="bold">chroma_me</emphasis>
+  <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
+  quite a bit by reducing blocking effects and reduces file size 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.
+  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).
+  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>
+<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>
-
+  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.
+  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>
+
+<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"/>
@@ -2984,267 +3458,268 @@
 <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>
+<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>Quarterpixel</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>
-
-<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>
@@ -3278,91 +3753,104 @@
 </tbody>
 </tgroup>
 </informaltable>
-</para>
 </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>
+<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">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>
+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>
+
+<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>
+<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>
-
+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>
+<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
@@ -3381,9 +3869,10 @@
   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 the slowest, highest quality mode.
+  </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
@@ -3394,18 +3883,25 @@
   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></listitem>
-<listitem><para>
+  </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.
+  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.
+  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=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.
@@ -3414,8 +3910,7 @@
   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).
+  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%.
@@ -3424,9 +3919,9 @@
   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>
+  </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>
@@ -3435,9 +3930,8 @@
   <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>
+  </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.
@@ -3445,7 +3939,7 @@
   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.
+  occasionally affect frame type 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
@@ -3457,41 +3951,41 @@
   <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>
+  </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=1</option> is only a few percent faster than
+  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=2</option>) is a reasonable tradeoff
-  between speed and quality. <option>me=3</option> gains a little under
+  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=3</option>
-  is about 40% slower than the default <option> me=2</option>. With
+  <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=4</option> uses an exhaustive search that is too slow for
+  </para>
+  <para>
+  <option>me=esa</option> uses an exhaustive search that is too slow for
   practical use.
-</para>
+  </para>
 </listitem>
-
 <listitem><para>
-  <emphasis role="bold">4x4mv</emphasis>:
+  <emphasis role="bold">partitions=all</emphasis>:
   This option enables the use of 8x4, 4x8 and 4x4 subpartitions in
-  predicted macroblocks. Enabling it results in a fairly consistent
+  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>
+</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.
@@ -3502,8 +3996,8 @@
   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>
+  </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
@@ -3513,13 +4007,14 @@
   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>
+  </para>
+</listitem>
+<listitem>
+  <para>
   <emphasis role="bold">b_adapt</emphasis>:
   Note: This is on by default.
-</para>
-<para>
+  </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.
@@ -3528,12 +4023,12 @@
   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
+  Note that this only affects speed and frame type decision on the
   first pass.
   <option>b_adapt</option> and <option>b_bias</option> have no
   effect on subsequent passes.
-</para></listitem>
-
+  </para>
+</listitem>
 <listitem><para>
   <emphasis role="bold">b_pyramid</emphasis>:
   You might as well enable this option if you are using >=2 B-frames;
@@ -3542,8 +4037,8 @@
   Note that these videos cannot be read by libavcodec-based decoders
   older than about March 5, 2005.
 </para></listitem>
-
-<listitem><para>
+<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
@@ -3556,22 +4051,40 @@
   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>
+  </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>
+  </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>
+<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
@@ -3579,8 +4092,8 @@
   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>
+  </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,
@@ -3589,7 +4102,7 @@
   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
+  that this is enough to accommodate 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
@@ -3604,8 +4117,8 @@
   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>
+  </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
@@ -3614,8 +4127,8 @@
   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>
+  </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.
@@ -3625,18 +4138,18 @@
   <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=15:4x4mv:me=3</option>
-</para></listitem>
+  <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
+  frame sizes 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
@@ -3645,7 +4158,6 @@
   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>:
@@ -3677,11 +4189,12 @@
   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">deblockalpha, deblockbeta</emphasis>:
+<listitem>
+  <para>
+  <emphasis role="bold">deblock</emphasis>:
   This topic is going to be a bit controversial.
-</para>
-<para>
+  </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.
@@ -3690,18 +4203,17 @@
   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>deblockalpha</option> and <option>deblockbeta</option>
-  parameters allow you to specify offsets to the preset deblocking
-  thresholds.
-</para>
-<para>
+  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>
+  </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.
@@ -3711,8 +4223,8 @@
   guaranteed to hurt PSNR.
   Strengthening the filter will smear more details; weakening the
   filter will increase the appearance of blockiness.
-</para>
-<para>
+  </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).
@@ -3729,59 +4241,65 @@
   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>
+  </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.
+  artifacts.
   It will almost certainly look better than the results you
   would have gotten just by fiddling with the deblocking filter.
-</para></listitem>
+  </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>
-
-<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>
+<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=6:4x4mv:8x8dct:me=3:frameref=5:bframes=3:b_pyramid:weight_b</option></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=5:4x4mv:8x8dct:frameref=2:bframes=3:b_pyramid:weight_b</option></entry>
+  <entry><option>subq=5:8x8dct:frameref=2:bframes=3:b_pyramid:weight_b</option></entry>
   <entry>13fps</entry>
   <entry>-0.89dB</entry>
 </row>
@@ -3794,35 +4312,579 @@
 </tbody>
 </tgroup>
 </informaltable>
-</para>
+</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 (MJPEG)</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><option>-ffourcc VP70</option></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
+</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 &hellip;).
+</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 &hellip;).
+</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=2 -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=2 -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 file names 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 MEncoder to create VCD/SVCD/DVD-compliant files.</title>
+<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>
+
+<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>
@@ -3830,282 +4892,296 @@
 <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>
+<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>AC3,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>AC3,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,AC3,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,AC3,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>
+<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.
+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>
+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>
+VCD video is required to be CBR at 1152 kbps.
+This highly limiting constraint also comes along with an extremely 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:
-  <screen>
-  -of mpeg -mpegopts format=dvd
-  </screen>
-</para>
-
-<para>
-  DVD with NTSC Pullup:
-  <screen>
-  -of mpeg -mpegopts format=dvd:telecine -ofps 24000/1001
-  </screen>
-  This allows 24000/1001 fps progressive content to be encoded at 30000/1001 
-  fps whilst maintaing DVD-compliance.
-</para>
+
+<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 maintaining 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>
-
+
+<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>
+
+<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>
+<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>
+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>
@@ -4118,14 +5194,12 @@
   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;
@@ -4133,7 +5207,6 @@
   <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.
@@ -4143,24 +5216,20 @@
   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;
@@ -4175,244 +5244,269 @@
   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:acodec=ac3
-  </screen>
-</para>
-
+
+<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
-  </screen>
-</para>
-
+
+<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
-  AC3 codec is used.
-</para>
+
+<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>
+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>
+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>
+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>
+
+<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 -vf scale=720:576,\
-  harddup -srate 48000 -af lavcresample=48000 -lavcopts vcodec=mpeg2video:\
-  vrc_buf_size=1835:vrc_maxrate=9800:vbitrate=5000:keyint=15:acodec=ac3:\
-  abitrate=192:aspect=16/9 -ofps 25 \
+
+<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>
+</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 -vf scale=720:480,\
-  harddup -srate 48000 -af lavcresample=48000 -lavcopts vcodec=mpeg2video:\
-  vrc_buf_size=1835:vrc_maxrate=9800:vbitrate=5000:keyint=18:acodec=ac3:\
-  abitrate=192:aspect=16/9 -ofps 30000/1001 \
+
+<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>
+</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-pal-ac3-copy">
-<title>PAL AVI Containing AC3 Audio to DVD</title>
-<para>
-  If the source already has AC3 audio, use -oac copy instead of re-encoding it.
-  <screen>
-  mencoder -oac copy -ovc lavc -of mpeg -mpegopts format=dvd -vf scale=720:576,\
-  harddup -lavcopts vcodec=mpeg2video:vrc_buf_size=1835:vrc_maxrate=9800:\
-  vbitrate=5000:keyint=15:aspect=16/9 -ofps 25 \
+
+<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: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-ac3-copy">
-<title>NTSC AVI Containing AC3 Audio to DVD</title>
-<para>
-  If the source already has AC3 audio, and is NTSC @ 24000/1001 fps:
-  <screen>
-  mencoder -oac copy -ovc lavc -of mpeg -mpegopts format=dvd:telecine \
-  -vf scale=720:480,harddup -lavcopts vcodec=mpeg2video:vrc_buf_size=1835:\
-  vrc_maxrate=9800:vbitrate=5000:keyint=15: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>
+<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: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-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>
+<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: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-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>
+<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:aspect=16/9 -ofps 30000/1001 \
+    -o <replaceable>movie.mpg</replaceable> <replaceable>movie.avi</replaceable>
+</screen>
 </para>
 </sect3>
-
 </sect2>
-
 </sect1>
-
 </chapter>