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
Understanding Codecs
Codec stands for compressor (CO)/decompressor (DEC) pairs. You use different codecs for
different playback methods (such as the web or DVD). Once you know the playback
method of your target audience, you can pick a suitable codec. To decide which codec
is right for your needs, you must choose the necessary level of compression to meet your
data rate limits and the level of quality you want.
The following sections discuss issues to be aware of when selecting a video or audio
codec.
QuickTime Video Codecs
Each codec offers advantages and disadvantages. Some are more appropriate for storing
certain types of media; others introduce more artifacts. Some compress slowly and
decompress quickly, while others compress and decompress at the same speed. Some
codecs can compress a file to 1/100 of its original size, while others decrease the file size
very little. Some codecs are available only on specific operating system platforms, some
require a particular processor, and some require a minimum version of QuickTime for
playback.
When choosing a codec you should consider the following:
• Minimum system requirements of your target audience
• Source material
• Quality of the compressed media file
• Size of the compressed media file
• Compression/decompression time for the media file
• If the media file will be streamed
Compressor comes equipped with the standard video codecs that QuickTime offers and
the additional codec options that come with QuickTime Pro. Unless you know that people
in your target audience have a particular codec installed on their computers, you should
use one of the standard QuickTime codecs to ensure universal conformity.
Note: See the relevant QuickTime documentation for more information about choosing
video codecs and how to get the best out of the video codec settings.
Video codecs can be divided into the following two types:
• Lossless codecs: Lossless codecs completely preserve the data they compress and are
usually used to transfer footage from one editing suite to another. Lossless codecs can
require high data rates and high-end computers with specialized hardware. Examples
of lossless codecs are the Animation, 8-bit, and 10-bit uncompressed 4:2:2 codecs.
246 Chapter 20 Creating QuickTime Movie Output Files