Ccesp 3

Cinema Craft Encoder SP3 Users Guide
Version 1.04
Custom Technology Corporation 2-12-4 Hirakawa-cho, Chiyoda-ku, Tokyo 102-0093 Japan
e-mail: support@cinemacraft.com web site: http://www.cinemacraft.com/ web site: http://www.ctech.co.jp/
Cinema Craft Encoder SP3 Users Guide Version 1.04 Edition 2010 March
First edition
All rights reserved. No part of this publication may be reproduced, electronically or mechanically, in any form or by any means, including copying, recording or by any information storage and retrieval system, without permission in writing from Custom Technology Corporation. Information contained in this publication is believed to be accurate and reliable. However, Custom Technology Corporation shall not be responsible for any infringement of patent rights or other rights of a third party arising out of use of this information. Cinema Craft is a registered trademark of Custom Technology Corporation. Microsoft, Windows and Windows Vista are registered trademarks of Microsoft Corporation. Intel and Pentium are registered trademarks of Intel Corporation. QuickTime is a trademark of Apple Computer, Inc. HASP is a registered trademark of Aladdin Knowledge Systems Ltd. Company names and product names contained in this publication are trademarks or registered trademarks of respective companies. The symbols TM and R are not indicated in this publication. The specications on this software and information contained in this manual may be changed without prior notice.
Contents
1 Features 1.1 Features of Cinema Craft Encoder SP3 . . . . . . . . 2 Getting started 2.1 Encoding movie les . . . . . . . . 2.2 Canceling encoding . . . . . . . . . 2.3 Saving and loading encoder control 2.4 Command line options . . . . . . . 3 Encoding mode 4 Main Window 4.1 Adding and removing an entry . 4.2 Adding and removing source les 4.2.1 Source le properties . . . 4.2.2 Viewing source movies . . 4.3 Adding and removing markers . . 4.4 Setting encoding parameters . . . 4.4.1 Specifying output les . . 4.4.2 Setting audio parameters 4.4.3 Setting video parameters 4.4.4 Resize settings . . . . . . 4.4.5 MPEG settings . . . . . . 4 4 11 11 12 14 14 16 21 22 23 24 24 26 27 27 28 30 34 35
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CONTENTS 4.5 Saving and loading the setting . . . . . . . . . . . .
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5 Segment window 5.1 Segment . . . . . . . . . . . . . . . . . . . . 5.2 Adding, modifying, and removing an entry . 5.3 Details of setting items . . . . . . . . . . . . 5.4 Saving and loading Segment setting . . . . 6 Picture window 6.1 Adding, modifying, and removing an entry . 6.2 Details of setting items . . . . . . . . . . . . 6.2.1 Filter setting . . . . . . . . . . . . . 6.2.2 Quantizer characteristics . . . . . . . 6.2.3 Dithered quantization . . . . . . . . 6.2.4 Pixel value range . . . . . . . . . . . 6.2.5 Block scan order . . . . . . . . . . . 6.2.6 Motion estimation . . . . . . . . . . 6.2.7 Picture type . . . . . . . . . . . . . . 6.3 Saving and loading Picture setting . . . . .
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7 Eect window 55 7.1 Adding, modifying, and removing an entry . . . . . . 55 7.2 Details of setting items . . . . . . . . . . . . . . . . . 55 7.3 Saving and loading Eect setting . . . . . . . . . . . 57 8 Inverse 3:2 Pulldown window 8.1 What is Inverse 3:2 pulldown? . . . . . . 8.2 Overview of Inverse 3:2 pulldown setting 8.3 Pulldown list . . . . . . . . . . . . . . . 8.4 Editing pulldown list . . . . . . . . . . . 8.5 Operation buttons for the list . . . . . . 8.6 Phase change point . . . . . . . . . . . . 8.6.1 Specifying the current point . . . 8.6.2 Specifying the state of the eld . 58 58 59 60 60 61 62 62 63
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CONTENTS 8.6.3 Adding and deleting an entry . . . . . . . . . Search . . . . . . . . . . . . . . . . . . . . . . . . . . Detection . . . . . . . . . . . . . . . . . . . . . . . . 8.8.1 i32 le (Pulldown information le) . . . . . . 8.8.2 Progressive pairing . . . . . . . . . . . . . . . 8.8.3 Repeat eld dierence . . . . . . . . . . . . . 8.8.4 Applying threshold setting (Executing Tier-2 ACD) . . . . . . . . . . . . . . . . . . . . . . 8.8.5 Minimize progressive/interlaced switching . . 8.8.6 Progressive Interlaced . . . . . . . . . . . . 8.8.7 File dump of Inverse 3:2 pulldown information 8.9 Calculators . . . . . . . . . . . . . . . . . . . . . . . 8.9.1 Operation buttons for the calculator . . . . . 8.10 Saving and loading the pulldown list . . . . . . . . . 8.10.1 Saving the pulldown list . . . . . . . . . . . . 8.10.2 Loading the pulldown list . . . . . . . . . . . 8.11 Inverse 3:2 pulldown and Segment setting . . . . . . 8.12 Glossary for Inverse 3:2 Pulldown . . . . . . . . . . .
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63 63 63 64 64 64 65 65 65 66 66 66 67 67 67 68 68 70 71 71 71 73 74 74 74 74 74 75 75 75 78
9 VBR Bit allocation window 9.1 Bitrate / Quantize scale graph . . . . . . . . . . . 9.1.1 Switching of graphs . . . . . . . . . . . . . 9.1.2 How to read graphs . . . . . . . . . . . . . 9.2 Scrolling horizontally . . . . . . . . . . . . . . . . . 9.3 Setting a marker on frequently referred timecode . 9.3.1 Setting a marker . . . . . . . . . . . . . . . 9.3.2 Deleting a marker . . . . . . . . . . . . . . 9.3.3 Moving to a timecode pointed by a marker 9.4 Current information . . . . . . . . . . . . . . . . . 9.5 Bitrate setting . . . . . . . . . . . . . . . . . . . . 9.5.1 Global bitrate settings . . . . . . . . . . . . 9.5.2 Local bitrate settings . . . . . . . . . . . . 9.5.3 Updating the graph . . . . . . . . . . . . .
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CONTENTS
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10 Optional settings 79 10.1 Input . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 10.2 Setting extensions . . . . . . . . . . . . . . . . . . . 80 10.3 Shutdown . . . . . . . . . . . . . . . . . . . . . . . . 80 11 Watch folder 81 11.1 Watch folder setting . . . . . . . . . . . . . . . . . . 81 11.2 Starting and stopping watch folder . . . . . . . . . . 82 12 View settings 13 Troubleshooting 83 85
CONTENTS
MPEG LA Statement: Use of this product for encoding video information for the purpose of producing prerecorded video programs products for commercial sale or rental including by way of examples and without limitation, digital video disk and digital video tapes, or for the purpose of storing encoded video programs for distribution by a video server is expressly prohibited without a license under applicable patents marked on this product, or on the container, user documentation or specication sheet for this product.
Introduction
Cinema Craft Encoder SP3 is a program for converting movie les to an MPEG-2 (or MPEG-1) les at high-speed with high picture quality. This manual explains the functions and manner of use of Cinema Craft Encoder SP3. For details on the basic operation and the terminology of the operating system and on the detailed technology of MPEG, refer to the respective manuals and guides.
Operation environment
The following hardware and software are required to use Cinema Craft Encoder SP3. A computer with Intel Pentium 4 or higher processor 2GB of RAM Microsoft Windows 7 or Microsoft Windows Vista Microsoft .NET Framework 3.5 QuickTime 7 for encoding QuickTime les
CONTENTS
Specications
Compression method
System ISO/IEC 13818-1 | ITU-T Rec. H.222.0 (Program Stream only) ISO/IEC 11172-1 ISO/IEC 13818-2 | ITU-T Rec. H.262 (MP@ML) ISO/IEC 11172-2 ISO/IEC 11172-3 (Layer 2)
Video Audio
Output video format

Encoding method Constant Bitrate (CBR) (One pass) Constant Bitrate (CBR) (Multipass) Variable Bitrate (VBR) (One pass) Variable Bitrate (VBR) (Multipass) maximum 15 Mbits/sec 23.976/24/25/29.97/30 (frames/sec) SAR 1:1, DAR 4:3, DAR 16:9 or DAR 2.21:1 I, P frame interval (M) : 1 3 I frame interval (N) : max. 15 (a multiple of M)
Bitrate Frame rate Aspect ratio GOP conguration
Output audio format

Bitrate
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Sampling frequency Quantization bits Mode
64/96/112/128/160/192/224/ 256/320/384 (kbits/sec) 32/44.1/48 (kHz) 16 bits Stereo, Joint Stereo, Dual channel and Monaural
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the case of one channel, the bitrate is half of each.
CONTENTS
Input le format
Video AVI les AVI 1.0 (including reference le) AVI 2.0 OpenDML frameserver (Avisynth, VirtualDub) mov les DV (dif) les Bitmap les Targa les Ti les PNG les JPEG les
QuickTime les Still-image (sequence)
Audio Wave les AIFF les uncompressed ones only uncompressed ones only
Chapter 1
Features
1.1 Features of Cinema Craft Encoder SP3
Cinema Craft Encoder SP3 is a highest performance MPEG-2 encoder designed and optimized mainly for DVD. Cinema Craft Encoder SP3 is a software-based encoder, and highly utilizes processors for the fastest encoding. It also implements highly intelligent and complicated algorithms to achieve the highest quality, which gives a great advantage over hardware encoders. See the following features for more detail. Some of them are totally innovative and unique technologies of Cinema Craft Encoder SP3. Sophisticated Motion Estimation Automatic Field-based Scene Change Detection AAGS: Advanced Adaptive GOP Structure AAQM: Advanced Adaptive Quantize Matrix VMPE: Virtual Multipass Encoding Multipass encoding Easy and exible Inverse 3:2 Pulldown with i32 le
CHAPTER 1. FEATURES
Sophisticated Motion Estimation

Cinema Craft Encoder SP3 works on its proprietary and heuristic motion estimation algorithms. It works while scanning several images simultaneously two or more times1 and correcting inaccurate motion vectors. The occurrence of inaccurate motion vectors at a long distance between the points often brings a considerable negative eect on output quality. Generally, telescopic search technology2 is very popular and conventional for video encoders when estimating motions more than 2 frames ahead. However, the method will be at disadvantage against footage including a sudden luminance change or complicated motions. It may cause quality problems by estimation errors. In the motion estimation algorithm of Cinema Craft Encoder SP3, the motions of adjacent frames through the entire source video are scanned rst, then motion estimation apart from 2 frames or more follows the scanning. Thus, Cinema Craft Encoder SP3 achieves much ner motion detection even against such dicult footage.
Automatic Field-based Scene Change Detection

Scene change detection is very important for an encoder to achieve excellent picture quality. Because the information of scene change points will enable the encoder to form ecient GOP structure, or control well-balanced distortion, and so on. During the encoding process, Cinema Craft Encoder SP3 scans ahead of a current frame so that approaching video data can be captured. The pre-scanned data is then rapidly analyzed to identify the rst frame of an approaching scene. Cinema Craft Encoder SP3 then automatically sets the rst frame as an I-frame of the Closed
also VMPE: Virtual Multipass Encoding. search is a search technique which reduces the computation cost. It predicts the motions more than 2 frames ahead from one reference frame and searches a smaller area only around candidate blocks predicted.
2 Telescopic 1 See
CHAPTER 1. FEATURES
GOP. When performing inverse 3:2 pulldown, Cinema Craft Encoder SP3 will carefully detect the scene change points not to break the proper pulldown cadence.
AAGS: Advanced Adaptive GOP Structure

Quality of the image will be also aected by GOP structure. For example, the use of B frames will contribute to the quality against moderate motions. However, against very static images or very fast motions, it can cause a decline in quality. Cinema Craft Encoder SP3 will simulate thousands of possible GOP structures based on the motion detection, then automatically adapt the most eective GOP structure for the video sequence.
AAQM: Advanced Adaptive Quantize Matrix

In MPEG technologies, encoders aim toward the target bitrate by distorting the image using the quantize matrix with a coecient to reduce the information. The dynamic range of the coecient (quantization scale) in MPEG2 is from 1 up to around 100. There are some cases that even the lowest quantization scale cannot raise the bitrate to the requested value. On the other hand, even the highest quantization scale cannot lower the bitrate suciently, then it may cause a bitrate error. To solve these problems, you need to change the quantize matrix. However, setting the quantize matrix is very dicult, and requires professional experiences. Moreover, if your source footage has both plain simple scenes and complicated scenes, it will be a very tough task to set quantize matrix properly for each scene. Cinema Craft Encoder SP3 with AAQM functionality creates variation matrices such as 1/4, 1/2, 1, 2, and 4, and applies an appropriate one automatically. The switching of the quantize matrix can occur at every GOP. A matrix with smaller values will
CHAPTER 1. FEATURES
be applied for easy scenes which have little high frequency component, calm motions, and a higher spatial and temporal correlation between frames. One with larger values will be applied for complicated scenes with a lesser spatial and temporal correlation between frames such as sandstorm. Thus, Cinema Craft Encoder SP3 achieves the highest quality without time-consuming adjustments of the quantize matrix.
VMPE: Virtual Multipass Encoding

It is impossible for encoders to know precisely how much distortion will be needed to achieve a target bitrate. To achieve the target bitrate, other encoders refer the just encoded result to see how it goes between distortion level and the available bitrate, then make some modications. However, they sometimes fail especially at the scene change point between quite dierent types of scenes, then cause a serious problem of quality which has radical changes of distortion in the output stream. Cinema Craft Encoder SP3 performs multiple on memory passes3 (between 2 and 8) during each physical encoding pass4 to ensure precise correlation between distortion level and available bitrate before actual output. This enables Cinema Craft Encoder SP3 to achieve the highest picture stability and the highest picture quality without unexpected uctuation in both bitrate and distortion.
memory encoding pass is an encoding pass which does not transfer any data into internal bus. In other words, Cinema Craft Encoder SP3 core does not output any MPEG les into the storage device, and does not give any MPEG bit streams to decoder board. It enables you to achieve higher quality with a smaller number of time-consuming physical passes. 4 Physical encoding pass is a tangible ordinary encoding pass which outputs MPEG les.
3 On
CHAPTER 1. FEATURES
Multipass encoding
Most of the encoders perform VBR encoding with 2 passes. The rst pass is for analysis and the second pass is for encoding. Cinema Craft Encoder SP3 performs both analysis and encoding simultaneously on every pass. Cinema Craft Encoder SP3 allows up to 9 physical passes for multipass encoding. In every physical pass, VMPE runs between 2 and 8 times. (See VMPE: Virtual Multipass Encoding.) The result of analysis is recorded to the video information le, and the information in the le is referred to calculate GOP structure, Quantize Matrix and bit allocation. In multi-pass encoding, this information will be modied again and again, then more eective GOP structure, Quantize Matrix, bit allocation can be expected to achieve higher picture quality. See Encoding mode section for more detail.
Easy and exible Inverse 3:2 Pulldown with i32 le

Film source has 24 progressive frames per second, and NTSC interlaced video has 60 elds per second. A common method of the conversion from 24 fps lm source into 30 fps NTSC video is called 3:2 Pulldown. In this method, 2 elds are copied and added to ll 10 elds (5 frames) of video against 4 frames of lm. On the other hand, Inverse 3:2 Pulldown detects these redundant copied elds and avoids encoding them, then improves encoding eciency and the image quality with more allocated bits. You can expect more than 25 percent of improvement in image quality. However, it is rarely the case that a consistent cadence is kept through the entire source video, because 3:2 cadence is sometimes changed intentionally in video editing process for some reasons. That makes inverse 3:2 pulldown be a tough task for the encoders to detect precise break points of a cadence, and for the operators to make a correction to the detected result.
CHAPTER 1. FEATURES
Inverse 3:2 Pulldown of Cinema Craft Encoder SP3 has two types of Automatic Cadence Detection (ACD), Tier-1 ACD and Tier-2 ACD. These ACDs will help you succeed in inverse 3:2 pulldown without consuming a large amount of time and eort. Tier-1 ACD (Automatic Cadence Detection) Inverse 3:2 pulldown functionality detects pulldown patterns basically by comparing each interlaced eld to one which is 2 elds away. However, this method is dicult to work correctly against static scenes. The elds at those scene looks like copied ones, and it is dicult to tell whether they are copied ones or not until some motions will appear. Cinema Craft Encoder SP3 works carefully with scanning ahead scores of elds for correct detection. Tier-2 ACD (Automatic Cadence Detection) Cinema Craft Encoder SP3 performs Tier-1 ACD entirely automatically during a physical pass, however, Tier-2 ACD performs more exible detection without a tough task. Tier-2 ACD allows you 2 parameters Progressive pairing and Repeat eld torelance, and you can try various combination of the parameters as many times as you like without VCR playback. It does not need a physical pass unless you nd the best values for the parameters and renew the video information le. Tier-2 ACD refers Pulldown Information File called i32 le instead of VCR playback. (See Detection section in Inverse 3:2 Pulldown window for more detail.) It is mainly used for making a correction to Tier-1 ACD result. However, it does not need direct editing of pulldown list. What you should do is to set the values to Progressive pairing and Repeat eld torelance, and press Rebuild button. Then Cinema Craft Encoder SP3 will modify the pulldown list automatically within a few second. Auto 2-pass detection Furthermore, you can batch-process Tier1 and Tier-2 ACD by Auto 2-pass detection functionality. When you start encoding with 2-pass option, the result of Tier-1 ACD
CHAPTER 1. FEATURES
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will be reviewed using i32 le. Then if any improvement can be expected, Cinema Craft Encoder SP3 will modify the result without VCR playback and add one more physical pass automatically to renew video information le.
Chapter 2
Getting started
2.1 Encoding movie les
To encode movies, follow the procedure below. 1. Start Cinema Craft Encoder SP3. A window shown in Fig. 2.1 appears. 2. Right-click on the left pane of the window, and select New Item... (Fig. 2.2). 3. Enter a name for the item, and select a template. 4. Right-click on the upper right pane, and select Add... (Fig. 2.3). 5. Select a movie le to be encoded. If you add another movie le, they are combined. 6. In the lower right pane of the window, enter output le names and specify parameters, such as MPEG mode, bitrate type, data rates, and so on (Fig. 2.4). 7. From the File menu, select Encode to start encoding (Fig. 2.5). 11
CHAPTER 2. GETTING STARTED 8. Progress window appears and encoding starts (Fig. 2.6).
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Figure 2.1: Main window
Figure 2.2: Left pane
Figure 2.3: Upper right pane
2.2
Canceling encoding
To cancel encoding, click Cancel button in Progress window that is shown while encoding is in progress. Please note that just
CHAPTER 2. GETTING STARTED
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Figure 2.4: Lower right pane
Figure 2.5: File menu Figure 2.6: Progress window
CHAPTER 2. GETTING STARTED
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closing the window does not cancel encoding. When you closed the window and want to show it again, select Window | Progress... in Main window.
2.3
Saving and loading encoder control list
Encoder Control List (ECL) contains source le names, output names and encoder parameters. To save ECL le, select File | Save button in Main window. ECL le is saved as either as... or click XML format (*.xml) or binary format (*.dat). This le can be used as a command line parameter. To create an ECL le from the beginning, select File | New or click button in Main window. button in To open an ECL le, select File | Open or click Main window.
2.4
Command line options
To start Cinema Craft Encoder SP3 from Command Line, enter cce3.exe or cce3.com. You can simply enter cce3 instead, in which case, cce3.com is invoked. (cce3.com outputs the encoding information on the console window.) The following command line options are provided.
CHAPTER 2. GETTING STARTED ecl lename
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source lename
-batch
Species an ecl le. The le extension of an ecl le is either .xml or .dat. You can specify multiple of ecl les. If the extension of specied le is not .xml or .dat, the le is handled as a source le. You can specify multiple of source les. When -batch is specied together with an ecl le or a source le, Cinema Craft Encoder SP3 automatically starts encoding and terminates when encoding is nished.
Chapter 3
Encoding mode
Cinema Craft Encoder SP3 provides the following encoding modes for more exible encoding operations. One-pass CBR One-pass VBR VBR analysis pass Multipass CBR Multipass VBR One-pass CBR Outputs a constant bitrate stream in a single physical pass. You can specify the average bitrate. One-pass VBR Outputs a variable bitrate stream in a single physical pass. You can specify minimum and maximum bitrates, and quantization factor. This mode does not allow you to specify average bitrate, and to calculate the estimation of the output le size.
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CHAPTER 3. ENCODING MODE VBR analysis pass
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This mode allows you to specify minimum, maximum and average bitrates. It is mainly used as an analysis pass for Multipass VBR, scanning the complexity through the entire source video. Output streams are similar with outputs in One-pass CBR mode, however, they have VBR header and a few movements of bitrate. You can use this mode as special CBR mode with setting same bitrate values among minimum, maximum and average. It would bring better result than that of One-pass CBR because of the higher exibility for the encoder. Multipass CBR Outputs a constant bitrate stream in multiple physical passes1 . On the rst pass, One-pass CBR will be carried out to scan complexity of images through the entire source video and record the information to video information le2 . From the second pass, encoding will be carried out with calculating the bit allocation for each frame using the video information gathered during the rst pass. In multipass encoding, video information le will be modied again and again. In CBR mode, the more passes will bring more constant and stable bit allocation for GOPs, and also bit allocation for each picture in a GOP will have been modied to achieve higher quality of image. We recommend more than 3 passes (including the rst pass for video information le).
can set the number of physical encoding passes up to 9. you select Multipass CBR without a video information le, Cinema Craft Encoder SP3 automatically adds One-pass CBR pass to create a video information le, then a total number of physical passes gains one additional pass than the number you specied.
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1 You
CHAPTER 3. ENCODING MODE Multipass VBR
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Outputs a variable bitrate stream in multiple physical passes3 . You can specify minimum, maximum and average bitrates. On the rst pass, VBR analysis pass will be carried out to scan complexity of images through the entire source video and record the information to video information le4 . If you would like to create video information le in advance, you can use One-pass CBR/VBR mode as well as VBR analysis pass. From the second pass, encoding will be carried out with calculating the bit allocation for each frame using the video information gathered during the rst pass. In multipass encoding, video information le will be modied again and again to achieve higher quality of image. We recommend more than 4 passes (including the rst pass for video information le). Create new VAF If this option is selected, video information le is always newly created on multipass VBR/CBR encoding. Otherwise, the le is not newly created unless it does not exist. To create new video information le, one more pass is needed. Use stung bits In VBR encoding, encoded stream sometimes does not reach the requested le size in spite of applying the lowest distortion against the image. In this case, this option will stu the extra bits to achieve the requested bitrate. This option will increase the le size, however, note that it does not mean improvement of picture quality.
can set the number of physical encoding passes up to 9. you select Multipass VBR without video information le, Cinema Craft Encoder SP3 automatically adds VBR Analysis pass to create a video information le, then a total number of encoding passes gains one additional pass than the number you specied.
4 If 3 You
CHAPTER 3. ENCODING MODE *Notice*
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Despite this option, requested bitrate may not be achieved to follow VBV(Video Buer Verier) constraints. Notice on Multipass Encoding Generally, most encoders output an analysis pass separately in a dierent format from an encoding pass. On the other hand, Cinema Craft Encoder SP3 does not distinguish these passes. When encoding, analysis works simultaneously in every encoding pass, and video information le will be modied again and again. When you carry out One-pass CBR/VBR or VBR analysis pass mode, Cinema Craft Encoder SP3 always creates a new video information le whether or not there is an already created one. Read carefully the following points about multi-pass encoding. When you carry out Multipass CBR or Multipass VBR, an existing video information le will be referred. Without an existing one, One-pass CBR will be carried out to create a video information le for Multipass CBR. For Multipass VBR, VBR Analysis pass will be carried out rst. Do not reuse a video Information le for any other sources. Parameters recorded in a video information le have a great impact on encoding. If the information is inconsistent with the actual parameter setting, it cannot full its function. It will cause a serious problem and stop encoding. If it barely completed encoding, you will see the terrible quality of output stream. Please make sure that there is no video information le with same le name in the same folder before encoding. If you change bitrate settings remarkably after creating a video information le, it can be dicult to achieve better
CHAPTER 3. ENCODING MODE
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quality in the next encoding pass. In that case, we recommend you to carry out encoding with more than 2 passes. In a video Information le, information are recorded in every picture frames of I,P,B. If you change the settings in the window listed below, the recorded information in the video information le will not function any more. In that case, you need to delete an existing video Information le and create a new one again. Segment window Inverse 3:2 Pulldown window All the mentioned above are quite dierent between Cinema Craft Encoder SP3 and other encoders. Please be careful about those especially if you had operated other encoders.
Chapter 4
Main Window
The rst window shown when Cinema Craft Encoder SP3 is started is called Main Window.
Main Window is separeted into three panes. The rst thing to do is to add an entry to the left pane. Each entry in the left pane corresponds to the encoding parameters for an MPEG le. Therefore at least one entry is needed for encoding. When an entry is added to the left pane, the next thing to do is to add one or more source les to the upper right pane. When adding more than one source le, please make sure that all the
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CHAPTER 4. MAIN WINDOW
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source les have the same le format, codec and resolution. You can specify markers to each source le. Markers are listed in the left side of the lower right pane. The rst marker will be the starting point of encoding and the last the end point. (The frame at the last marker will not be included in the output MPEG le.) Marker setting will be described in the later section. In the lower right pane, specify parameters for encoding. Detailed information for the parameters will be described in the later section.
4.1
Adding and removing an entry
To add an entry for an MPEG le, right click on the left pane and select New Item.... Then on the shown window, enter the name of the entry, select one template and click OK button. By selecting Add Source... instead of New Item..., you can add a new entry and a source le at once. To remove an entry, select one you want to remove, and then press Delete key.
Custom Template You can select custom template when adding a new entry. To specify a custom template, follow the instruction below. 1. In main window, set parameters for output folders, video settings, audio settings and MPEG settings, and then click Save... button to save the settings in XML format.
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2. Right-click on the left pane, then select New Item.... There are eight items for custom template setting. Choose one and click the button on the right. 3. Custom Template window opens. In File text box, specify the le you saved at step 1, and change the name in Name eld when necessary.
4. Click OK to close Custom Template window. 5. Select the item youve just set. To remove custom settings, just erase the name you want to remove.
4.2
Adding and removing source les
To add a source le, select an entry on the left pane, and then right click on the upper right pane and select Add.... Or you can just drag source les on the pane. To remove a source le from the list, select the le you want to delete and press Delete key.
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4.2.1
Source le properties
You can see the properties of listed source les. To see the properties, select one in the source le list, rightclick the item, and then select Properties....
4.2.2
Viewing source movies
To view pictures of a source le, select a source le in the source le list, and then click button or button. button shows still pictures, and button shows motion pictures. Also, when keyboard focus is either on Current Position or Current TC, S key opens or closes still image viewer, and Ctrl+S key opens or closes motion picture viewer. Frame seeking There are several ways to seek frame in source le. Move the slider Move the slider in Main window to change a frame displayed. Enter a frame number or a timecode directly
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In the Current Position eld or Current TC elds located below the slider, enter a frame number or a timecode directly, and then press Enter key or Tab key. Use arrow keys, Page Up, Page Down keys, etc. Click Current Position eld or Current TC elds located below the slider, and then press Up key, Down key, Page Up key, Page Down key, F key or B key. When the keyboard focus is on Current Position text box or frame text box of Current TC elds, the following key combinations are enabled. Key Up arrow key Down arrow key F key B key Ctrl+F key Ctrl+B key Ctrl+Shift+F key Ctrl+Shift+B key Shift+F key Shift+B key Page Up key Page Down key Ctrl+Page Up key Ctrl+Page Down key Ctrl+Shift+Page Up key Ctrl+Shift+Page Down key Shift+Page Up key Shift+Page Down key Use the toolbar buttons Click the toolbar buttons to play, stop and move frames. Action moves 1 frame forward moves 1 frame backward moves 1 frame forward moves 1 frame backward moves 10 frames forward moves 10 frames backward moves 100 frames forward moves 100 frames backward moves 1000 frames forward moves 1000 frames backward moves 10 frames forward moves 10 frames backward moves 100 frames forward moves 100 frames backward moves 1000 frames forward moves 1000 frames backward moves 10000 frames forward moves 10000 frames backward
CHAPTER 4. MAIN WINDOW Button Action Moves to the rst frame. Fast plays backward. Plays backward. Moves to the previous frame. Stops playing. Moves to the next frame. Plays forward. Fast plays forward. Moves to the last frame.
26
4.3
Adding and removing markers
To add a marker, select a source on the upper right pane, then move to a frame at which you want to mark, and then click M key. To remove a marker, select one and press Delete key. At least two markers are needed, one for in point, and the other for out point. If the I check box on a marker entry is selected, that frame will be encoded as an I frame. You can also save and load the marker list to/from the le. When two or more source les are specied in one entry, two marker lists (up and down) are shown. The upper one displays markers for selected source le, and the lower one displays all markers. Each marker list has a dierent timecode oset. The timecode oset for source le marker list is specied at Properties... for the source le. And the timecode oset for total marker list is specied at main window. When an item in a marker list is double-clicked, a window is open on which you can specify segment, picture and eect settings. To do so, select a check box of the item you want to specify, and then select an item from the box below. The selected item here is
27
valid until another item is selected in a later marker. For example, if Animation 3: Normal is selected as a picture setting at the rst marker and no setting is specied at other markers, Animation 3: Normal is applied for all frames.
For the details of segment, picture and eect settings, see Chapter 5 Segment window, Chapter 6 Picture window and Chapter 7 Eect window, respectively.
4.4
Setting encoding parameters
The pane for encoding parameters setting is divided into several parts. Each part is descriped separetedly.
4.4.1
Specifying output les
Specify output les. There are several output les as follows. Video File Specify output MPEG Video le. Intermediate File Specify intermediate le, which is optionally used for multipass encoding. When it is specied, Cinema Craft Encoder SP3 creates it on the rst pass of encoding, and then use it on the second pass or later. Using this le, encoding time will be reduced when the source le is HD. But please note that extra disk space for the intermediate le is required.
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Video Info File Specify video information le, which is used when multipass encoding is performed. If you do not use Cinema Craft Encoder SP3s multipass encoding feature, this le is not necessary. Pulldown Info File Specify pulldown information le that is created when puldown detection is performed. This le is used when precise pulldown detection is required. Audio File Specify audio le when necessary. Log File Specify encoding log le and its log level when necessary. When log level is high, verbose log will be created. Timecode setting There are timecode setting elds just below the output le setting elds. The timecode specied here will be the timecode of the rst frame of output MPEG le.
4.4.2
Setting audio parameters
Specify parameters for output audio le here. Format Specify audio output format. Wave Commonly used for Windows. AIFF Commonly used for Mac OS.
29
MPEG-1 Output MPEG-1 Audio Layer II le. When this format is specied, you should select whether CRC (cyclic redundancy check) information should be included or not. When Wave or AIFF is selected, PCM information is output directly. You cannot specify compression method. Channels Specify Stereo or Monaural. When MPEG-1 Audio is selected, you can also select Joint Stereo or Dual Channel. In MPEG-1 audio, Joint Stereo is commonly used. Sampling rate Select sampling rate from 48,000Hz, 44,100Hz, and 32,000Hz. For DVD, only 48,000Hz can be used. Data rate Specify data rate when MPEG-1 Audio is selected. Higher data rate implies higher quality and bigger le size. Data size The size of output audio le will be shown here. You cannot change the value. Extra data Cinema Craft Encoder SP3 usually outputs audio data from TC in to TC out. If you set greater-than-zero value here, longer audio data will be output. When you are to convert audio into AC-3 afterward, audio is likely to be shorter than video because of the dierence of access
30
unit between MPEG video and AC-3. This option is provided to resolve such problem. If both Audio and Video are specied in Extra data, the length of extra audio data will be the sum of extra video data and extra audio data. For example, when you specied 3 for video and 5 for audio, the length of extra audio data would be 8 frames.
4.4.3
Setting video parameters
MPEG mode MPEG-2 Outputs MPEG-2 video stream. Image quality is better than that of MPEG-1, but MPEG-2 decoder or software DVD player is needed to play it back. It is especially appropriate for interlaced sources. MPEG-1 Outputs MPEG-1 video stream. Windows media player can play back MPEG-1 les without additional DLLs, but image quality is not as good as that of MPEG-2. MPEG-1 does not support interlace encoding. DVD Outputs DVD compatible stream. With this option, you cannot set greater bitrate than 9.8 Mbps. *Notice* When you select VBR mode with this option, 9.8 Mbps is always written as maximum bitrate in the sequence header of output MPEG les whatever value you set. Note that actual bitrate does not exceed your maximum bitrate setting even if 9.8 Mbps is written in the header. The bitrate information in the sequence header of VBR stream means possible maximum bitrate. As long as actual bitrate
31
keeps your given bitrate, the description of 9.8 Mbps in the header conforms to MPEG constraints. When your target is DVD, the description of 9.8 Mbps in the header will enable encoders to allocate bits more exibly then achieve higher quality of image. When your target is TV conference or something which needs real time encoding/decoding, the description in the header should be same as your given bitrate for faster response time with lesser delay between receiving data and playing it. If you are in the case, select MPEG-2 instead of DVD. SVCD Outputs Super Video CD compatible stream. If the resolution of the source le does not match with SVCD standard, it will be automatically converted. VCD Outputs Video CD compatible stream. If the resolution of the source le does not match with VCD standard, it will be automatically converted. TV System Select one from NTSC, PAL and Other. Bitrate type Select one from One-pass CBR, One-pass VBR, VBR Analysis Pass, Multipass CBR and Multipass VBR. For details about each type, refer to Encoding mode at page 16. Data size The size of output video le will be shown here. If you change this value, the average bitrate will be automatically recalculated.
CHAPTER 4. MAIN WINDOW Extra data
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Encodes the last frame of TC out repeatedly a specied number of times, after the TC out. You can select a repeat data among Top eld, Bottom eld, or Both elds(a frame). Stream type Elementary stream is video only le. Program stream is video with audio le. Frame size Specify a frame size of output video le. It must be a multiple of 16 for both width and height. When the value is not a multiple of 16, it will be changed automatically. When DVD is selected, the width must be either 720 or 704. Frame rate Select the frame rate of output video le. If input and output frame rates dier, frame insertion or frame skip will occur. To avoid this, clear Rate conv option. However, it will change duration of output video le, and will be out of sync with audio unless Rate conv in the audio section is selected. Data rate and Q factor Each encoding mode requires the parameters for bitrate setting as follows.
CHAPTER 4. MAIN WINDOW Encoding mode MPEG-2/DVD (One-pass VBR) MPEG-2/DVD (One-pass CBR) MPEG-2/DVD (Multipass CBR) MPEG-2/DVD (Multipass VBR) MPEG-2/DVD (Analysis Pass) MPEG-1 SVCD VCD Avg Min Max
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Q
Avg, Min, Max, Q indicate average bitrate, minimum bitrate, maximum bitrate, and Q.factor, respectively. Q is a parameter unique to Cinema Craft Encoder SP3, and can be set only when One-pass VBR mode. Cinema Craft Encoder SP3 calculates quantization scales for each picture type (I,B,P) using this value. When you set this value, refer to the following. 1..60 Achieves higher quality of image but lower compression rate. 60..80 Standard 80..120 Achieves higher compression rate but lower quality of image. Aspect ratio Aspect ratio is the ratio between the width and height of the screen. The MPEG-2 playback device (e.g., DVD player) refers to this setting, and modies the ratio when outputting the data to a TV monitor. It does not mean frame size conversion. DAR (Display Aspect Ratio) works on aspect ratio of the frame. Available DAR values are 4:3, 16:9, 2.21:1. 4:3 is for a standard TV monitor. For wide screen materials, 16:9 will be appropriate. SAR (Sample Aspect Ratio) works on aspect ratio of the pixel.
34
If SAR 1:1 is selected, the ratio of frame width and height of the output will be the same ratio as source. Pulldown When pulldown or inverse pulldown is needed, select appropriate one. Deinterlace If you intend to playback an interlaced video on a non-interlaced display (e.g., a computer monitor), artifacts will be seen as jagged edges. Deinterlacing is useful to reduce such jaggies.
4.4.4
Resize settings
Resize settings window is shown when Settings... button in the Frame size eld in Main window is clicked. In this window, select interpolation method for resizing, and change cropping and padding settings when needed. Interporation method Select interpolation method used for resizing. The following six interpolation methods are provided. Nearest neighbor Linear interpolation Cubic interpolation B-Spline interpolation
CHAPTER 4. MAIN WINDOW Catmull-Rom Spline interpolation Lanczos interpolation
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The encoding result may be widely varied by interpolation method. It is recommended that you check the characteristics of each interpolation method using short video clips before applying one to encode long source les. Progressive setting By default, Cinema Craft Encoder SP3 assumes source materials to be interlaced when performing resizing, i.e., resizing is performed per eld. If the source material is progressive, select Progressive. Cropping Cropping setting species the cropping area of source frames. Padding Padding setting species the padding area of encoded frames around source images.
4.4.5
MPEG settings
GOP: N, M Species GOP structure. N value indicates how many pictures between I frames. M value indicates how many pictures between I or P frames. *Notice* You can set 15 to N value at maximum for NTSC Interlaced, 12 for PAL. However, it will be automatically adjusted so that the duration of GOP does not
36
exceed 0.5 seconds. When you select Inverse 3:2 pulldown, N will be automatically modied to 12 even if you set 15. Without Disable automatic I frame insertion option, Automatic Field-based Scene Change Detection will work then N value you set indicates possible maximum value. Without Fix GOP structure option, AAGS: Advanced Adaptive GOP Structure functionality will work then M value you set indicates possible maximum value. Multiangle Outputs a video elementary stream for multiangle. It is equivalent to selecting the following options at the same time. Disable automatic I frame insertion Close all GOPs Equalize each GOPs bits length Fix GOP structure Each of these options will cause a decline in quality of image. Therefore, do not select this option except when necessary. Disable automatic I frame insertion This option prevents Automatic Field-based Scene Change Detection. This options will cause a decline in quality of image. Therefore, do not select this option except when necessary.
CHAPTER 4. MAIN WINDOW Close all GOPs
37
This option will let all of GOPs closed. In closed GOP, individual frames in a GOP do not refer the frames outside GOP and B pictures can be correctly decoded even in rundom access mode. This options will cause a decline in quality of image. Therefore, do not select this option except when necessary. Equalize each GOPs bits This option will force the bit amount of each GOP to be equal. This options will cause a decline in quality of image. Therefore, do not select this option except when necessary. Fix GOP structure This option will turn o AAGS: Advanced Adaptive GOP Structure functionality. This options will cause a decline in quality of image. Therefore, do not select this option except when necessary. Each GOP must have B frame(s) Some decoders may cause problem when playing back the streams which hold many P frames in a GOP. Especilly, playback problem will be more likely to occur at a GOP without B frame. This option will avoid a GOP without B frame. Use the same ones throughout the entire stream This option will apply a single quantize matrix in the entire stream. If you set several quantize matrices for segments in Segment window, this option will apply the quantize matrix for the rst segment to the entire stream and ignore quantize matrix settings for the rest of the segments.
38
If you set Adaptive in Quantize matrix of Segment window, this option will ignore the setting. This options will cause a decline in quality of image. Therefore, do not select this option except when necessary. Use the same ones throughout the same segment This option will apply a single matrix in a Closed GOP. If you set Adaptive in Quantize matrix of Segment window, this option will perform the following. When One-pass CBR, One-pass VBR or VBR analysis pass mode, Adaptive option is ignored and Fixed option works in every segment. When Multi-pass CBR and Multi-pass VBR mode, Adaptive option works, but switching of quantize matrix occurs not in individual GOPs but in individual Closed GOPs. This options will cause a decline in quality of image. Therefore, do not select this option except when necessary. Append sequence end code Adds Sequence end code at the end of the stream. It should usually be selected. Encode the last frame as an I frame This option will encode the last frame as an I frame. With this option, the last GOP will be made of a sole I frame and the quality of the I frame is likely to be worse than a frame in other GOPs. Therefore, do not select this option except when necessary.
CHAPTER 4. MAIN WINDOW Minimize progressive/interlaced switching
39
Some DVD players may cause noise when switching between progressive and interlaced. This option minimizes the switching frequency. When you apply Inverse 3:2 pulldown, this switching is inevitable. Encoders must handle interlaced images as interlaced. Otherwise, it causes other problems in most DVD players. When a lm frame makes 3 elds by Inverse 3:2 pulldown, these elds must be handled as progressive. Thus switching would not be removed completely. Open GOP length limit This option will limit the duration of a segment between closed GOPs. Segment re-encoding will be applied in segments. If you need smaller scope of re-encoding, you can limit a segment duration with this option. Although every scene change point will be a closed GOP with auto I frame insertion, however, there can be a case that a GOP will not be closed throughout a stream when transition eects such as cross fading are applied to all of the scene changes even without Disable automatic I frame insertion option. It means that a stream makes a single segment. In this or similar case, segment reencoding functionality will not give you its advantage adequately. This option will avoid such a case and ensure more eective segment re-encoding. Too small value will cause a decline in quality of image. We recommend at least 60 seconds or more. USCC Room USCC is an abbreviation for United States Closed Caption. It will be used to create DVDs including closed caption in the United States. This option will provide a space for closed captioning after
40
GOP header. Since this option will cause a slight decline of bitrate, you should not select this option except when necessary. There will be no problem if you do not use the space for USCC afterward once you made it. Output top eld rst stream Species the eld order of output stream. If it is selected, the output stream is top eld rst. Otherwise bottom eld rst. This setting works only on MPEG-2 output. It is important to set correct eld order, because incorrect eld order causes stuttered motion. To set eld order correctly, you have to care about Oset line setting. If the eld order is same between the source and the output, Oset line should be 0 or even number. If the eld order is dierent between the source and the output, Oset line should be 1 or odd number. Oset line This parameter species oset line from which encoding starts. In another words, it implies how many lines should be cropped from the top. For example, if you set 0, no line is cropped and encoding starts from the top. When the output is MPEG-2 video, it aects the eld order. If this setting is incorrect, the movement of an encoded video will be jerky. Please be careful about both eld orders of output and source material. (See also Output top eld rst stream described above.) Luminance level Cinema Craft Encoder uses a YUY2 pixel format internally. If the source format is RGB , the color space conversion into Y Cb Cr will be performed using this luminance range.
41
In ITU-R BT. 601-51, the range of luminance is settled from 16 to 235. If this setting is not suitable, you can select 0 - 255. When 16 - 235 is specied RD = 219R + 16 256 GD = 219G + 16 256 BD = 219B + 16 256 77RD + 150GD + 29BD 216 131RD 110GD 21BD CR = + 128 216 44RD 87GD + 131BD CB = + 128 216 Y = When 0 - 255 is specied 77R + 150G + 29B 28 131R 110G 21B CR = + 128 28 44R 87G + 131B CB = + 128 28 Y = In any case, decimals in the result of the division are omitted. Packet size The default value of packet size of program streams is 2048 bytes. You can change this value.
and specications that can be used to broadcast or interchange digitally coded television signals.
1 Standards
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4.5
Saving and loading the setting
You can export settings in the window to a le by Save settings... button, or import from a le by Load settings... button.
Chapter 5
Segment window
You can open Segment window by selecting Segment... from Window menu of Main window.
5.1
Segment
In Cinema Craft Encoder SP3, a segment means a closed section which begins with a closed GOP and ends just before next closed GOP. Segment setting is mainly used as DVD chapter point setting.
43
CHAPTER 5. SEGMENT WINDOW
44
You can specify several settings including Quantize matrix in every segment. You can re-encode and overwrite a part of the stream based on segment you set here.
5.2
Adding, modifying, and removing an entry
After changed parameters, click Save... button to save the setting. To remove the setting, click Delete button.
5.3
Details of setting items
Intra DC precision Species the bit precision of DC coecient of intra blocks. When you make a DVD, you should usually set 10 bit for it. 10 bit is recommended for smaller motion, 8 bit is for the more complicated motion. If you will encode such source image which has very complicated motions with lower bitrate setting, 9 or 8 bit setting may bring better result. Quantize scale Species Quantize scale type. When you select Fixed for Quantize matrix setting which is described later, you should usually set Non linear. When you select Adaptive, you can set either Linear or Non linear. Either type makes little dierence about quality of image. Quantize matrix When you choose Adaptive, AAQM: Advanced Adaptive Quantize Matrix functionality becomes available. When you choose Fixed, AAQM: Advanced Adaptive Quantize Matrix
45
functinality does not work. AAQM will be also aected by Use the same ones throughout the entire stream option, Use the same ones throughout the throughout the same stream option.. See also the explanations of these options for more detail. Modifying Quantize matrix To modify a matrix, type the value directly on the matrix. Allowable range of the value is : 8 to 99. Please refer to some technical books for how you should set values eectively. Operation buttons for Quantize matrix You can use Store and Restore buttons for uploading and downloading data into or from memory. You can also import and export Quantize matrix data from or to the le by Load... and Save... buttons. Presets of Quantize matrix Several presets of Quantize matrix are provided in advance. MPEG Standard It is appropriate for the less complicated source with smaller motions. Natural 1 It is an initial setting of Cinema Craft Encoder SP3, and appropriate for any kind of images. Natural 2 As compared with Natural 1, it is appropriate for complicated source with smaller motions. Sometimes it will bring better result than Natural 1 for live-action images. CG 1 It is appropriate for Computer Graphics which is complicated around boundary lines but plain in texture area.
46
CG 2 It is more optimized for Computer Graphics. If you cannot achieve the given bitrate with CG 1, please try CG 2. Notice on Quantize matrix setting In multi-pass VBR encoding, Cinema Craft Encoder SP3 will allocate bits for complexity of images, supposing that a single Quantize matrix is applied throughout a stream. When multi-pass VBR encoding or creating Video information le for multi-pass VBR, a single Quantize matrix should be applied throughout a stream. If you change Quantize matrix somewhere in a stream, bit allocation in the part may not work successfully when you encode through the stream. In this case, you should re-encode the part or parts where you changed Quantize matrix using segment re-encoding functionality.
5.4
Saving and loading Segment setting
You can export Segment setting to a le by Save... button, or import from a le by Load... button.
Chapter 6
Picture window
Picture window appears when you select Picture... from Window menu of the main window. You can set the lters or the parameters for improving the quality of image on this window.
6.1
After changed parameters, click Save... button to save the setting. To remove the setting, click Delete button. 47
CHAPTER 6. PICTURE WINDOW
48
6.2
6.2.1

Filter setting
Filter setting seems to be awkward with many parameters. To make it simple, you should organize the setting items in your mind. At rst, there are 2 types of lters, Linear and Non linear. Each of them has 4 setting aspects, Y(luminance), C(chrominance), horizontal, vertical. Linear lter Cinema Craft Encoder SP3 provides two linear lters, Low pass lter (LPF) and High gain lter (HGF). LPF cuts out higher frequency components at specic frequencies, and tends to make the image blur or smooth. HGF does not aect lower frequency components at specic frequencies, but increases gain in higher frequency components. It tends to make the image greasy emphasizing details like edges or lines. Two parameters Cut-o (or Turnover) frequency and Slope are provided for these lters. To set Linear lter(s), select checkbox(es) of LPF or/and HGF. Then specify Cut-o (or Turnover) frequency in the next box. Allowed value of the frequency is 1 to 50. Smaller value indicates lower frequency. In the right side of LPF frequency box, the frequency which points -6dB (1/2 on gain) when slope value is 100 is displayed. Slope value is set in the next box for Cut-o (or Turnover) frequency. Allowed value of Slope is 0 to 200. The smaller the value, the atter attenuation slope becomes. The larger the value, the steeper the slope becomes. You can see the slope on the chart. On the chart, horizontal axis shows frequency, vertical axis shows gain. You can also see vertical axis either on Linear scale or on Log scale. When you put the mouse pointer on the chart, you can see
CHAPTER 6. PICTURE WINDOW the pointed value above the chart. Non linear lter
49
Non linear lter is proprietary lter of Cinema Craft Encoder SP3. It detects the texture domain and reduces speckle noise, keeping the sharpness of the edges. The value you can set is from 1 to 64. The larger the value, the wider domain will be detected as a texture. Hints for lter setting Linear lter (LPF) is usually used for cutting mosquito noise. With standard Quantize matrix, the noise will become noticeable in higher frequency area. Such noise in higher frequency area is called Mosquito noise. Linear lters (LPF) will cut these higher frequency components and make the image blur instead of mosquito noise. When you set LPF, you should check the image which has wider high frequency area. To cut mosquito noise eectively with a linear lter, slope should be steeper. However, too steep slope may cause overshoot or ringing noise around clear edges where has large luminance gap. Please be careful to set the value with monitoring the chart or decoded images. For example, the value between 120 and 150 will bring better result rather than you set the largest value 200. On the other hand, Non linear lter will not aect edges of the image. Non linear lter will at small oscillation of frequency with keeping higher frequency components to improve S/N ratio. Successful tuning will make the image appear to have higher bitrate. If your source is interlaced, you need to be careful to set parameters in vertical aspect. Linear lter will work on eld
50
images when the source is interlaced, however, work on frame images when the source is progressive. Therefore, vertical linear lter will work strongly against interlaced sources. It will be better not to set so larger value. On the other hand, Non linear lter will work on frame images no matter which the source is interlaced or progressive. Therefore, too large value may cause a jerky motion. There is a signicant dierence of characteristics between liveaction images and computer graphics. Generally, there are little sharp edges in live-action images. Especially chrominance signals does not include much information on the outline of the objects. Against such images, it rarely causes a serious problem if you apply stronger lter on chrominance than on luminance. It would rather be appropriate in this case. On the other hand, the edges of the objects will be sharp in most computer graphics, and chrominance signals include much information on the outline of the objects. Against computer graphics, it would be better to apply lter delicately both on luminance and chrominance.
6.2.2
Quantizer characteristics
This is a setting for the balance of bit allocation. The value you can set for each parameter is 0 to 100. Although the optimal value depends on the footage and given bitrate, the value between 16 and 40 will be recommended. When the given bitrate is higher, larger value will bring better result. On the other hand, smaller value will be recommended for lower bitrate setting. Activity It species the balance of bit allocation between simple and complicated part of the image. As the value becomes closer to 0, more bits are allocated to complicated part. As the
51
value becomes closer to 100, more bits are allocated to at part. The smaller the value, the mosquito noise (a noise which causes hazy part along the edges) will become less noticeable, but the contouring noise (a noise which looks like contour line patterns appears in at and wide areas such as dark background) will become more noticeable instead. As the larger the value, the opposite occurs. When the given bitrate is higher, larger value will be appropriate. Residual It species the balance of bit allocation between static or smooth motion area and complicated motion area. As the value becomes closer to 0, more bits are allocated to complicated motion area. As the value becomes closer to 100, more bits are allocated to static or smooth motion area. This parameter will critically impact on the quality of image. When the given bitrate is higher, larger value will be recommended. However, since the larger value may cause more mosquito noise, be careful when the picture includes a lot of complicated motions. Luma Luma is the abbreviation of Luminance. It species the balance of bit allocation between dark and bright area. As the value becomes closer to 0, more bits are allocated to bright area. As the value becomes closer to 100, more bits are allocated to dark area. When the given bitrate is higher, speckle noise tends to be noticeable in almost black dark area. In this case, the larger value may bring the better result.
6.2.3
Dithered quantization
It adds a small noise (dither) before quantization to reduce the quantization error and to distribute the remaining error more eec-
52
tively. It can help you remove contouring artifact in fading in/out or in a gradation of the color. The addition of dithers will cause a loss of the quality of image where there is no contouring artifact. You should set the value moderately not to exceed 40.
6.2.4
Pixel value range
It species the range of color space. The signals especially from DV compressed sources are sometimes out of NTSC/PAL standard, and it causes color blots depending on the combination of a decoder and a monitor. This setting may help you to prevent the problem. 0..255 indicates no limit of color space. We recommend 8..247 as standard and up to 16..239. If your source has excellent quality, it will be appropriate to set 0..255.
6.2.5
Block scan order
It species how to scan DCT blocks when coding the quantized data. Generally, Alternate scan is used for the interlaced source, Zigzag is for progressive source. Adaptive will select block scan order automatically. Adaptive should usually be selected.
6.2.6
Motion estimation
It species how motion estimation will be performed. Normal It is standard setting. Still It should be selected when the picture does not include any motions. Even if the picture does not include any motions, Cinema Craft Encoder SP3 may confuse fading eect which shows quick transition of luminance with some motions. This
53
setting will prevent such confusion, and higher quality can be expected in the case. Active It should be selected when the picture includes a lot of complicated motions. During motion estimation, Cinema Craft Encoder SP3 detects and corrects errors at the same time. This works eectively against live-action images. However, computer graphics sometimes include so complicated motions that we cannot see them in live-action picture. Against such images, Cinema Craft Encoder SP3 may fail to make a distinction between detected motions and errors. This setting will help Cinema Craft Encoder SP3 to detect motions properly. Most of the images do not need Still or Active setting. Still or Active setting may cause a decline of quality if the image is out of the target of these setting alternatives. We recommend you to try to use each of them for a limited part of the footage where you are not satised with the quality. Especially, target of Active setting is very limited. You should select it only for the extreme part of the footage.
6.2.7
Picture type
It species which your source is, interlaced or progressive. If you specify Interlaced for progressive source, it will do no more than cause a decline of compression eciency. However, if you specify Progressive for Interlaced source, it may cause a serious problem such as jerky motions or the change of colors. It will be rarely that NTSC video should be set as Progressive. You must be careful to specify Progressive only for actual progressive source. When you apply Inverse 3:2 pulldown, this setting does not work.
54
If your PAL source is 2:2 pulldowned (conversion from lm to PAL video), Progressive will be appropriate. Adaptive will set either of types automatically. When you select Adaptive, you can specify the threshold value to distinguish between Interlaced and Progressive. The larger the value, the more often recognized as Interlaced. The value you can set is 60 to 100. It should be usually set around 80.
6.3
Saving and loading Picture setting
You can export Picture setting to a le by Save... button, or import from a le by Load... button.
Chapter 7
Eect window
Eect window appears when you select Eect... from Window menu of the main window. You can set some eects on this window.
7.1
After changed parameters, click Save... button to save the setting. To remove the setting, click Delete button.
7.2
Fill It paints the screen as follows:
55
CHAPTER 7. EFFECT WINDOW
56
Black It paints the screen black. It can help you to remove the noise on the black screen. White It paints the screen white. It can help you to remove the noise on the white screen. Monochrome It discard the chrominance information and outputs monochrome image. It can help you to remove the chrominance noise on the monochrome screen. Letter box Letterbox is a format to show an entire wide image of movie on 4:3 TV screen, adding black bars at the top and bottom of the screen. If the noise is on the black areas, you can remove it and paint them black. Transparent It does not paints the specied area. Black It paints the the specied area. It can help you to remove the noise on the black bars. White It paints the the specied area. It can help you to check the upper and lower bar areas. Invert It inverts luminance signal of the the specied area you set. You can use this option to see if the inverted areas cover black bar areas and do not include movie sticking out before applying Black.
CHAPTER 7. EFFECT WINDOW
57
7.3
Saving and loading Eect setting
You can export Eect setting to a le by Save... button, or import from a le by Load... button.
Chapter 8
Inverse 3:2 Pulldown window

Inverse 3:2 Pulldown window will appear when you click Setting... button in the lower part of Settings window. You can set the parameters for Inverse 3:2 pulldown on this window.
8.1
What is Inverse 3:2 pulldown?
Film source is recorded as 24 progressive frames per second. On the other hand, NTSC video is recorded as 60 interlaced elds per second. 3:2 pulldown is a common method for the conversion from lm to NTSC video. In 3:2 pulldown, 2 lm frames are lled with
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CHAPTER 8. INVERSE 3:2 PULLDOWN WINDOW
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5 video elds adding one copied eld, then 4 lm frames make 5 video frames including two copied elds. Inverse 3:2 pulldown detects those redundant copied elds and sets ags without encoding those elds to increase encoding eciency. You can expect 25% increase of the bitrate when Inverse 3:2 pulldown works successfully. When you apply Inverse 3:2 pulldown, encoded contents are not interlaced video but progressive lm with added ag information. Generally, encoding eciency is higher for progressive scan images than for interlaced scan images. You can expect more than 25% of improvement of compression eciency practically. When you carry out encoding with applying Inverse 3:2 pulldown, pulldown pattern will be detected automatically. You can also modify the result of auto pulldown detection manually. Or, you can set pulldown pattern by yourself without auto detection.
8.2
Overview of Inverse 3:2 pulldown setting
Each video frame consists of 2 video elds. In 3:2 pulldown, one lm frame is transferred into 2 video elds, and the next frame into 3 video elds. 3:2 cadence repeats this pattern of transferring. To explain the setting, 4 lm frames in this sequence are called A,B,C and D. And corresponding 10 video elds which ll these lm frames are called A1/A2, B1/B2/B3, C1/C2, D1/D2/D3. However, 3:2 cadence is sometimes inconsistent in the entire source video. What you should do in Inverse 3:2 pulldown setting is to nd a proper cadence pattern, and to nd a break point of a cadence (PME: Phase Modulation Event), then to build the list of PMEs (pulldown list). In Inverse 3:2 pulldown setting, there are three types of tasks. Automatic Cadence Detection (ACD) only If you prefer ACD without opening the settings window, just start encoding with
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Inverse 3:2 pulldown option in Settings window. If you need batch-process of Tier-1 and Tier-2 ACD, see Auto 2pass detection in Easy and exible Inverse 3:2 Pulldown with i32 le. Rebuild the pulldown list after ACD If you need Manual Cadence Correction(MCC), see the succeeding section. If you need Tier-2 ACD, see Detection section. Manual Cadence Correction (MCC) only See the succeeding section.
8.3
Pulldown list
You can see the pulldown list in the left side of Inverse 3:2 Pulldown window. When you nd the state of a eld, put it into the pulldown list as an entry. Note that the state is not always a pulldown phase in 3:2 cadence. It may be progressive or just interlaced out of 3:2 cadence. After putting several entries, you can trim the list by Compact button. Compact button will search the entries which are supposed to be under a single sequence of pattern and bundle them into one entry. Information of the pulldown list is recorded in ECL le. When encoding, Inverse 3:2 pulldown is carried out following the pulldown list.
8.4
Editing pulldown list
Once you carried out encoding with applying Inverse 3:2 pulldown, the result of Automatic Cadence Detection(Tier-1 ACD) will be listed up. The following is an explanation of the list. TC Timecode / Field number of PME (Phase Modulation Event)
CHAPTER 8. INVERSE 3:2 PULLDOWN WINDOW Fields Calculated number of elds between PMEs Phase A1 D3 Progressive Interlaced Auto Pulldown phase in 3:2 cadence Progressive Interlaced (not pulldowned part) Auto detection
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8.5
Operation buttons for the list
You can modify the list using the buttons below the pulldown list. Undo button Reverses the last change. Redo button Cancels the last undo. Cache button Puts the content of the list into the memory and keeps it until closing the window. Recall button Loads the list information from the memory. Swap button Puts the content of the list into the memory and loads the list information from the memory. Original button Removes the list, and reloads the initial list. Clear all button Removes the list.
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Compact button If there are multiple entries under a single sequence of pattern, bundles them into one entry. For example, an entry TC 01:00:00:00.0 which starts from A1 state and next entry TC 01:00:00:06.0 which starts from B1 state are supposed to be under a single sequence of 3:2 cadence. Compact button will delete an entry TC 01:00:00:06.0. *Notice* Compact button will check only the entries which starts from A1, B1, C1 or D1. For example, when Manual Cadence Correction, there can be a case that an entry which ends at B2 and next entry starts from B3. It seems to be under a single sequence of 3:2 cadence. However, if B3 was put as a result of mis-editing with very dierent picture, such entries should not be bundled.
8.6
Phase change point
Species a eld and its state (A1,B1,... or Progressive or Interlaced) in this section.
8.6.1
Specifying the current point
The currently referred timecode and its eld number (0 or 1) should be put in the box in the upper part of the section. [ < ] button moves the current point to the previous eld, and [ > ] button moves to the next. S button moves to the rst eld of the currently referred entry. There are other ways to insert a time point into the timecode box. When you click another entry on the pulldown list, the rst eld of the entry will be pointed as a current point and its timecode will be put in the box. Or when you drag a timecode from Calculators section, the timecode will be put in the box.
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8.6.2
Specifying the state of the eld
The state of the eld should be specied by selecting an option button. The possible states are arranged with the buttons below the timecode box. Click one among them.
8.6.3
Adding and deleting an entry
To add an entry as a PME to the pulldown list, click Set button. To delete an entry, select the entry in the list and press Delete key.
8.7
Search
When some entries already in the list, you can look for an entry which meet a condition. If you would like an entry whose duration is less than or equal to a certain number of elds, type a number of elds in the left box of the Search section and click [ <= ]. Similarly, for an entries whose duration is greater than or equal to a certain number of elds, type a number of elds in the right box of the Search section and click [ <= ]. If you would like an entry which is not pulldowned but interlaced part of the footage, click Interlaced button. When you click a button for search, the current point will move to the rst eld of the searched entry.
8.8
Detection
You can set threshold values for re-building the pulldown list. Once you create i32 le in the rst encoding, you can try re-building the list with dierent threshold values using the information of i32 le. We call this automatic re-building of the pulldown list with two parameters Tier-2 ACD.
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8.8.1
i32 le (Pulldown information le)
When you carry out encoding with selected Pulldown Info File in Files section in Main window, Cinema Craft Encoder SP3 will look into all of the lines to analyze two kinds of correlation between lines. One is between a line and a line apart from 2, and another is between a line and a line apart. The analyses will be recorded in a le with .i32 extension attached. If you can see close correlation with a line apart from 2, it will be supposed an interlaced frame. If close correlation with a next line, it will be supposed a progressive frame. Two parameters described later specify threshold correlation values which can be considered close.
8.8.2
Progressive pairing
It species the threshold correlation between lines which can make a progressive frame. The default value is 70 (%). The larger the value become, the closer correlation is required and the more frames will be encoded as interlaced. The smaller the value, the more frames will be encoded as progressive. Note that an incorrect combination of elds may be allowed to be encoded as a progressive frame with too small value. On the other hand, too large value may cause a decline in encoding eciency. The value between 60 and 90 will be recommended.
8.8.3
Repeat eld dierence
In theory, a repeated eld of 3:2 pulldown should be the same as an original eld which is 2 elds apart. However, it tends to become dierent because of ltering or the compression when editing or recording. This value species the dierence threshold to which extent the dierences can be allowed between a repeated eld and an original eld. The value between 4 and 16 is recommended.
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8.8.4
Applying threshold setting (Executing Tier2 ACD)
If i32 le is created already, you can re-build the pulldown list based on the given threshold values just by clicking Rebuild button. Rebuild button just changes the pulldown list. To apply the changes to the video information le, you need to carry out encoding. You can also modify the re-built result again and again. When encoding, Cinema Craft Encoder SP3 does not refer to i32 le but the pulldown list. i32 le is just used to build the pulldown list.
8.8.5
Minimize progressive/interlaced switching
In Inverse 3:2 pulldown, some parts of the footage where are out of the possible pulldown sequence will be put into the list as either entries of progressive or interlaced by recognizing every coding frame automatically. It will be desirable for compression eciency. However, some decoder may cause noise in the part where too often switching between progressive or interlaced occur. This option will minimize such a problem. Or if too many entries are created when rebuilding, this option will bundle small entries to trim the list.
8.8.6
Progressive Interlaced
It changes all progressive entries into interlaced entries. If you specify Interlaced for progressive part, it will do no more than cause a decline of compression eciency. However, if you specify Progressive for Interlaced part, it may cause serious problems such as jerky motions or the change of colors. This option will avoid the problems, but may not bring better quality.
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8.8.7
File dump of Inverse 3:2 pulldown information
It outputs the inverse 3:2 pulldown information to a text le. The content of the information is listed below. It will be useful to modify a chapter point. Information of every eld recorded in i32 le The result of auto 3:2 pulldown detection Combination of elds which will be encoded as a frame
8.9
Calculators
It calculates a pulldown phase of a given eld from a base point, supposing it is under a single sequence of 3:2 cadence. At rst, a base point should be put in the top timecode box, and right end button should be t to its pulldown phase by clicking several times. Then, the pulldown phases of lower 4 points are calculated, and how many elds apart from a base point are shown next to the phase button. The second box from the top shows the currently referred eld which is put in the box of Phase change point section.
8.9.1
Operation buttons for the calculator
[ ] button Inserts the currently referred timecode into the box. [ > ] button Put the result of calculation into the box of Phase change point section. [ < ] button Moves the current point to the previous eld.
CHAPTER 8. INVERSE 3:2 PULLDOWN WINDOW [ > ] button Moves the current point to the next eld. S button Searches for an entry including the eld in the box.
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8.10
8.10.1
Saving and loading the pulldown list

Saving the pulldown list
You can export the pulldown list to a le format by Save... button.
8.10.2
Loading the pulldown list
You can import the pulldown list from a le by Load... button. When you know the pulldown pattern in advance, it will be ecient that you make the pulldown list and load it. In a pulldown list le, a timecode, a eld number and a pulldown pattern should be in a line. The formats are the following: Text format 01:00:00:00.0 Progress 01:00:00:01.0 B1 CSV format 01, 00, 00, 00, 0, Progress 01, 00, 00, 01, 0, B1
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8.11
Inverse 3:2 pulldown and Segment setting
Cinema Craft Encoder SP3 gives priority to putting a segment point at the location specied over keeping a clean 3:2 cadence. Even if the source keeps a consistent 3:2 cadence through the video, Cinema Craft Encoder SP3 will break the cadence and replace it with Interlaced or Progressive sequence to put a segment point. (However, if the interval between segment points becomes less than 6 frames, you will not always put a segment point there.) If the pulldown list is unexpectedly untidy with so many entries, it may be caused by the segment points put in the improper locations. When you encounter the case, it will be better to check the segment points. File dump of Inverse 3:2 pulldown information will help. If you need some modications, you can invoke Segment window by Segment... button.
8.12
Glossary for Inverse 3:2 Pulldown
IVTC This industrial term stands for Inverse Telecine. It has almost same meaning as Pulldown Detection. There are some kinds of pulldown patterns besides 3:2 Pulldown. I32P, Inverse 3:2 Pulldown It is one of IVTC for NTSC video converted from lm. There are many encoders which have this functionlity. It can improve the encoding eciency. I22P, Inverse 2:2 Pulldown It is one of IVTC for PAL video converted from lm. Most encoders hardly have this functionality. Cinema Craft Encoder SP3 adaptively detects 2:2 cadence to build proper progressive frames.
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I23322P, Inverse 2:3:3:2:2 Pulldown It is a similar to IVTC, but for NTSC video converted from PAL video. 2:3:3:2:2 Pulldown is sometimes used for converting telecined PAL video into NTSC video. As far as we know, there are no high-end encoders which support this type of IVTC. Because the source is a 24p source material, compressionists in major facilities prefer to telecine for NTSC and encode the rst generation NTSC master for NTSC DVD. 3:2 cadence It is a sequence of pulldown phases, i.e., A1, A2, B1, B2, B3, C1, C2, D1, D2, D3. State The condition of a eld, e.g., simple Progressive, Interlaced or A1, B1... in 3:2 cadence. If the eld is in 3:2 cadence, Cinema Craft Encoder SP3 Calculator gures out the pulldown phase. ACD, Automatic Cadence Detection Cinema Craft Encoder SP3 automatically detects 3:2 cadence or 2:2 cadence, and build the pulldown list. MCC, Manual Cadence Correction Compressioninsts manually build the pulldown list or correct 3:2 cadence. Cinema Craft Encoder SP3 provides powerful utilities for MCC operations. PME, Phase Modulation Event It is a break point where a cadence is changed. It implies the rst eld of each entry of the pulldown list. In other words, the pulldown list is a list of PMEs.
Chapter 9
VBR Bit allocation window

Bit allocation window will appear when you click Bit allocation... button in the Main window. Detailed settings for bit allocation for Multipass VBR are provided in this window. When Multipass VBR mode, the parameters such as V/C, Avg, Min, Max bitrates are allowed on Settings window. In addition to them, you can change the bitrate setting partly in GOPs on Bit allocation window. A uctuation graph of bitrate or quantize scale is displayed on Bit allocation window. You can see how and where the bits are allocated on the graph, then modify the bit allocation or change the picture settings calling Picture window. The video information le should be created in advance to open Bit allocation window.
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CHAPTER 9. VBR BIT ALLOCATION WINDOW
71
9.1
Bitrate / Quantize scale graph
You can see the uctuation of bitrate or quantize scale on the graph. The X-axis indicates time of the source footage, and the Y-axis indicates bitrate or quantize scale.
9.1.1
Switching of graphs
To switch graphs, select an option button (radio button) above the graph. Bitrate Shows Bitrate graph. Q.scale Shows Quantize scale graph. Current pass Shows the graph of the previous encoding. Next pass Shows the graph of newly planned for the next encoding.
9.1.2
How to read graphs
Bitrate graph
Three colored dots on the graph indicate white as I picture, green as P picture, and red as B picture. Yellow bar indicates the average
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bitrate of the GOP. Blue band in the back means the bit allocatable band between maximum and minimum bitrate. The double vertical line is a current time indicator which shows the timecode point currently referred. And purple vertical line points at the top of closed GOP which is detected as a scene change point or which is a chapter point. Quantize scale graph
Quantize scale aects distortion level. The smaller quantize scale becomes, the smaller distortion will occur. It means that the quality of the image will be well kept. On the other hand, the larger quantize scale will cause the larger distortion and lose the quality of image. As well as bitrate graph, three colored dots on the graph indicate white as I picture, green as P picture, and red as B picture. Yellow bar indicates the average quantize scale of the GOP. The double vertical line is a current time indicator which shows the timecode point currently referred. purple vertical line points at the top of closed GOP which is detected as a scene change point or which is a chapter point.
CHAPTER 9. VBR BIT ALLOCATION WINDOW Changing the upper and lower limit of the graph
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To change the lower and upper limit, click [+][] button above the graph. [Up][Down] button changes the value of the origin of Y-axis. The values of the limits are displayed in the left side of the buttons, and the unit of bitrate graph is Mbps. When you change the upper or lower limit of the graph, the graph will be stretched or squashed vertically. You can give an appearance you like. [#1][#2] button will help you to reset the graph with frequently used two patterns of the values.
9.2
Scrolling horizontally
To move the current time indicator, there are several ways listed below. Click the location on the graph you would like to go, then the current time indicator will point there. Drag the slider just below the graph. Click the following buttons below the left edge of the graph. [ < ], [ >] button You can move backward or forward in GOPs. [ << ], [ >> ] button You can make the screen scroll backward or forward. Seg [ < ],[ > ] button You can move backward or forward in segments. When you enter the destination timecode at the text box Move to in the left side below the graph then click button, you can put the current time indicator at the I picture of the destination GOP. You can also move to the timecodes whose button next to them. boxes have
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9.3
Setting a marker on frequently referred timecode
You can set a frequently referred timecode as a marker. Then you can move there by just selecting the marker. You can put a marker even if during encoding.
9.3.1
Setting a marker
Put a current time indicator on a timecode you would like to put a marker. Type the name of a marker in the box below the slider and click Set button next to the box.
9.3.2
Deleting a marker
When you delete a currently selected marker, click Delete button next to the Set button. When you delete all of the markers in the list, click Del all button.
9.3.3
Moving to a timecode pointed by a marker
To move to a marker point, select a marker in the marker list.
9.4
Current information
You can see the current bit allocation information in the middle part below the graph. Plan indicates newly planned bit allocation for the next encoding. Prev indicates the used bit allocation in the previous encoding. GOP shows the information for the GOP pointed by the current time indicator.
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If the current time indicator is located in the section where local bitrate setting is applied, Part shows the information for the section. File shows the information for the entire stream. Ideal shows the value calculated with given average bitrate and a number of elds between TC in and TC out.
9.5
Bitrate setting
You can modify the bitrate setting through the stream or partly, seeing the uctuation of the graph.
9.5.1
Global bitrate settings
You can modify the bitrate setting and V/C setting as you have done in center part of the (Settings) window. The modied setting will be applied through the stream. If you change the setting, the graph will be updated automatically. About the update of the graph, see Updating the graph described later.
9.5.2
Local bitrate settings
You can change the bitrate setting in a closed section in the lower middle of the window. And you can even keep the bit allocation used in the previous encoding in a closed section, discarding newly planned one. In/Out points of a closed section Specify In and Out points of a closed section you would like to change the bitrate setting in timecode boxes in the lower left of the window. The local bitrate will be applied from In to the just previous GOP of Out point you set.
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To specify In and Out points, you can type the timecodes to the boxes directly. Or clicking [ >> ] button will put the timecode pointed by the current time indicator into the box. Moreover, dragging the current time indicator or a timecode in Current information will put the timecode into the box. Get button If the current time indicator is in a closed section, Get button will put In and Out points into the boxes. Seg button If the current time indicator is in a segment, Seg button will put In and Out points of the segment into the boxes. All button All button will put In and Out points of the footage into the boxes. Setting bitrate You can modify the average, minimum, maximum bitrate and V/C setting. Get [Plan] bitrate button will put newly planned average bitrate for the next encoding into the box. Get [Prev] bitrate button will put used average bitrate in the previous encoding. These buttons will help you set values easier when you would like to raise the average bitrate a little more than that of the planned one or previous one. Keeping the previous bit allocation Keep average bitrate check box will put the previous bitrate setting into the boxes and lock the section not to apply any changes you made later. So, when you got a good result partly in the previous encoding, you can avoid loosing the quality of the parts. Even if you lock the bit allocation, the slightest modication may occur to keep VBV (Video Buer Verier) constraints of MPEG-2.
CHAPTER 9. VBR BIT ALLOCATION WINDOW Applying the changes
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To apply the local bitrate settings and update the graph, click Set button. When Keep average bitrate option is selected, Cinema Craft Encoder SP3 tries to keep the global average bitrate adjusting the bitrate out of the local bitrate setting parts of the footage when you encode the CU. You need at least 1-pass encode after local bitrate setting. Without Keep average bitrate option, Cinema Craft Encoder SP3 does not adjust the bitrate to keep the global average bitrate. (However, the slightest modication may occur to keep VBV constraints of MPEG-2.) It may cause the change of global average bitrate and the graph will be updated automatically. About the update of the graph, see Updating the graph described later. Segment re-encoding When you made any local bitrate setting, you can preview the change or replace a part of the existing stream with changed one. Encode button You can encode just a part of the footage and replace the part of the existing stream with modied one without long time encoding of the entire footage. Notice on segment re-encoding Encode carry out encoding in segments. A segment is an area between purple vertical lines on the graph. I frame inserted by automatic scene change detection will be recognized as a segment point. There are following limitations when replacing the stream by Encode button.
CHAPTER 9. VBR BIT ALLOCATION WINDOW It does not work on CBR streams.
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The maximum bitrate of a replacing segment should be consistent with the maximum bitrate of global setting. There can be a case that Cinema Craft Encoder SP3 automatically re-encodes more segments than you specied to keep VBV (Video Buer Verier) constraints of MPEG-2. Canceling the changes To cancel the local bitrate settings, click Reset button. If you cancel the setting, the graph will be updated automatically. About the update of the graph, see Updating the graph described later.
9.5.3
Updating the graph
When you make the changes, planning calculation for the renewed bit allocation will start. During the calculation, the indicator located near the lower right edge of the graph will turn to Busy from Ready. When nished calculation, the graph will be updated and the indicator will turn back to Ready. Note that the graph has not renewed until Busy turns to Ready. If you make the changes during Busy, bit allocation just during the calculation will be discarded and the calculation for the new one will start.
Chapter 10
Optional settings
In this chapter, option setting is described, which can be set from Option... menu.
10.1
Input
When Input... menu is selected, Input window is shown. In this window, you can specify two settings. File decoding Cinema Craft Encoder SP3 tries rst to decode a movie le in YUY2 format. If it works, it can skip color space conversion from RGB to Y Cb Cr , which causes loss of image quality. (But some of the movie les cannot be decoded in YUY2 format.) By default, Decode frames in YUY2 format if possible is selected. When the setting is cleared, source le is decoded as RGB format.
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CHAPTER 10. OPTIONAL SETTINGS Reading method for QuickTime movies
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Since the frame rate of QuickTime le may change in the middle of the stream, some frames may be used more than once, and some may not be used at all. To avoid this, select Do not duplicate or skip frames check box. Note that some QuickTime les may not be properly read with this option.
10.2
Setting extensions
You can change extensions for the following output les. Encoder control list MPEG-2 Video elementary stream MPEG-1 Video elementary stream MPEG-2 Program stream MPEG-1 System stream MPEG-1 Audio elementary stream Video CD Super Video CD Video information le Pulldown information le
10.3
Shutdown
Cinema Craft Encoder SP3 can shutdown the system when encoding is nished. To enable this feature, select Shutdown the system when encoding is nished..
Chapter 11
Watch folder
Using Watch folder function, Cinema Craft Encoder SP3 automatically encodes les placed in a specied folder. Here is the encoding procedure when using watch folder. 1. Specify a folder, source le type and setting le. 2. Start watching folder. 3. Move or copy les to be encoded to the specied folder.
11.1
Watch folder setting
To specify watch folders, select Edit | Watch Folders... menu of Main window to show Watch Folders setting window. Right click on the window and select Add.... Then Watch Folder window opens. Enter a folder name, le mask and setting le there.
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CHAPTER 11. WATCH FOLDER Folder name Specify a folder to be watched. Mask
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Specify le type to be watched. Initially it is set to *.* , which means all type should be watched. If you want olny AVI les to be watched, specify *.avi instead. Setting le Specify a setting le used at encoding time. The setting le used here is a le saved at section 4.5 Saving and loading the setting (p. 42).
11.2
Starting and stopping watch folder
To start watching folder, select File | Watch Folders menu of Main window. The check mark will be shown at Watch Folders menu. In this state, when you move or copy les to the specied folder, encoding automatically starts. To stop watching folder, select File | Watch Folders again to clear the check. You can use encoder while watching folders, though GUI response may be slow while encoding. Its better moving les rather than copying les to the watch folder. If you copy les, encoder may try to encode the le before the copy is nished, in which case encoder will have to retry encoding several times.
Chapter 12
View settings
In this chapter, view setting is described. View setting is a setting for Cinema Craft Encoder SP3s GUI, which does not aect encoding result at all. Save Saves the current layout of Cinema Craft Encoder SP3s GUI. Note that the layout is automatically saved on terminating Cinema Craft Encoder SP3. So the saved layout here is valid only during the current process is running. Reload Retrieves the GUIs layout last saved. Reset Reset the GUIs layout to the default state.
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CHAPTER 12. VIEW SETTINGS Font size...
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Species the font size of the font used in Main window. Valid value is from 6 to 36. A decimal fraction, such as 10.5, can be specied.
Chapter 13
Troubleshooting
If some troubles happen, see this chapter before contacting technical support. An error message is shown when starting to run encoder and it does not work properly. When the setting le, user.config is broken, Cinema Craft Encoder SP3 may not run properly. If it happens, remove user.config and try again. User.config is located in the following folder.
Local Application Data \Custom Technology\cce3.exe Url ...\version number
The location of Local Application Data depends on operating system or environment. When the operating system is Windows 7 or Windows Vista, the default folder is C:\Users\username \AppData\Local. VBV buer overow error shows and encoding failed. Under certain circumstances, VBV overow may occur during encoding. VBV is a hypothetical decoder that is conceptually con-
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CHAPTER 13. TROUBLESHOOTING
86
nected to the output of the encoder. Encoder stops encoding when the VBV causes buer overow. If this error occurred, change encoding parameters such as GOP conguration or bitrate setting, and encode it again. If possible, split the source le at the frame at which VBV buer overow happened, and encode them separately. When QuickTime le is used as a source le, some frames are duplicated. When the frame rate of the QuickTime le is slightly dierent from that of output MPEG le, the same frame may be used twice or skipped. To avoid these issues, open Input window by selecting Option | Input... in Main window, and select Do not duplicate or skip frames. I want to speed up encoding. To speed up encoding, use dierent drives for source le and output le. If possible, use another drive for video information le. When in multipass VBR/CBR mode, using intermediate le may increase encoding speed drastically if the source le requires resizing. The picture quality of encoded le is not very good. If source le is resized when encoding, resizing might caused the problem, not encoding. Try changing the Resize settings (p.34) and encode it again. When resizing does not matter, maybe its because the bitrate is too low for the movie, so increase bitrate and encode it again. If it was encoded in multipass VBR, you can partially increase bitrate. See VBR Bit allocation window (p.70) for the details.
CHAPTER 13. TROUBLESHOOTING
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The size of encoded le is bigger than that of source le. When source le is highly compressed, encoded le may grow bigger than the source le. Even if its happened, the picture quality of encoded le will not be better than that of source le. Somehow an application error occurs without any warning. If an application error occurred without any warning, start cce3.com from the command line next time, and use it normally. If an application error occurs in this state, stack trace will be shown on the command line. Then contact technical support with the information.

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Cinema Craft Encoder SP3 Users Guide

Custom Technology Corporation 2-12-4 Hirakawa-cho, Chiyoda-ku, Tokyo 102-0093 Japan

e-mail: support@cinemacraft.com web site: http://www.cinemacraft.com/ web site: http://www.ctech.co.jp/

CONTENTS 4.5 Saving and loading the setting . . . . . . . . . . . .

Output video format

Bitrate Frame rate Aspect ratio GOP conguration

Output audio format

Sampling frequency Quantization bits Mode

the case of one channel, the bitrate is half of each.

QuickTime les Still-image (sequence)

Sophisticated Motion Estimation

Automatic Field-based Scene Change Detection

AAGS: Advanced Adaptive GOP Structure

AAQM: Advanced Adaptive Quantize Matrix

VMPE: Virtual Multipass Encoding

Easy and exible Inverse 3:2 Pulldown with i32 le

Figure 2.1: Main window

Figure 2.2: Left pane

Figure 2.3: Upper right pane

CHAPTER 2. GETTING STARTED

Figure 2.4: Lower right pane

Figure 2.5: File menu Figure 2.6: Progress window

CHAPTER 2. GETTING STARTED

Saving and loading encoder control list

Command line options

CHAPTER 2. GETTING STARTED ecl lename

CHAPTER 3. ENCODING MODE VBR analysis pass

CHAPTER 3. ENCODING MODE Multipass VBR

CHAPTER 3. ENCODING MODE *Notice*

CHAPTER 3. ENCODING MODE

CHAPTER 4. MAIN WINDOW

Adding and removing an entry

CHAPTER 4. MAIN WINDOW

Adding and removing source les

CHAPTER 4. MAIN WINDOW

Viewing source movies

CHAPTER 4. MAIN WINDOW

Adding and removing markers

CHAPTER 4. MAIN WINDOW

Setting encoding parameters

Specifying output les

CHAPTER 4. MAIN WINDOW

Setting audio parameters

CHAPTER 4. MAIN WINDOW

CHAPTER 4. MAIN WINDOW

Setting video parameters

CHAPTER 4. MAIN WINDOW

CHAPTER 4. MAIN WINDOW Extra data

CHAPTER 4. MAIN WINDOW

CHAPTER 4. MAIN WINDOW Catmull-Rom Spline interpolation Lanczos interpolation

CHAPTER 4. MAIN WINDOW

CHAPTER 4. MAIN WINDOW Close all GOPs

CHAPTER 4. MAIN WINDOW

CHAPTER 4. MAIN WINDOW Minimize progressive/interlaced switching

CHAPTER 4. MAIN WINDOW

CHAPTER 4. MAIN WINDOW

CHAPTER 4. MAIN WINDOW

Saving and loading the setting

CHAPTER 5. SEGMENT WINDOW

Adding, modifying, and removing an entry

Details of setting items

CHAPTER 5. SEGMENT WINDOW

CHAPTER 3. ENCODING MODE Notice