3
Table Of Contents
- Compressor 3 User Manual
- Contents
- Welcome to Compressor
- Getting Started Quickly
- Ways to Use Compressor
- The Basic Transcoding Workflow
- The Compressor Interface
- Setting Compressor Preferences
- Importing Source Media Files
- Creating, Previewing, and Modifying Settings
- Finalizing Jobs and Submitting Batches
- Creating AIFF Files
- Creating Dolby Digital Professional Output Files
- About the Dolby Digital Professional Encoder Pane
- General Information About Creating Dolby Digital Professional Files
- Converting Stereo Audio Files to Dolby Digital Professional Format
- Assigning Files to Surround Sound Channels (Manual Method)
- Assigning Files to Surround Sound Channels (Automatic Methods)
- Assigning Files to Surround Sound Channels with Droplets
- Options for Spatial Mixing
- Creating DV Stream Output Files
- Creating H.264 for Apple Devices Output Files
- Creating H.264 for DVD Studio Pro Output Files
- Creating H.264 for Blu-ray Disc
- Creating Image Sequence Files
- Creating MP3 Output Files
- Creating MPEG-1 Output Files
- Common Uses for MPEG-1
- MPEG-1 Specifications
- About the MPEG-1 Encoder Pane
- About the MPEG-1 Video Tab
- About the MPEG-1 Audio Tab
- About System and Elementary Streams
- MPEG-1 Transcoding Workflow
- Configuring the MPEG-1 File Format for Web Use
- Configuring the MPEG-1 File Format for DVD Use
- Creating the MPEG-1 Video for DVD Setting
- Creating the MPEG-1 Audio for DVD Setting
- Optional—Creating an MPEG-1 for DVD Group and Destination
- Creating MPEG-2 Output Files
- Creating MPEG-4 Output Files
- About MPEG-4 Part 2
- About the MPEG-4 Part 2 Encoder Pane
- Using Default MPEG-4 Part 2 Settings
- Customizing MPEG-4 Part 2 Settings
- Audio Podcasting Workflow
- Stage 1: Configuring the MPEG-4 Output for Audio-Only Output
- Stage 2: Including Podcasting Information
- Stage 3: Applying the Setting to a Source Media File’s Target
- Stage 4: Entering Annotations for the Output Media File
- Stage 5: Creating and Configuring Markers for the Output Media File
- Stage 6: Submitting the Job and Verifying the Output Media File
- Adding Additional Settings and Presets
- Creating QuickTime Movie Output Files
- Creating QuickTime Export Component Files
- Adding Filters to a Setting
- Working with Frame Controls
- Adding Geometry Settings
- Adding Actions
- Using the Preview Window
- Creating and Changing Destinations
- Using Droplets
- Appendix A: Keyboard Shortcuts
- Appendix B: Solving Problems
- Resources for Solving Problems
- Solutions to Common Problems
- Exporting from Final Cut Pro and Distributed Processing
- QuickTime Reference Movies
- Cluster Settings for Extended Transcoding Sessions
- Cleaning Up Cluster Storage
- Using Apple Qmaster with an NFS Server
- Apple Qmaster Distributed Processing and Xsan
- Compressor Command-Line Usage Requires Login
- Create Blu-ray Disc Job Action
- Contacting AppleCare Support
- Appendix C: Using the Command Line
- Installing Apple Qmaster from the Command Line
- Using the Command Line for Distributed Processing
- Using Scripts to Run Apple Qmaster, Compressor, and Batch Monitor
Note: The average bit-rate setting directly controls the size of the encoded file. The
maximum bit-rate setting does not affect the encoded file’s size.
• Maximum Bit Rate slider and field: Choose the maximum bit rate by dragging the slider
or entering a number into the accompanying field. See About Choosing the Bit Rates
for more information. The range available to you depends on the Stream Usage setting.
See Stream Usage for more information.
Note: This slider is only available with the VBR modes and cannot be set lower than
the average bit rate.
• Motion Estimation pop-up menu: This menu is another trade-off between image quality
and processing time, especially if there is a lot of motion in the source file. The three
options in this menu are described below.
Note: Choose a motion estimation mode from the Motion Estimation pop-up menu
that is appropriate for the encoding mode you have selected from the five possibilities
in the Mode pop-up menu. Use the Good motion estimation mode for one pass, the
Better mode for the “One pass VBR” and “Two pass VBR” modes, and the Best mode
for “One pass VBR Best” and “Two pass VBR Best.” Any of the motion estimation modes
work with any of the encoding modes, but these combinations are most suitable.
• Good: The fastest motion estimation setting. This mode does well even with significant
amounts of motion between frames, if the motion has minimal interfield motion
within frames. For example, footage that has been exposed to frame-rate conversion
or other effects processes tends to have little interfield motion. In general, use Good
with the one-pass encoding mode.
• Better: A good general-purpose motion estimation setting. The Better mode provides
good results even with complex interlaced motion. Better works well for almost all
types of interlaced video sources, even shaky footage from hand-held consumer
camcorders. In general, use Better with “One pass VBR” and “Two pass VBR.” If you
are using a progressive video format, the Better mode will do only frame-based
motion estimation, and not field-based motion-vector searching, which is not relevant
for progressive source. In this case the Better mode will run somewhat faster.
• Best: This is the highest-quality motion estimation setting and should be used for
the most demanding and complex motion for interlaced sources. It is slower than
the Better mode. In general, use the Best mode to maximize quality when using “One
pass VBR Best” or “Two pass VBR Best.”
GOP Tab
You use the GOP (group of pictures) tab to select a GOP format, structure, and size. It
contains the following controls. See Understanding GOPs and Frame Types for more
information.
204 Chapter 18 Creating MPEG-2 Output Files










