Magic dvd ripper best quality settings

December 28, 2021 / Rating: 4.5 / Views: 713

Related Images "Magic dvd ripper best quality settings" (18 pics):

Magic dvd ripper best quality settings

Recommended DVD Ripping Settings for Best Quality, Speed, and Size The best video format for DVD Rip For archival, rip DVD to ISO image to archive a 11 copy of the media and all menus, data, etc. large size, original quality or remux the DVD to MPEG2 to maintain the same quality; for better playback and highest compatibility, convert DVD to H.264/AAC to suit Plex, Kodi, TV, any playback.

Best DVD Ripping Settings with Fast Speed, Good Quality.
Can any one tell me the best setting to rip a DVD to VCD in DVD quality? You're going to be limited to small length clips here. I use Magic DVD Ripper and I'm not sure if it's just that the software can't do a good enough job Plus I'm not worried about best quality for file size, I don't care about about big the file size is Your going to run into major problems with quality, or lack of it!! Upgrade to a dvd writer and do 1:1 copy of said dvd, theres countless amounts of software which will do this. Resolution Everything I try The pixels are still blocky Also what is the best DVD Ripping software for this? Converting said 4.7gb dvd (mpeg2) into a 700mb vcd (mpeg1, which has worse compression) is going to look pretty bad no matter what you do! You've explained the problem you're having by what you're trying to achieve. A commercial DVD is dual layer, so around 8 GB and a VCD is on a CD with 0.7GB, soo... if you want to downscale a full commercial DVD, expect some significant reduction in picture quality. That said if you're converting a 20 min DVD clip then you should be able to get close to DVD quality within the space available. DVD resolution is 720 x 576i PALVideo bitrate for DVD is max of around 8300 kbps and audio will sound the same for most cases if you use around 200 kbps.(The units for above may be wrong, but the values are right). Remember you can only convert something you own yourself. As was mentioned above 700mb is not good quality, it just acceptable, when u want watch a movie on laptop, but when quality is needed... (sure not HD or BD or DVD) but still quality :)Size: 1.4Gb Video: 704x288 (2.44:1), 25 fps, Xvi D MPEG-4 ~1756 kbps avg, 0.35 bit/pixel Audio: 48 k Hz, AC3 Dolby Digital, 3/2 (L, C, R,l,r) LFE ch, ~448.00 kbps avg I use MPEG Streamclip on the Mac to pull content off DVD's, there are plenty of setting etc to choose from so you should be able to find one that fits what you are after assuming you are using a Mac (why wouldn't you be). It's also handy as you can set in and out points etc. You can find it at I guess I should rephrase the VCD to MPEG, It doesn't have to fit on a CD, I'm backing up all my DVD's on my External Hard Drive, But I also want to be able to watch them from the external hard drive. I just rip as they are and then shrink to remove the 2 channel, spanish, french, german, 5.1ac3 when dts is there and all the other stuff like trailers etc. If I do recompress I will go to h264 at about 1800 - can usually get 2 movies on a dvd-r with that For ripping to HDD use a program like DVD decrypter (if you can find it...) or DVDfab decrypter or even DVD shrink. From here you can choose to not compress and use a program like VLC, Power DVD, or even Windows Media Centre to play the files as though you were playing them from a DVD - complete with menus etc. If you want to compress the main movie down to a single file then Handbrake is your friend! Anydvd HD can rip the DVD or Blu-ray structure to hard drive, whereas Clone DVD can rip to ISO images, or folders as well. Using H.264 encoding you can get a 1.2-1.4 GB file with quality you'd be hard pressed to find fault with. Clone DVD also allows the removal of chapters, menus, ads, warnings, special features, etc and you can choose the disc size you want to compress to, CD, dvd, dvd dl, no compression, etc Another tool would be required to compress to a different format. I normally just rip the main content to folders and do not change the format or structure.cheersdb Home Server: AMD Threadripper 1950X, 64GB, 56TB HDD, Define R6 Case, 10Gb E, ESXi 6.7, UNRAID, Next PVR, Emby Server, Plex Server. Lounge Media Center: NVIDIA Shield TV 16GB: Kodi18 with Titan MOD, Emby. Kids Media Center: NVIDIA Shield TV 16GB: Kodi18 with Titan MOD, Emby. Main PC: Ryzen 7 2700, 16GB RAM, RX 570, 2 x 24" Are you subscribed to our RSS feed? You can download the latest headlines and summaries from our stories directly to your computer or smartphone by using a feed reader. Alternatively, you can receive a daily email with Geekzone updates.Different types of Scaffolding used for various types of construction. The 8 types of scaffoldings are trestle, steel, patented, suspended, cantilever, single, double, kwikstage scaffolding etc. To understand these Scaffoldings completely lets first learn its definition and then the uses of various Type of Scaffoldings, and their uses. In this blog you’ll find the most important scaffolding types with their images and explanation. By understanding the meaning, usage, purpose and results of each type of Scaffolding. You can easily select the various types of Scaffolding required for your construction work. This is also helpful in creating a safer environment for construction workers. Keep yourself updated from latest article about most trending products and share your thoughts.– By popular demand, I have decided to update my two articles on how to quickly and easily produce great quality DVD and Blu Ray video encodes with Handbrake. The program interface has changed, the H.264 codec has been refined, and the TV’s we view our movies on have evolved dramatically since writing the original articles. – To produce the highest quality video with the smallest possible file size, whilst retaining the entire original 5.1 Dolby Digital sound track. DVD’s playing on todays large 4K TV’s look terrible due to their low resolution. We will also use Handbrakes filters to clean up the picture quality. , so my advice is to let run whilst you are sleeping each night. Unfortunately, good quality video with small file size cant be done quickly, it just doesn’t work that way. We all have different size TV’s, different size and shape rooms, different players and a plethora of other factors that could produce varying results. This is a guideline, and a great place for a beginner to start. If you feel there is something that could be done better, or should be done differently, please feel free to let us all know by leaving a comment. – My TV is a 65″ Samsung 4K which I absolutely love, and sit about 10-12 feet back from. I play the media from a Apple TV 4K, and use the Infuse Pro 5 player app. The video is encoded on a 3-4 year old HP desktop computer with a Intel I5 processor. The version of Handbrake used in this tutorial is v1.2.0 which is the current stable release for February 2019. Once you have the current version installed and have ripped your DVD video, drop your file into Handbrake, or you can also click the “Open Source” button in the top bar to load your video file. Handbrake utilizes 7 tabs to help you navigate though setting up the desired video file output parameters. Once your video has loaded you should find yourself on the “Summary” tab. This is where we will clean up that blocky grainy low resolution video so it looks better on a large HD TV. For the most part TV shows seem to be interlaced, where as most movies are progressive scan. Then for Framerate, change it to “Same As Source” and make sure “Constant Frame Rate” is selected. If not, click Summary The only thing we need to be concerned with here is the MP4/MKV option. My personal preference is MKV, so I have changed this option. Handbrake has gotten really good at automatically picking the right video output size settings, so I recommend not touching anything in this window. In my opinion everything should be progressive, interlacing is horrible. I find this really helps keep the video and audio in sync. We are going to set Handbrake up so it doesn’t matter what kind your source video is, your output will always be progressive. Leave the preset at “Default” and detection at “Default”. For the Denoise option select “hqdn3d” and make the preset “Medium”. In the “Optimize Video” section, set the encode speed to Very Slow. Leave the Sharpen option off, and set Deblock to 5. This is a critical step, as if you pick a faster encode rate the quality will suffer dramatically. ( This is the secret sauce behind gorgeous encodes in my humble opinion. Once you have completed all of these steps, move to the Audio Tab. My source video has a Dolby Digital 2 Channel AC3 sound track, which I want to preserve in its entirety, so I am going to select “Pass Thru” which allows the audio track to pass through Handbrake untouched and un-modified. I am a real Audiofile, I love the Dolby Digital and DTS 5-7 channel audio tracks in movies, so I select “Auto Pass Thru”. But, if regular 2 channel Stereo is ok for you, you can configure that in this area if you want. I figure you are looking for best video quality, you might as well have the best sound quality as well. Just select the AC3 or DTS sound track from the drop down window, and choose “Passthru”. If you are only doing one file, press “Start Encode”, and your computer will start crunching down the video. Something to keep in mind here is that not all TV’s play DTS these days, so if yours cant, and your source file has a DTS sound track, you are best to convert it to AC3 here. As I don’t want any subtitles, I am going to click the red X on the right side to completely remove all reference to subtitles from the encode. As most media players now allow you to scroll pretty quickly through movie files, I no longer place chapter markers in my encodes. If you want to encode multiple files using these setting, click “Add to Queue”, then drag in your second title. Once it has finished importing, just press “Add to Queue” again to add it for encoding using the same settings. Once all of your subsequent files have been added to the queue, press “Start Encode” to get things moving. It might also be a good idea at this time to create a Preset for these settings, so you don’t have to enter them all manually each time you want to use them. – As I said earlier, this is a guideline, and a great place for a beginner to start. I recommend starting with these settings and then tweaking here and there to get things perfect for your set up. The best way to do this is to use a free movie splitter and take out 2-3 minutes of your movie and encode that first as a test. This way you can make adjustments fast without having to wait for the whole movie to encoded. Adjust your test segment then play it on your TV, if it needs adjusting, fix it up and re-encode it again and again until it is just perfect, then do the whole movie. The only setting you will need to adjust if you find the picture contains artifacts is the “Constant Quality” slider. Slide it 20 or 19 to clean the video up, but beware, this will push the file size up.Magic DVD Ripper is a powerful and easy-to-use DVD backup software. It can copy protected DVD to hard drive with 3 optional mode (disc fully, main movie, split DVD-9 into DVD-5). It can also convert DVD to VCD, SVCD, AVI(Xvid, Div X), WMV, MP3, MPEG2, MP4(for i Pod, i Pad, i Phone, PSP, PS3, mobile phone etc. You can enjoy them anytime without DVD discs, or burn them to blank discs by burning software. With optimized for Intel CPU, Magic DVD Ripper provides fast ripping speed and wonderful output quality. It supports batch converting and has many settings that you can customize. And it automatically detect DVD-ROM and select appropriate settings for beginner, so you can get started with just one click. Key Features * Convert DVD to Xvid, Div X or other AVI formats * Convert DVD to WMV * Convert DVD to MP4 (for i Pod, i Pad, PSP, PS3, smartphone or other mp4 player) * Convert DVD to MPEG2 * Convert DVD to MP3 * Convert DVD to VCD or SVCD * Copy DVD movie to hard drive without any loss of quality * Remove all the restrictions of DVD (CSS, Region, RCE, Sony ARcc OS, Puppet Lock) * Automatically download the decryption files for new protection DVDs we've fixed * Copy main movie only or split DVD-9 into 2 DVD-5 * Compress DVD to fit on a 4.7 GB disc * Very easy to use, just by one click * High ripping speed and wonderful output quality Magic DVD Ripper is a product developed by Magic Dvd Software. This site is not directly affiliated with Magic Dvd Software. All trademarks, registered trademarks, product names and company names or logos mentioned herein are the property of their respective owners. All informations about programs or games on this website have been found in open sources on the Internet. When visitor click 'Download now' button files will downloading directly from official sources(owners sites). QP Download is strongly against the piracy, we do not support any manifestation of piracy. If you think that app/game you own the copyrights is listed on our website and you want to remove it, please contact us. Please find the DMCA / Removal Request below.[OFFICIAL] Get Mac X DVD Ripper Pro License Code/Serial Key 2018 [Safe and Virus-FREE] Mac X DVD Ripper Pro is a world-renown DVD ripper for Mac software that can digitizes DVD movie collections to MP4, MOV, MKV, AVI and other formats for easy storing, playing, and sharing. DOWNLOAD Magic DVD Ripper 5.4.2 SERIAL NUMBER The serial number for Magic is available This release was created for you, eager to use Magic DVD Ripper 5.4.2 full and with without limitations. You may send an email to support [at] for all DMCA / Removal Requests. You can find a lot of useful information about the different software on our QP Download Blog page. How do I uninstall Magic DVD Ripper in Windows Vista / Windows 7 / Windows 8? Download Magic DVD Ripper from official sites for free using Additional information about license you can found on owners sites. Just click the free Magic DVD Ripper download button at the top left of the page. Clicking this link will start the installer to download Magic DVD Ripper free for Windows. The free Magic DVD Ripper download for PC works on most current Windows operating systems. Your search for Magic Ripper may return better results if you avoid searching for words like: crack, serial, keygen, activation, code, hack, cracked, etc. If you still have trouble finding Magic Ripper after simplifying your search term then we recommend using the alternative full download sites (linked above).One frequently asked question is "How do I make the highest quality rip for a given size? Another question is "How do I make the highest quality DVD rip possible? I do not care about file size, I just want the best quality." The latter question is perhaps at least somewhat wrongly posed. After all, if you do not care about file size, why not simply copy the entire MPEG-2 video stream from the the DVD? Sure, your AVI will end up being 5GB, give or take, but if you want the best quality and do not care about size, this is certainly your best option. In fact, the reason you want to transcode a DVD into MPEG-4 is specifically because you care about file size. It is difficult to offer a cookbook recipe on how to create a very high quality DVD rip. There are several factors to consider, and you should understand these details or else you are likely to end up disappointed with your results. Below we will investigate some of these issues, and then have a look at an example. We assume you are using to encode the video, although the theory applies to other codecs as well. If this seems to be too much for you, you should probably use one of the many fine frontends that are listed in the MEncoder section of our related projects page. That way, you should be able to achieve high quality rips without too much thinking, because most of those tools are designed to take clever decisions for you. Before you even think about encoding a movie, you need to take several preliminary steps. The first and most important step before you encode should be determining what type of content you are dealing with. If your source material comes from DVD or broadcast/cable/satellite TV, it will be stored in one of two formats: NTSC for North America and Japan, PAL for Europe, etc. It is important to realize, however, that this is just the formatting for presentation on a television, and often does correspond to the original format of the movie. Experience shows that NTSC material is a lot more difficult to encode, because there more elements to identify in the source. In order to produce a suitable encode, you need to know the original format. Failure to take this into account will result in various flaws in your encode, including ugly combing (interlacing) artifacts and duplicated or even lost frames. Besides being ugly, the artifacts also harm coding efficiency: You will get worse quality per unit bitrate. Movies consisting of frames are referred to as progressive, while those consisting of independent fields are called either interlaced or video - though this latter term is ambiguous. To further complicate matters, some movies will be a mix of several of the above. The most important distinction to make between all of these formats is that some are frame-based, while others are field-based. a movie is prepared for display on television (including DVD), it is converted to a field-based format. The various methods by which this can be done are collectively referred to as "telecine", of which the infamous NTSC "3:2 pulldown" is one variety. Unless the original material was also field-based (and the same fieldrate), you are getting the movie in a format other than the original. There are also methods for converting between NTSC and PAL video, but such topics are beyond the scope of this guide. If you encounter such a movie and want to encode it, your best bet is to find a copy in the original format. Conversion between these two formats is highly destructive and cannot be reversed cleanly, so your encode will greatly suffer if it is made from a converted source. When video is stored on DVD, consecutive pairs of fields are grouped as a frame, even though they are not intended to be shown at the same moment in time. The MPEG-2 standard used on DVD and digital TV provides a way both to encode the original progressive frames and to store the number of fields for which a frame should be shown in the header of that frame. If this method has been used, the movie will often be described as "soft-telecined", since the process only directs the DVD player to apply pulldown to the movie rather than altering the movie itself. This case is highly preferable since it can easily be reversed (actually ignored) by the encoder, and since it preserves maximal quality. However, many DVD and broadcast production studios do not use proper encoding techniques but instead produce movies with "hard telecine", where fields are actually duplicated in the encoded MPEG-2. The procedures for dealing with these cases will be covered later in this guide. For now, we leave you with some guides to identifying which type of material you are dealing with: It is possible to encode your movie at a wide range of qualities. With modern video encoders and a bit of pre-codec compression (downscaling and denoising), it is possible to achieve very good quality at 700 MB, for a 90-110 minute widescreen movie. Furthermore, all but the longest movies can be encoded with near-perfect quality at 1400 MB. There are three approaches to encoding the video: constant bitrate (CBR), constant quantizer, and multipass (ABR, or average bitrate). The complexity of the frames of a movie, and thus the number of bits required to compress them, can vary greatly from one scene to another. Modern video encoders can adjust to these needs as they go and vary the bitrate. In simple modes such as CBR, however, the encoders do not know the bitrate needs of future scenes and so cannot exceed the requested average bitrate for long stretches of time. More advanced modes, such as multipass encode, can take into account the statistics from previous passes; this fixes the problem mentioned above. support multipass, which slightly improves quality at each pass, yet this improvement is no longer measurable nor noticeable after the 4th or so pass. Therefore, in this section, two pass and multipass will be used interchangeably. ) breaks the video frame into 16x16 pixel macroblocks and then applies a quantizer to each macroblock. The lower the quantizer, the better the quality and higher the bitrate. The method the movie encoder uses to determine which quantizer to use for a given macroblock varies and is highly tunable. (This is an extreme over-simplification of the actual process, but the basic concept is useful to understand.) When you specify a constant bitrate, the video codec will encode the video, discarding detail as much as necessary and as little as possible in order to remain lower than the given bitrate. If you truly do not care about file size, you could as well use CBR and specify a bitrate of infinity. (In practice, this means a value high enough so that it poses no limit, like 10000Kbit.) With no real restriction on bitrate, the result is that the codec will use the lowest possible quantizer for each macroblock (as specified by , which is 2 by default). As soon as you specify a low enough bitrate that the codec is forced to use a higher quantizer, then you are almost certainly ruining the quality of your video. In order to avoid that, you should probably downscale your video, according to the method described later on in this guide. In general, you should avoid CBR altogether if you care about quality. With constant quantizer, the codec uses the same quantizer, as specified by the of 2. The problem with constant quantizing is that it uses the given quantizer whether the macroblock needs it or not. That is, it might be possible to use a higher quantizer on a macroblock without sacrificing visual quality. Why waste the bits on an unnecessarily low quantizer? Your CPU has as many cycles as there is time, but there is only so many bits on your hard disk. With a two pass encode, the first pass will rip the movie as though it were CBR, but it will keep a log of properties for each frame. This data is then used during the second pass in order to make intelligent decisions about which quantizers to use. During fast action or high detail scenes, higher quantizers will likely be used, and during slow moving or low detail scenes, lower quantizers will be used. Normally, the amount of motion is much more important than the amount of detail. Since you are now convinced that two pass is the way to go, the real question now is what bitrate to use? Ideally you want to choose a bitrate that yields the best balance between quality and file size. This is going to vary depending on the source video. If size does not matter, a good starting point for a very high quality rip is about 2000Kbit plus or minus 200Kbit. For fast action or high detail source video, or if you just have a very critical eye, you might decide on 2400 or 2600. For some DVDs, you might not notice a difference at 1400Kbit. It is a good idea to experiment with scenes at different bitrates to get a feel. If you aim at a certain size, you will have to somehow calculate the bitrate. But before that, you need to know how much space you should reserve for the audio track(s), so you should rip those first. You can compute the bitrate with the following equation: Due to the nature of MPEG-type compression, there are various constraints you should follow for maximal quality. MPEG splits the video up into 16x16 squares called macroblocks, each composed of 4 8x8 blocks of luma (intensity) information and two half-resolution 8x8 chroma (color) blocks (one for red-cyan axis and the other for the blue-yellow axis). Even if your movie width and height are not multiples of 16, the encoder will use enough 16x16 macroblocks to cover the whole picture area, and the extra space will go to waste. So in the interests of maximizing quality at a fixed file size, it is a bad idea to use dimensions that are not multiples of 16. Most DVDs also have some degree of black borders at the edges. Leaving these in place will hurt quality In addition to frequency domain transforms, MPEG-type compression uses motion vectors to represent the change from one frame to the next. Motion vectors naturally work much less efficiently for new content coming in from the edges of the picture, because it is not present in the previous frame. As long as the picture extends all the way to the edge of the encoded region, motion vectors have no problem with content moving out the edges of the picture. However, in the presence of black borders, there can be trouble: For all of these reasons, it is recommended to fully crop black borders. Further, if there is an area of noise/distortion at the edge of the picture, cropping this will improve encoding efficiency as well. Videophile purists who want to preserve the original as close as possible may object to this cropping, but unless you plan to encode at constant quantizer, the quality you gain from cropping will considerably exceed the amount of information lost at the edges. Recall from the previous section that the final picture size you encode should be a multiple of 16 (in both width and height). This can be achieved by cropping, scaling, or a combination of both. When cropping, there are a few guidelines that must be followed to avoid damaging your movie. The normal YUV format, 4:2:0, stores chroma (color) information subsampled, i.e. chroma is only sampled half as often in each direction as luma (intensity) information. Observe this diagram, where L indicates luma sampling points and C chroma. If they are not, the chroma will no longer line up correctly with the luma. In theory, it is possible to crop with odd offsets, but it requires resampling the chroma which is potentially a lossy operation and not supported by the crop filter. Further, interlaced video is sampled as follows: As you can see, the pattern does not repeat until after 4 lines. So for interlaced video, your y-offset and height for cropping must be multiples of 4. Native DVD resolution is 720x480 for NTSC, and 720x576 for PAL, but there is an aspect flag that specifies whether it is full-screen (4:3) or wide-screen (16:9). Many (if not most) widescreen DVDs are not strictly 16:9, and will be either 1.85:1 or 2.35:1 (cinescope). This means that there will be black bands in the video that will need to be cropped out. and it will print out the crop settings to remove the borders. You should let the movie run long enough that the whole picture area is used, in order to get accurate crop values. Then, test the values you get with filter can help by allowing you to interactively position the crop rectangle over your movie. Remember to follow the above divisibility guidelines so that you do not misalign the chroma planes. Scaling in the vertical direction is difficult with interlaced video, and if you wish to preserve the interlacing, you should usually refrain from scaling. If you will not be scaling but you still want to use multiple-of-16 dimensions, you will have to overcrop. Do not undercrop, since black borders are very bad for encoding! Because MPEG-4 uses 16x16 macroblocks, you will want to make sure that each dimension of the video you are encoding is a multiple of 16 or else you will be degrading quality, especially at lower bitrates. You can do this by rounding the width and height of the crop rectangle down to the nearest multiple of 16. As stated earlier, when cropping, you will want to increase the Y offset by half the difference of the old and the new height so that the resulting video is taken from the center of the frame. And because of the way DVD video is sampled, make sure the offset is an even number. (In fact, as a rule, never use odd values for any parameter when you are cropping and scaling video.) If you are not comfortable throwing a few extra pixels away, you might prefer to scale the video instead. You can actually let the parameter that is equal to 16 by default. Also, be careful about "half black" pixels at the edges. Make sure you crop these out too, or else you will be wasting bits there that are better spent elsewhere. After all is said and done, you will probably end up with video whose pixels are not quite 1.85:1 or 2.35:1, but rather something close to that. You could calculate the new aspect ratio manually, but that will do this for you. Absolutely do not scale this video up in order to square the pixels unless you like to waste your hard disk space. Scaling should be done on playback, and the player will use the aspect stored in the AVI to determine the correct resolution. Unfortunately, not all players enforce this auto-scaling information, therefore you may still want to rescale. If you will not be encoding in constant quantizer mode, you need to select a bitrate. It is the (average) number of bits that will be consumed to store your movie, per second. Normally bitrate is measured in kilobits (1000 bits) per second. The size of your movie on disk is the bitrate times the length of the movie in time, plus a small amount of "overhead" (see the section on the AVI container for instance). will Past guides have recommended choosing a bitrate and resolution based on a "bits per pixel" approach, but this is usually not valid due to the above reasons. A better estimate seems to be that bitrates scale proportional to the square root of resolution, so that 320x240 and 400 kbit/sec would be comparable to 640x480 at 800 kbit/sec. However this has not been verified with theoretical or empirical rigor. Further, given that movies vary greatly with regard to noise, detail, degree of motion, etc., it is futile to make general recommendations for bits per length-of-diagonal (the analog of bits per pixel, using the square root). So far we have discussed the difficulty of choosing a bitrate and resolution. The following steps will guide you in computing the resolution of your encode without distorting the video too much, by taking into account several types of information about the source video. First, you should compute the encoded aspect ratio: Okay, but what is the CQ? The CQ represents the number of bits per pixel and per frame of the encode. Roughly speaking, the greater the CQ, the less the likelihood to see encoding artifacts. However, if you have a target size for your movie (1 or 2 CDs for instance), there is a limited total number of bits that you can spend; therefore it is necessary to find a good tradeoff between compressibility and quality. The CQ depends on the bitrate, the video codec efficiency and the movie resolution. In order to raise the CQ, typically you would downscale the movie given that the bitrate is computed in function of the target size and the length of the movie, which are constant. With MPEG-4 ASP codecs such as , a CQ below 0.18 usually results in a pretty blocky picture, because there are not enough bits to code the information of each macroblock. (MPEG4, like many other codecs, groups pixels by blocks of several pixels to compress the image; if there are not enough bits, the edges of those blocks are visible.) It is therefore wise to take a CQ ranging from 0.20 to 0.22 for a 1 CD rip, and 0.26-0.28 for 2 CDs rip with standard encoding options. More advanced encoding options such as those listed here for 's advanced encoding settings. Please take note that the CQ is just an indicative figure, as depending on the encoded content, a CQ of 0.18 may look just fine for a Bergman, contrary to a movie such as The Matrix, which contains many high-motion scenes. On the other hand, it is worthless to raise CQ higher than 0.30 as you would be wasting bits without any noticeable quality gain. Also note that as mentioned earlier in this guide, low resolution videos need a bigger CQ (compared to, for instance, DVD resolution) to look good. 's video filters is essential to producing good encodes. All video processing is performed through the filters -- cropping, scaling, color adjustment, noise removal, sharpening, deinterlacing, telecine, inverse telecine, and deblocking, just to name a few. Along with the vast number of supported input formats, the variety of filters available in Most filters take several numeric options separated by colons, but the syntax for options varies from filter to filter, so read the man page for details on the filters you wish to use. Filters operate on the video in the order they are loaded. For example, the following chain: will first crop the 688x464 region of the picture with upper-left corner at (12,4), and then scale the result down to 640x464. Certain filters need to be loaded at or near the beginning of the filter chain, in order to take advantage of information from the video decoder that will be lost or invalidated by other filters. The principal examples are (for converting soft telecine to hard telecine). In general, you want to do as little filtering as possible to the movie in order to remain close to the original DVD source. Cropping is often necessary (as described above), but avoid to scale the video. Although scaling down is sometimes preferred to using higher quantizers, we want to avoid both these things: remember that we decided from the start to trade bits for quality. Also, do not adjust gamma, contrast, brightness, etc. What looks good on your display may not look good on others. One thing you might want to do, however, is pass the video through a very light denoise filter, such as Almost all movies are shot at 24 fps. Because NTSC is 30000/1001 fps, some processing must be done to this 24 fps video to make it run at the correct NTSC framerate. The process is called 3:2 pulldown, commonly referred to as telecine (because pulldown is often applied during the telecine process), and, naively described, it works by slowing the film down to 24000/1001 fps, and repeating every fourth frame. No special processing, however, is done to the video for PAL DVDs, which run at 25 fps. (Technically, PAL can be telecined, called 2:2 pulldown, but this does not become an issue in practice.) The 24 fps film is simply played back at 25 fps. The result is that the movie runs slightly faster, but unless you are an alien, you probably will not notice the difference. Most PAL DVDs have pitch-corrected audio, so when they are played back at 25 fps things will sound right, even though the audio track (and hence the whole movie) has a running time that is 4% less than NTSC DVDs. Because the video in a PAL DVD has not been altered, you need not worry much about framerate. However, if you are ripping an NTSC DVD movie, you may need to apply inverse telecine. For movies shot at 24 fps, the video on the NTSC DVD is either telecined 30000/1001, or else it is progressive 24000/1001 fps and intended to be telecined on-the-fly by a DVD player. On the other hand, TV series are usually only interlaced, not telecined. This is not a hard rule: some TV series are interlaced (such as Buffy the Vampire Slayer) whereas some are a mixture of progressive and interlaced (such as Angel, or 24). It is highly recommended that you read the section on How to deal with telecine and interlacing in NTSC DVDs to learn how to handle the different possibilities. However, if you are mostly just ripping movies, likely you are either dealing with 24 fps progressive or telecined video, in which case you can use the If the movie you want to encode is interlaced (NTSC video or PAL video), you will need to choose whether you want to deinterlace or not. While deinterlacing will make your movie usable on progressive scan displays such a computer monitors and projectors, it comes at a cost: The fieldrate of 50 or 60000/1001 fields per second is halved to 25 or 30000/1001 frames per second, and roughly half of the information in your movie will be lost during scenes with significant motion. Therefore, if you are encoding for high quality archival purposes, it is recommended not to deinterlace. You can always deinterlace the movie at playback time when displaying it on progressive scan devices. The power of currently available computers forces players to use a deinterlacing filter, which results in a slight degradation in image quality. But future players will be able to mimic the interlaced display of a TV, deinterlacing to full fieldrate and interpolating 50 or 60000/1001 entire frames per second from the interlaced video. Special care must be taken when working with interlaced video: 's audio/video synchronization algorithms were designed with the intention of recovering files with broken sync. However, in some cases they can cause unnecessary skipping and duplication of frames, and possibly slight A/V desync, when used with proper input (of course, A/V sync issues apply only if you process or copy the audio track while transcoding the video, which is strongly encouraged). Therefore, you may have to switch to basic A/V sync with the config file, as long as you are only working with good sources (DVD, TV capture, high quality MPEG-4 rips, etc) and not broken ASF/RM/MOV files. If you want to further guard against strange frame skips and duplication, you can use both to use three-pass audio mode. This feature is only left for compatibility purposes and for expert users who understand when it is safe to use and when it is not. If you have never heard of three-pass mode before, forget that we even mentioned it! There have also been reports of A/V desync when encoding from stdin with Audio is a much simpler problem to solve: if you care about quality, just leave it as is. Even AC-3 5.1 streams are at most 448Kbit/s, and they are worth every bit. You might be tempted to transcode the audio to high quality Vorbis, but just because you do not have an A/V receiver for AC-3 pass-through today does not mean you will not have one tomorrow. Future-proof your DVD rips by preserving the AC-3 stream. You can keep the AC-3 stream either by copying it directly into the video stream during the encoding. You can also extract the AC-3 stream in order to mux it into containers such as NUT or Matroska. (NB: DVD VOB files usually use a different audio numbering, which means that the VOB audio track 129 is the 2nd audio track of the file). But sometimes you truly have no choice but to further compress the sound so that more bits can be spent on the video. Most people choose to compress audio with either MP3 or Vorbis audio codecs. While the latter is a very space-efficient codec, MP3 is better supported by hardware players, although this trend is changing. Otherwise, in some cases, it will generate a video file that will not sync with the audio. Such cases are when the number of video frames in the source file does not match up to the total length of audio frames or whenever there are discontinuities/splices where there are missing or extra audio frames. The correct way to handle this kind of problem is to insert silence or cut audio at these points. However cannot see the audio, it will just process all frames as-is and they will not fit the final audio stream when you for example merge your audio and video track into a Matroska file. First of all, you will have to convert the DVD sound into a WAV file that the audio codec can use as input. For example: currently cannot mux Vorbis audio tracks into the output file because it only supports AVI and MPEG containers as an output, each of which may lead to audio/video playback synchronization problems with some players when the AVI file contain VBR audio streams such as Vorbis. Do not worry, this document will show you how you can do that with third party programs. This will do the same thing as the previous example, except that the output container will be ASF. Please note that this support is highly experimental (but getting better every day), and will only work if you compiled You may experience some serious A/V sync problems while trying to mux your video and some audio tracks, where no matter how you adjust the audio delay, you will never get proper sync. That may happen when you use some video filters that will drop or duplicate some frames, like the inverse telecine filters. It is strongly encouraged to append the same frame twice, and compresses it. This will result in a slightly bigger file, but will not cause problems when demuxing or remuxing into other container formats. You may also have no choice but to use Although it is the most widely-supported container format after MPEG-1, AVI also has some major drawbacks. For each chunk of the AVI file, 24 bytes are wasted on headers and index. This translates into a little over 5 MB per hour, or 1-2.5% overhead for a 700 MB movie. This may not seem like much, but it could mean the difference between being able to use 700 kbit/sec video or 714 kbit/sec, and every bit of quality counts. In addition this gross inefficiency, AVI also has the following major limitations: Matroska is a free, open standard container format, aiming to offer a lot of advanced features, which older containers like AVI cannot handle. For example, Matroska supports variable bitrate audio content (VBR), variable framerates (VFR), chapters, file attachments, error detection code (EDC) and modern A/V Codecs like "Advanced Audio Coding" (AAC), "Vorbis" or "MPEG-4 AVC" (H.264), next to nothing handled by AVI. The tools required to create Matroska files are collectively called . Because Matroska is an open standard you may find other tools that suit you better, but since mkvtoolnix is the most common, and is supported by the Matroska team itself, we will only cover its usage. Probably the easiest way to get started with Matroska is to use . Matroska, as mentioned earlier, is able to do much more than that, like multiple audio tracks (including fine-tuning of audio/video synchronization), chapters, subtitles, splitting, etc... Please refer to the documentation of those applications for more details.Adventure games have been around for over fourty years! We’ve seen plenty of classics over the decades, and new gems are still being produced today. While much of the world probably couldn’t even name 100 adventure games, those of us who cut our teeth on the groundbreaking early text titles, basked in the Golden Age of graphic adventures, suffered through the dark times and lived to see the modern-day (relative) renaissance know better. You can debate each choice, each placement, and we hope you will!With such a rich history, just how many deserve to make a list of all-time greats? It’s not only possible to think of 100 quality adventures, it still leaves some painful omissions. The beauty of opinion lists is that there’s no right or wrong, and we argued long and hard among ourselves just to arrive at ours.Our previous compilation of top adventures had 20 games listed, but that was nearly ten years old itself. With a number in mind, that left one important consideration. How do you compare games spanning decades of styles and technology? Sometimes we even contradicted the site's own reviews. That leaves far fewer casualties, but some series alone can easily stake a claim to three or four slots. It’s a combination of factors that depends entirely on the context for each individual game.

2017-2018 ©