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
Scanning methodAspect ratioFrame rate (fps)
Frame size
(pixels)Video format
Interlaced,
progressive
16:923.98 (progressive
only), 25, 29.97
1440 x 1080HD 1440 x 1080
Interlaced,
progressive
16:923.98 (progressive
only), 25, 29.97
1920 x 1080HD 1920 x 1080
Interlaced,
progressive
4:3 or 16:923.98, 25, 29.97640 x 480640 x 480 (1.33)
Interlaced,
progressive
4:3 or 16:923.98, 25, 29.97640 x 360640 x 360 (1.78)
Interlaced,
progressive
4:3 or 16:923.98, 25, 29.97640 x 352640 x 352 (1.82)
Interlaced,
progressive
4:3 or 16:923.98, 25, 29.97640 x 384640 x 384 (1.67)
Interlaced,
progressive
4:3 or 16:923.98, 25, 29.97640 x 320640 x 320 (2.00)
Understanding GOPs and Frame Types
A major feature of MPEG-2 encoding is its ability to remove redundancy, not only within
a frame, but also among a group of frames. MPEG-2 uses three frame types (I, P, and B)
to represent the video. A group of pictures (GOP) setting defines the pattern of the three
frame types used. These three picture types are defined in the following ways.
• Intra (I): Also known as the key frame. Every GOP contains one I-frame. The I-frame is
the only MPEG-2 frame type which can be fully decompressed without any reference
to frames that precede or follow it. It is also the most data-heavy, requiring the most
disk space. If you want to place an I-frame at a scene change or some other specific
frame location, you need to manually set it using the Preview window. This is known
as a forced I-frame. See Adding Markers to a Clip for more information.
• Predicted (P): Encoded from a “predicted” picture based on the closest preceding I- or
P-frame. P-frames typically require much less disk space than do I-frames because they
reference a preceding I- or P-frame in the GOP.
Note: Both I-frames and P-frames are also known as reference frames, because a B-frame
may refer to either one or both frame types.
• Bi-directional (B): Encoded from an interpolation of succeeding and preceding reference
frames, either I-frame or P-frame. B-frames are the most storage-efficient MPEG-2 frame
type, requiring the least amount of disk space.
The use of B- and P-frames is what allows MPEG-2 to remove temporal redundancy,
contributing to its ability to compress video efficiently.
209Chapter 18 Creating MPEG-2 Output Files