Compressor User Manual

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Compressor 2
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Apple Computer, Inc.
© 2005 Apple Computer, Inc. All rights reserved.
Under the copyright laws, this manual may not be
copied, in whole or in part, without the written consent
of Apple. Your rights to the software are governed by
the accompanying software license agreement.
The Apple logo is a trademark of Apple Computer, Inc.,

registered in the U.S. and other countries. Use of the
“keyboard” Apple logo (Option-Shift-K) for commercial
purposes without the prior written consent of Apple
may constitute trademark infringement and unfair
competition in violation of federal and state laws.
Every effort has been made to ensure that the

information in this manual is accurate. Apple Computer,
Inc., is not responsible for printing or clerical errors.
Apple Computer, Inc.

1 Infinite Loop
Cupertino, CA 95014-2084
408-996-1010
www.apple.com
Apple, the Apple logo, AppleScript, Apple Store,

DVD Studio Pro, Final Cut, Final Cut Pro, FireWire,
Mac, Mac OS, and QuickTime are trademarks of
Apple Computer, Inc., registered in the U.S. and
other countries.
AppleCare is a service mark of Apple Computer, Inc.,

registered in the U.S. and other countries.
Dolby is a registered trademark of Dolby Laboratories.
Other company and product names mentioned herein

are trademarks of their respective companies. Mention
of third-party products is for informational purposes
only and constitutes neither an endorsement nor a
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regard to the performance or use of these products.
Production stills from the film “A Sus Ordenes” provided

courtesy of Refuge Films.
“A Sus Ordenes” © 2004 Eric Escobar.
http://www.refugefilms.com
3 Contents
Preface 7 An Introduction to Compressor

8 About the Compressor 2 User Manual
9 Typical Compressor Scenarios
10 Compressor Features
12 Output Formats for Transcoding
13 Using the Compressor 2 User Manual
14 Apple Websites
Chapter 1 17 Getting Started Quickly

18 Quick-and-Easy Compressor Workflow
24 Optional Tasks You Can Perform Before Submitting a Batch
Chapter 2 25 The Basic Transcoding Workflow

28 Compressor Concepts and Terms
28 Preparing Compressor for Transcoding
31 Creating a Compressor Batch
33 Viewing Transcoding Status
33 Optional Compressor Shortcuts
34 Setting Compressor Preferences
Chapter 3 37 The Compressor Interface

38 Compressor Windows and the Transcoding Workflow
39 Batch Window
40 Presets Window
42 Inspector Window
49 History Drawer
50 Preview Window
51 Batch Monitor
52 Droplet Windows
53 General Compressor Keyboard Shortcuts
54 Preview Window Keyboard Shortcuts
Chapter 4 55 Importing Source Media Files

55 About the Batch Window
3
58 Adding Source Media Files to a Batch
Chapter 5 61 Creating, Previewing, and Modifying Settings

62 About the Settings Tab
65 About the Inspector
67 Choosing a Pre-Existing Setting
68 Creating a Setting
70 Modifying a Setting
72 Previewing a Setting
74 Duplicating and Deleting Settings
75 Creating Groups of Settings
75 Distributing and Sharing Settings
Chapter 6 77 Creating Jobs and Submitting Batches

78 Assigning Settings to Source Media Files
81 Assigning Destinations to Source Media Files
83 Submitting a Batch
84 About the History Drawer
85 Resubmitting a Batch
86 Saving and Opening a Batch File
87 Submitting a Final Cut Pro Project for Transcoding
89 Resubmitting a Final Cut Pro Project
90 Transcoding Different Clips From One Source Media File
Chapter 7 93 Creating Dolby Digital Professional Output Files

94 About the Dolby Digital Professional Encoder Pane
100 Converting Audio Files to Dolby Digital Professional Format
101 Creating Surround Files
106 Options for Spatial Mixing
Chapter 8 109 Creating H.264 DVD Output Files

110 About the H.264 Encoder Pane
112 Job Segmenting and Multi-pass
113 H.264 Workflows for DVD
Chapter 9 115 Creating MPEG-1 Output Files

115 Common Uses for MPEG-1
116 MPEG-1 Specifications
117 About the MPEG-1 Encoder Pane
120 About System and Elementary Streams
121 MPEG-1 Transcoding Workflow
122 Configuring the MPEG-1 File Format for Web Use
123 Configuring the MPEG-1 File Format for DVD Use
4 Contents
128 About Standard Definition MPEG-2
128 About High Definition Sources and MPEG-2
145 MPEG-2 Transcoding Workflow

158 MPEG-4 Part 2 Transcoding Workflow
Chapter 12 163 Creating QuickTime Movie Output Files

164 Creating QuickTime Output Files
164 About the QuickTime Movie Encoder Pane
171 QuickTime Transcoding Workflow
174 Understanding Codecs
174 QuickTime Video Codecs
175 QuickTime Audio Codecs
Chapter 13 177 Creating QuickTime Export Component, AIFF, and TIFF Files
177 Creating QuickTime Export Component Output Files
180 Creating AIFF Output Files
183 Creating TIFF Output Files
Chapter 14 185 Adding Filters to a Setting

185 Working With Filters
192 Adding Filters to a Setting
Chapter 15 195 Adding Frame Controls, Geometry, and Actions to a Setting

195 Working With Frame Controls
198 Adding Frame Controls to a Setting
200 Working With Cropping and Scaling
203 Making Geometry Adjustments to a Setting
204 Working With Post-Transcoding Options
206 Adding Actions
Chapter 16 209 Using the Preview Window

210 About the Preview Window
215 Previewing a Clip
219 Transcoding a Portion of the Clip With the Preview Window
220 Adding Markers to a Clip
222 Adding DVD Studio Pro Chapter Markers to a Clip
222 Preview Window Keyboard Shortcuts
Contents 5
Chapter 17 223 Creating and Changing Destinations
224 About the Destinations Tab
225 About the Destinations Inspector
226 Creating a Destination
230 Warning Triangles
231 Deleting and Duplicating a Destination
232 Creating Destinations for Use With DVD Studio Pro
Chapter 18 235 Using Droplets

236 About the Droplet Window
238 Creating a Droplet
239 Checking Droplet Settings and AppleScript Options
240 Using a Droplet to Transcode Source Media Files
Appendix A 243 Customer Support

244 Calling AppleCare Support
Appendix B 245 Command-Line Usage

245 Using the Command Line
245 Shell Commands for Configuring Service Nodes and Cluster Controllers
246 Shell Commands for Submitting Compressor Jobs
248 Shell Commands for Monitoring Batches
Index 251
6 Contents
An Introduction to Compressor
Preface
Compressor is an essential part of the video compression
process. It makes compression fast, efficient, and
convenient, giving you more options in your choices of
compression presets, settings, and output formats.
With the ability to view and experience media content in many different ways (such as
on websites, CD-ROM discs, and DVDs), content authors need a quick and easy means
of converting their material so that it can be conveniently distributed to a variety of
playback devices.
Whether you want to create high-quality movie trailers that can be opened and viewed
over the web within seconds, or you just want to transfer a video clip to a CD or DVD,
you need to compress media files so that they fit into limited space and are readily
available for viewing. Compressor is a high-speed video and audio encoding tool that
provides an efficient way to convert content for any of these methods.
In addition to the variety of viewing methods, there are also a variety of output formats
to consider. You may need to compress the same media file into different output
formats just to accommodate different media players and uses. With Compressor, you
can select different output formats for use with the various distribution models.
7
About the Compressor 2 User Manual
This preface, “An Introduction to Compressor,” contains background information that
introduces most of the basic concepts and terms related to using Compressor.
Other chapters in this user manual cover the following:

Â Chapter 1, “Getting Started Quickly,” will help you with basic steps in using
Compressor for the first time.
Â Chapter 2, “The Basic Transcoding Workflow,” offers more detailed Compressor setup
procedures.
Â Chapter 3, “The Compressor Interface,” is a quick visual tour of Compressor windows
and features.
Â Chapter 4, “Importing Source Media Files,” covers the file types that Compressor can
accept and how to import them.
Â Chapter 5, “Creating, Previewing, and Modifying Settings,” covers presets, an essential
part of the Compressor workflow.
Â Chapter 6, “Creating Jobs and Submitting Batches,” is a detailed explanation of basic
Compressor workflow.
Â Chapters 7 through 13 explain each of the output file types in turn. See “Output
Formats for Transcoding” on page 12 for more information on these chapters.
Â Chapter 14, “Adding Filters to a Setting,”explains how to further adjust the visuals in
your transcoding projects with filters.
Â Chapter 15, “Adding Frame Controls, Geometry, and Actions to a Setting,” will help
you add settings to your Compressor transcode jobs for better-looking and better-
sounding output.
Â Chapter 16, “Using the Preview Window,” explains how to use the Compressor
Preview window so you can have a look at source media files, as well as the effect of
any Compressor settings you might apply to the files.
Â Chapter 17, “Creating and Changing Destinations,” covers how to set up and save
frequently used destinations for transcoded output files.
Â Chapter 18, “Using Droplets,” covers the time-saving drag-and-drop applications you
can create with Compressor.
8 Preface An Introduction to Compressor

Typical Compressor Scenarios
The following are typical Compressor scenarios:
Â Converting source media to one or more different output formats: You can use Compressor
to convert one or more media files to one or more different media file output formats.
See “Quick-and-Easy Compressor Workflow” on page 18 for more information.
MPEG-4
QuickTime movie
for low band
QuickTime
To web QuickTime movie
for broadband
MPEG-1
Source media or Compressor

MPEG-2 DVD video
Final Cut Pro project application
AC3
AIFF
CD-ROM
QuickTime
Â Exporting sequences or clips to one or more formats directly from other applications: You
can use Compressor to convert sequences or clips to one or more file formats from
within other applications, such as Final Cut Pro. This workflow is the same as
described in detail in the section, “Submitting a Final Cut Pro Project for Transcoding”
on page 87.
This integration with Final Cut Pro and other applications makes transcoding (the
process of converting files from their original format into output files ready for
distribution in another format) faster and more convenient, and also saves hard disk
space by eliminating the need to export the media files before processing them. It
also leverages the video processing technology of the other applications to do much
of the work (therefore maximizing the quality of images that are encoded), and avoids
degradation that can occur from multiple compression and decompression steps.
Preface An Introduction to Compressor 9

Â Creating MPEG-2 files for use with DVD Studio Pro: Before you can convert your
existing media files into DVD Studio Pro projects, you must convert them into
MPEG-2 files. Before importing one or more media files into DVD Studio Pro,
Compressor transcodes the files into the MPEG-2 format. Compressor 2 can encode
audio in the Dolby Digital Professional format (also known as AC-3). Dolby Digital
Professional is a very common compressed audio format for DVD-Video discs.
Compressor also supports two specialized situations:
Â For those situations in which you are editing high definition (HD) sources in
Final Cut Pro and want to create a standard definition (SD) DVD from them,
Compressor includes a high-quality down-conversion capability. HD sources
using 1080i or 720p resolutions use a high-quality transcoding process to create
SD MPEG-2 video output files.
Â For those situations in which you must fit the maximum video onto a DVD and
do not require broadcast quality, Compressor includes the ability to export DVD-
Video–compatible MPEG-1 format files.
Compressor Features
Compressor can work as a standalone application or be integrated into the workflow of
other applications, such as Final Cut Pro. To this end, Compressor accepts the same full
range of source media file types that Final Cut Pro accepts. Compressor is targeted at
video postproduction professionals and compressionists who require high performance
and maximum control over the final digital content for DVD authoring, streaming
media servers, and wireless devices. Compressor gives you resizing, cropping, image
processing, encoding, and delivery options, and offers the following features:
Â Batch processing: This streamlined process allows you to create multiple output files
from single source media files.
Â VBR options: Using the MPEG-2 encoder, you can set either a single or dual-pass
variable bit rate (VBR) for your output files, a setting that affects the video file
image quality.
Â H.264 encoding: H.264 produces higher quality video at lower data rates for
everything from mobile phones to High Definition (HD). H.264 works especially well
with the Apple QuickTime 7 media player.
Â Droplets: These standalone applications can be used for drag-and-drop transcoding
operations straight from your desktop. Once created, Droplets simplify and automate
the transcoding process and can be used even without opening Compressor.
Â Settings: Settings contain all necessary file format, filter, and geometry settings
needed for transcoding. You can customize and modify existing settings or create
new ones, an option that lets you build and save a library of different settings that
can be reused.

Â Filters: The selection of available Compressor filters gives you dynamic artistic control
while you convert your source media to other formats, and allows you to create a
final product to your precise specifications. A selection of the available filters includes
gamma correction, noise removal, letterbox, watermark, color adjustment, and
deinterlacing.
Â Previewing: You can preview and adjust all your filter settings in real time using the
Preview window. This lets you tweak the settings to your satisfaction, before
transcoding the source media file.
Â Destination settings: You can create and save destinations for your output files, which
can then be selected from a pop-up menu. You can even include FTP or remote
locations. A destination can also specify the file naming convention to use.
Â Geometry: You can adjust your frame size using the geometry numerical and
graphical controls. These features allow you to crop unwanted image areas of your
source media file and reduce file size. Compressor also allows you to resize your
image to other aspect ratios such as 4:3, 16:9, and 2.35:1 for delivery onto other
platforms, such as DVD.
Â Publishing: You can use Compressor to upload output files to a QuickTime Streaming
Server or other locations for DVD authoring.
Â AppleScript usage: You can add specialized AppleScript information to any
output file, which gives you the flexibility to automate and customize any post-
encoding operations.
Â Interoperability: Compressor is an integral component of other Apple professional
video applications such as Final Cut Pro and DVD Studio Pro. You can export
sequences directly from Final Cut Pro into Compressor for transcoding, and drag
MPEG-2 files transcoded from Compressor into DVD Studio Pro to simplify the DVD
authoring process.
Â Transcoding activity in the background: Compressor lets you begin transcoding a
batch and then continues processing in the background, allowing you to perform
other tasks at the same time.
Â Email notification: You can set up Compressor to send an email notification to any
location to notify you when the batch transcode is complete.
Â Distributed processing: Certain bundled versions of Compressor offer distributed
processing, distributing the work to multiple computers that have been chosen to
provide more processing power. The Compressor 2 distributed processing feature is
limited to computers that have either Final Cut Studio or DVD Studio Pro 4 installed.
For more details, see the Distributed Processing Setup guide.
Â Command-Line Features: Compressor now has a number of command-line options
for submitting jobs, enabling and disabling service node and cluster controlling
services, and monitoring batches.

Output Formats for Transcoding
Selecting the relevant playback platform (DVD, web, CD, and kiosk) is the first choice
you need to make before you compress a source media file into a different output
format. Once you have decided on the platform, you can choose the appropriate
output format for that platform.
Whatever the digital video format of your source media file, you can transcode it using
one of the following encoders supplied with Compressor:
Â AIFF: Intended for audio use (DVD or CD authoring). For more details on the AIFF
format, see “Creating AIFF Output Files” on page 180.
Â Dolby Digital Professional: Also known as AC3. Intended for DVD authoring. For more
details on the AC3 format, see “Creating Dolby Digital Professional Output Files” on
page 93.
Â H.264: The next-generation video compression technology in the MPEG-4 standard.
Also known as MPEG-4 Part 10. Suitable for HD-DVD and many other uses, H.264 can
match the best possible MPEG-2 quality at up to half the data rate. H.264 is currently
mandatory in both new high definition DVD specifications (HD DVD and Blu-Ray). For
more details on the H.264 format, see “Creating H.264 DVD Output Files” on
page 109. For information on creating H.264 files for uses other than DVD authoring
(such as web video), see “Creating QuickTime Movie Output Files” on page 163.
Â MPEG-1: Intended for Internet or specialized DVD use. For more details on the
MPEG-1 format, see Chapter 9, “Creating MPEG-1 Output Files,” on page 115.
Â MPEG-2: Intended for DVD use. For more details on the MPEG-2 format, see
Chapter 10, “Creating MPEG-2 Output Files,” on page 127.
Â MPEG-4: A very scalable specification, with a variety of uses, from web video or
wireless devices to HD. For more details on the MPEG-4 format, see Chapter 11,
“Creating MPEG-4 Output Files,” on page 153.
Â QuickTime Export Components: Leveraging the component plug-in architecture of
QuickTime, Compressor can now output a variety of additional formats such as
Windows Media, RealPlayer, 3G, and AVI. For more details on QuickTime Export
Components, see “Creating QuickTime Export Component Output Files” on page 177.
Â QuickTime Movie: QuickTime is a cross-platform multimedia technology. It allows
Mac OS and Windows applications to play back video, audio, and still-image files. For
more details on the QuickTime format, see Chapter 12, “Creating QuickTime Movie
Output Files,” on page 163.
Â TIFF: Intended for use with other programs that import media as a series of still
images. For more details on the TIFF format, see “Creating TIFF Output Files” on
page 183.

Using the Compressor 2 User Manual
The Compressor 2 User Manual provides step-by-step instructions for using Compressor
to compress source media files, as well as background and conceptual information
about compression. It is designed to provide the information you need to get up to
speed quickly, so that you can take full advantage of Compressor.
The Compressor 2 User Manual allows you to access information directly on screen while
you’re working in Compressor. To view this information, choose Help > Compressor
User Manual. The Compressor User Manual is fully hyperlinked and enhanced with many
features that make locating information quick and easy.
Â The home page provides quick access to various features, including Late-Breaking
News, the index, and other relevant documents and websites.
Â A comprehensive bookmark list allows you to quickly choose what you want to see
and takes you there as soon as you click the link.
In addition to these navigational tools, the Compressor User Manual gives you other
means to locate information quickly:
Â All cross-references in the text are linked. You can click any cross-reference and jump
immediately to that location. Then, you can use the Preview Back button to return to
where you were before you clicked the cross-reference.
Â The table of contents and index are also linked. If you click an entry in either of these
sections, you jump directly to that section of help.
Â You can also use the Find dialog to search the text for specific words or a phrase.
To access the onscreen help, do one of the following:

m Choose Help > Compressor User Manual.
m Press Command-, (comma).
In addition to accessing the Compressor 2 User Manual, the Help menu also contains an
item for creating a support profile. In certain support situations, AppleCare may require
information about both your computer and how this particular application is
configured. Choosing Help > Create Support Profile creates a file that contains the
necessary information and can be emailed to AppleCare. You would not normally use
this feature unless directed to by an AppleCare representative.

Apple Websites
There are a variety of Apple websites that you can visit to find additional information.
Compressor Website
Go here for general information and updates as well as the latest news on Compressor.
To access the Compressor website, go to:

Â http://www.apple.com/finalcutpro/compressor.html
There are a variety of discussion boards, forums, and educational resources related to
Compressor on the web.
Apple Service and Support Website

Go here for software updates and answers to the most frequently asked questions for all
Apple products, including Compressor. You’ll also have access to product specifications,
reference documentation, and Apple and third-party product technical articles.
To access the Apple Service and Support webpage, go to:

Â http://www.apple.com/support
To access the Compressor support page, go to:

Â http://www.apple.com/support/compressor
To access the Compressor discussion page, go to:

Â http://discussions.info.apple.com/compressor
Other Apple Websites

Start at the Apple main home page to find the latest information about Apple
products:
Â http://www.apple.com
QuickTime is industry-standard technology for handling video, sound, animation,

graphics, text, music, and 360-degree virtual reality (VR) scenes. QuickTime provides a
high level of performance, compatibility, and quality for delivering digital video. Go to
the QuickTime website for information on the types of media supported, a tour of the
QuickTime interface, and specifications, and more:
Â http://www.apple.com/quicktime
FireWire is one of the fastest peripheral standards ever developed, which makes it great
for use with multimedia peripherals, such as video camcorders and the latest high-
speed hard disk drives. Visit this website for facts and benefits about FireWire
technology, FireWire software information, and available third-party FireWire products:
Â http://www.apple.com/firewire

For information about seminars, events, and third-party tools used in web publishing,
design and print, music and audio, desktop movies, digital imaging, and the media arts,
go to:
Â http://www.apple.com/pro
For resources, stories, and information about projects developed by users in education
using Apple software, including Compressor, go to:
Â http://www.apple.com/education
Go to the Apple Store to buy software, hardware, and accessories direct from Apple.
You can also find special promotions and deals that include third-party hardware and
software products:
Â http://store.apple.com

1 Getting Started Quickly
1
Compressor contains a number of preexisting presets
that allow you to start transcoding immediately.
You can begin transcoding media files as soon as you install Compressor, if you have
one or more source media files and the preexisting Compressor settings and
destinations suit your transcoding needs.
This chapter contains the following sections:

Â Quick-and-Easy Compressor Workflow (p. 18)
Â Optional Tasks You Can Perform Before Submitting a Batch (p. 24)
You transcode media files by first importing the source media files into Compressor and
then assigning settings to them. These files are then referred to as jobs, and are
submitted in batches (of one or more jobs) to create transcoded output media files.
Note: You can only transcode a job once it has at least one setting assigned to it.
If you need to create your own settings, or modify those that come with Compressor,
see Chapter 2, “The Basic Transcoding Workflow,” on page 25 and Chapter 5, “Creating,
Previewing, and Modifying Settings,” on page 61.
17
Quick-and-Easy Compressor Workflow
The following workflow shows you the easiest way to use Compressor:
Â Add source media files to Compressor (p. 18)
Â Assign settings and destinations to source media files (p. 19)
Â Submit the batch (p. 23)
Step 1: Add source media files to Compressor

1 Double-click the Compressor icon in the Applications folder.
The Compressor Batch window opens.
2 Drag source files from the desktop to the Batch window.
3 Compressor will automatically use the name of the first source file in the batch as the
name for the batch you are submitting in the Batch Name field. If you would like a
different name, you can edit the name now.
Edit batch name here.
Batch table
Setting pop-up menu
See “About the Batch Window” on page 55 for more information about the controls in
the Batch window.
18 Chapter 1 Getting Started Quickly

Step 2: Assign settings and destinations to source media files
You need to assign at least one setting to each source media file before you can submit
the batch for processing, but you can also add multiple settings to the same source
media file to transcode multiple versions of the media file.
1 Choose a setting for your source media files in any of the following ways:
Â To assign different settings to different source media files: Use the Setting pop-up menu
in the Batch table to assign a setting to each source media file in the Batch table.
Â To assign a single setting to multiple selected source media files: Assign the same
setting to specific source media files by selecting the relevant source media files and
then choosing a setting from the Settings menu in the menu bar.
Open the Settings menu

from the menu bar and
assign relevant settings.
Select source
media files in the
Batch window.
The chosen setting is assigned only to the selected source media files.
The chosen setting is

assigned only to selected
source media files.
Chapter 1 Getting Started Quickly 19

Â To assign a single setting to all source media files in the Batch table: Drag-select all
source media files in the Batch table and, while keeping the mouse button down,
position the pointer over the Setting pop-up menu icon to open it. Choose the
setting you want to assign to all the source media files.
The same setting is assigned to all source media files in the batch.
All source media files

are assigned the same
setting in one step.
Â To assign multiple settings to a single source media file in the Batch table: Select your
source media file and choose the relevant setting group from the Setting pop-up
menu in the Batch table or from the Settings menu in the menu bar.
See Chapter 5, “Creating, Previewing, and Modifying Settings,” on page 61, for more
information on settings.

The next step is to set the destination. By default, the destination is set to Source,
which writes the output files to the same folder as the source files originated from. You
can change the destination for organization purposes or to take advantage of larger
and faster hard disks.
You can set the destination for each individual setting or for a selected group of settings.
2 Choose a destination for your source media files in one of the following ways:
Â Do nothing. Accept the default destination Source (the same folder as the source
media files originated from) specified in the Destination column.
Â Use the Destination pop-up menu to change one setting at a time. Choose any pre-
existing destinations available to you from the Destination pop-up menu in the
Destination column.
Use the Destination pop-up

menu to save your output
media files to another
destination.
Â Use the Destination menu to change all selected settings at once. Select the settings for
which you want to set destinations, then choose the destination from the
Destination menu in the menu bar.
Select the settings to

have their destinations
changed.

Note: Choosing Other allows you to choose any location currently accessible from
your desktop, including a mounted open volume. However, this volume must remain
open until the batch has been transcoded.
The destination changes to the destination you selected from the Destination menu or
pop-up menu.
Because all source media files

were selected, the same
destination is assigned
to the entire batch.
See Chapter 17, “Creating and Changing Destinations,” on page 223, for more
information on destinations.

Step 3: Submit the batch
Once each media file has at least one setting and destination associated with it, it
becomes a job, and your batch is ready to be submitted. Click the Submit button to
submit your batch.
A progress bar appears, indicating that the batch is being submitted, and this batch
now disappears from the Batch table.
After submitting a batch, Batch Monitor automatically opens so you can monitor the
transcoding progress of your batch.
Note: If you haven’t recently submitted a batch, you can always open Batch Monitor by
double-clicking the Batch Monitor in the Utilities folder inside the Applications folder.
See Chapter 6, “Creating Jobs and Submitting Batches,” on page 77, for more
information on jobs and batches.

Optional Tasks You Can Perform Before
Submitting a Batch
The three steps described in the previous section show you the fastest way to
transcode media files. Although you can modify your pre-existing settings using this
method, you can’t preview your files or fine-tune any settings.
The following chapters describe additional steps that can be performed on the setting
of any job before it is submitted:
Â Chapter 5, “Creating, Previewing, and Modifying Settings,” on page 61
Â Chapter 6, “Creating Jobs and Submitting Batches,” on page 77
Â Chapter 15, “Adding Frame Controls, Geometry, and Actions to a Setting,” on
page 195
Â Chapter 16, “Using the Preview Window,” on page 209
Â Chapter 17, “Creating and Changing Destinations,” on page 223
The following chapters give a more detailed look at output format settings and various
transcoding options:
Â Chapter 7, “Creating Dolby Digital Professional Output Files,” on page 93
Â Chapter 8, “Creating H.264 DVD Output Files,” on page 109
Â Chapter 9, “Creating MPEG-1 Output Files,” on page 115
Â Chapter 12, “Creating QuickTime Movie Output Files,” on page 163
Â Chapter 13, “Creating QuickTime Export Component, AIFF, and TIFF Files,” on
page 177

2 The Basic Transcoding Workflow
2
Compressor makes it easy to transcode media into
multiple formats.
In addition, Compressor is integrated into other applications, such as Final Cut Pro, and
generates high-quality assets for use in DVD Studio Pro, providing seamless
transcoding between media formats directly within one application.
This chapter covers the following topics:

Â Compressor Concepts and Terms (p. 28)
Â Preparing Compressor for Transcoding (p. 28)
Â Creating a Compressor Batch (p. 31)
Â Viewing Transcoding Status (p. 33)
Â Optional Compressor Shortcuts (p. 33)
Â Setting Compressor Preferences (p. 34)
25
The following diagram illustrates how the Compressor transcoding process works. The
largest transcoding component is a batch. The batch represents all the components
needed to transcode your current media. It must contain one or more jobs. A job
consists of at least one source media file with one or more settings and destinations
associated with it. After completing the transcoding process, the resulting file is known
as the output media file. One output media file is created for each setting assigned to a
source media file.
In the illustration below, the batch contains two source media files, each of which
contains two settings (making it a job). So, the total number of output files created by
transcoding this batch will be four. Job 1 will create two output media files, as will Job 2.
Batch
Job 1 (source media file)
Output Media File 1 Output Media File 2

Setting Setting
QuickTime QuickTime
• Encoder MPEG-1 • Encoder MPEG-1
• Filters MPEG-2 • Filters MPEG-2
• Geometry MPEG-4 • Geometry MPEG-4
• Actions AIFF • Actions AIFF
AC3 AC3
Destination Destination
• Where to save the file • Where to save the file
• What to name the file • What to name the file
Job 2 (source media file)
Output Media File 1 Output Media File 2

Setting Setting
QuickTime QuickTime
• Encoder MPEG-1 • Encoder MPEG-1
• Filters MPEG-2 • Filters MPEG-2
• Geometry MPEG-4 • Geometry MPEG-4
• Actions AIFF • Actions AIFF
AC3 AC3
Destination Destination
• Where to save the file • Where to save the file
• What to name the file • What to name the file
26 Chapter 2 The Basic Transcoding Workflow

A typical Compressor transcoding process consists of the following components:
Â Source media file: The transcoding process always starts with a source media file,
which is the file intended for transcoding in its original form. Source media files are
always one of the following:
Â Movies: Containing video, audio, and other data (such as markers)
Â Stills: Used as part of a sequence of still images for certain video productions
Â Setting: Once you have imported your source media file, you must assign one or
more settings to it before it becomes a job. A setting is a combination of transcode
attributes, such as output format, filter, and geometry settings, that are applied to
the source media file during the transcoding process.
Â Output (file) format: The encoder you choose to convert your source media file.
Choose one of the following output formats based on the intended playback
method and environment of your transcoded media files: AIFF, Dolby Digital
Professional, H.264 for HD DVD, MPEG-1, MPEG-2, MPEG-4, QuickTime Export
Components, QuickTime Movie, or TIFF.
Â Filters: Allow you to adjust different characteristics of your video such as color,
brightness, and sharpness, to maximize your video quality as the file is compressed.
Â Geometry settings: Allow you to crop the image and adjust its frame size.
Â Actions settings: Allow you to send email notifications and execute post-
transcoding tasks using AppleScripts.
Â Destination: A destination also needs to be assigned to the source media file. This is
the location where your transcoded media file is stored. You can either use the
default destination called Source (the same folder the source media file is in), or you
can designate any location to which you have full access.
Â Job: Once you assign one or more settings and a destination to the source media
file, it becomes a job, and is ready to be transcoded.
Â Batch: A batch consists of one or more jobs located in the Batch table. All jobs
contained within the batch are submitted collectively when you click the Submit
button. These jobs are then cleared from the Batch table.
Â Output media file: The transcoded media files created after the batch is submitted
and processed are called output media files. An output media file is the result of a
successfully transcoded source media file (containing one setting and destination).
You can create as many output media files as there are different settings applied to
the various source media files in the batch.
Chapter 2 The Basic Transcoding Workflow 27

Compressor Concepts and Terms
Â Codec: Short for COmpression/DECompression. A mathematical model for reducing
the data of a source media file.
Â File Format: The output format you use to transcode your source media file.
Â Group: Contains designated settings placed into a folder in the Settings tab of the
Presets window.
Â Transcoding: The process of converting files from their original format into output files
ready for distribution in another format. Closely related terms include compression,
which specifically refers to data reduction, and encoding, a term which is essentially
synonymous with transcoding, but does not emphasize the conversion aspect.
Â Presets (Settings and Destinations): These three related terms are central to the
Compressor workflow. Settings and destinations are two kinds of presets that you
apply to the source media files. A setting is a combination of transcode attributes, such
as output format, filter, and geometry settings. A destination preset contains all the
pathname and directory information for saving an output file to a particular location.
Preparing Compressor for Transcoding

Compressor contains a number of pre-configured settings that allow you to start
transcoding immediately. If you want to transcode your source media files immediately
and don’t need to create your own settings, you can follow the steps described in
“Quick-and-Easy Compressor Workflow” on page 18 instead.
However, if you want to create your own Settings and destinations, and customize
other attributes such as filters, cropping, frame resizing, and actions settings, you need
to follow the steps outlined below. If the custom settings you create here can be used
for all your transcoding needs, you won’t need to go through these steps again.
However, if you need to create new settings and destinations for each transcoding
project, you’ll need to repeat these steps each time.
Step 1: Create a setting

Unless you are using a pre-existing setting supplied with Compressor, you will need to
create your own settings. This is done using the Settings tab of the Presets window,
and begins with choosing an output format from the File Format menu that opens
when you click the Add ( + ) button. See “Choosing an Output Format” below for more
information. In addition, you also have the option of adding filters, geometry settings,
and post-transcoding actions, and then previewing your setting to ensure satisfaction.
See “To assign a pre-existing destination preset:” on page 68 for more information.
You can also streamline your workflow by putting your settings into groups. See
“Creating Groups of Settings” on page 75 for more information.

Choosing an Output Format
Choosing an output format is the first decision you need to make once you’ve
decided to transcode a source media file. You choose an output format based on the
intended playback method for the audience. Compressor gives you access to the
following industry-standard formats, all of which have their own particular attributes:
Â QuickTime: Intended for use with QuickTime in a variety of playback environments.
Because QuickTime is cross-platform multimedia technology, it allows Mac OS and
Windows applications to capture and play back video, audio, and still-image files.
For more details on the QuickTime format, see Chapter 12, “Creating QuickTime
Movie Output Files,” on page 163.
Â MPEG-1: Intended for Internet, CD ROM,. and specialized DVD use. For more details
on the MPEG-1 format, see Chapter 9, “Creating MPEG-1 Output Files,” on page 115.
Â MPEG-2: Intended for standard and high definition DVD use. For more details on
the MPEG-2 format, see Chapter 10, “Creating MPEG-2 Output Files,” on page 127.
Â MPEG-4, Part-2: Intended for a variety of uses including the web or wireless devices.
For more details on the MPEG-4 format, see Chapter 11, “Creating MPEG-4 Output
Files,” on page 153.
Â H.264: Intended for a variety of uses including HD-DVD. For more details on the
H.264 format, particularly for authoring HD-based DVDs, see Chapter 8, “Creating
H.264 DVD Output Files,” on page 109.
Â Dolby Digital Professional. Also known as AC3. Intended for DVD authoring. For
more details on the AC3 format, see “Creating Dolby Digital Professional Output
Files” on page 93.
Â AIFF: Intended for audio use (including DVD or CD authoring). For more details on
the AIFF format, see “Creating AIFF Output Files” on page 180.
Â TIFF: Compatible with a wide range of compositing and image processing
applications. For more details on the TIFF format, see “Creating TIFF Output Files”
on page 183.
Note: Compressor and QuickTime can also be extended to support additional codec
options and third-party formats. The QuickTime Export Components feature allows
you to control the third-party encoding engine without having to open another
application. For more information, see “Creating QuickTime Export Component
Output Files” on page 177.
After you have created a setting, you can further customize it with additional adjustments
such as filters (to adjust image quality), pixel size (geometry values), and post-transcoding
actions. These additional adjustments are all managed in the Inspector window. See
Chapter 14, “Adding Filters to a Setting,” on page 185 and Chapter 15, “Adding Frame
Controls, Geometry, and Actions to a Setting,” on page 195 for more information.

Step 2: Preview the setting using the Preview window
It’s a good time-saving measure to preview your setting before submitting the batch.
This can be done using the Preview window, and ensures that the quality of the output
media file is acceptable. The Preview window consists of a split screen displaying the
content of your source media file in its original form in one half, and the content of
your output media file in the other half.
From the Preview window, you can any of the following:

Â Play back the media file.
Â Dynamically preview effects (in real time).
Â Modify the effects of the filters and geometry settings of your setting.
Â Compare source or output versions.
Â Crop the output file frame size.
Â Change the aspect ratio.
Â Add various markers relevant to the MPEG-1, MPEG-2, and H.264 formats.
See “Previewing a Setting” on page 72 or Chapter 16, “Using the Preview Window,” on
page 209, for more information.
Step 3: Create a destination

By default, your transcoded file is saved in the same folder as your source media file
(Source). However, if you want to store your transcoded files in a different location, you
can create a new destination in the Destinations tab of the Presets window. Using this
tab, you can choose any folder, volume, or remote server for which you have
permissions and access to be a destination, and add useful file identifiers for your
transcoded output file. Once you have created sufficient destinations, you won’t need
to open the Destinations tab again.
Note: An iDisk volume cannot be used as a destination. If you want to save the output
media file to a mounted iDisk volume, first save the file to another destination, and
then drag the file to the mounted iDisk volume after it has been transcoded.
See Chapter 17, “Creating and Changing Destinations,” on page 223, for more
information.

Creating a Compressor Batch
Once you have the necessary settings and destinations available, you can begin to
create your batch for transcoding. A batch contains one or more jobs. A job consists of
at least one source media file with one or more settings and destinations. You can only
submit a batch for transcoding after you have assigned at least one setting and
destination to each source media file in the Batch table of the Batch window. All jobs in
the Batch table are submitted together.
Step 1: Import source media files into Compressor

You import source media files into the Batch table of the Batch window either by using
the File Selection dialog or by dragging the files from their location on the hard disk to
the Compressor icon (if Compressor isn’t open), or to the Batch table (if Compressor is
open). You can import source media files from any folder that you have access to.
See Chapter 4, “Importing Source Media Files,” on page 55, for more information.
Step 2: Assign a setting

Once you have imported your source media file into the Batch window, you need to
assign one or more settings to it. This makes it a job. A source media file can only be
transcoded after it has at least one setting assigned to it, and you can only add a
setting to a source media file after you have either selected a pre-existing setting or
created one. Your setting must have an output file format associated with it.
Â If you choose a pre-existing setting, the output file format has already been assigned.
Â If you create your own setting, you must choose an output file format from the file
format menu that opens when you click the Create a New Setting button ( + ) in the
Settings tab of the Presets window.
You can add one setting to multiple jobs in one step by selecting the jobs in the Batch
table and choosing a setting from the Settings menu in the menu bar, or by drag-
selecting the source media files in the Batch table and positioning the pointer over the
Setting pop-up menu icon in the Setting column.
If you have a favorite setting (pre-existing or customized), you can streamline your
workflow by creating a standalone application called a Droplet containing multiple
settings, and use the Droplet to submit batches without opening Compressor. See
“Creating a Droplet” on page 238 for more information.
Note: You can also create groups of settings, which is a quick and convenient way to
assign multiple settings to a source media file. See “Creating Groups of Settings” on
page 75 for more information.

Step 3: Preview the setting using the Preview window
You can either preview a source media file or the source media file with its assigned
setting. From the Preview window, you can dynamically preview (in real time) and
modify the effects of the filters and geometry adjustments of your setting, play back
the media file, view source or output views, crop the output file frame size, change the
aspect ratio, and add various markers relevant to the MPEG-1, MPEG-2, and H.264 for
HD DVD file formats.
See “Previewing a Setting” on page 72 or “Previewing a Clip” on page 215 for

more information.
Step 4: Assign a destination

You can change the location of your stored transcoded files by assigning them to
another location, as long as the location has already been created in the Destinations
tab of the Presets window. Using the Destination pop-up menu in the Batch window,
you can choose any existing destination for any job.
See “Assigning Destinations to Source Media Files” on page 81 for more information.
Step 5: Submit the batch for transcoding

Once you have created all the jobs you want in the batch and are satisfied with the
settings and quality of your output files (having previewed them), you are ready to
submit the batch. You do this by clicking the Submit button in the Batch window.
Note: If you are transcoding a large batch, you should turn off the screen-saver
application on your computer. This will improve the speed of your transcode because
resources are not being diverted to the screen saver.
See “Submitting a Batch” on page 83 for more information.

Viewing Transcoding Status
You use the Batch Monitor to see the current status of a submitted batch and all the
jobs contained within it. The Batch Monitor is a standalone application, so that it can
work with both Compressor and Droplets, whether or not Compressor is open, and
regardless of whether you have submitted anything. See “Creating a Droplet” on
page 238 for more information about Droplets.
Step 1: View the batch transcoding status

After you submit a batch, the Batch Monitor automatically opens so you can view the
transcoding status of your batch. This is a good way to monitor when your batch has
finished transcoding and if any problems occurred during the transcode process.
See the Batch Monitor User Manual for more details.
Step 2: Confirm transcode completion

It’s a good idea to open the transcoded media file’s destination folder to ensure that
the media file was transcoded successfully and saved to that location.
Optional Compressor Shortcuts

Depending on your needs, there are a number of ways to speed up the Compressor
transcoding workflow. Compressor was designed with workflow in mind. Given that
there are different approaches for the workflow, there are a number of shortcuts
available to you.
Using Pre-Existing Settings

Compressor contains a number of pre-existing settings that allow you to start
transcoding immediately. If these pre-existing settings suit your needs, you can
transcode your source media files immediately.
See “Quick-and-Easy Compressor Workflow” on page 18 for more information.
Working With Droplets

Droplets are a fast and convenient way to transcode material without even opening
Compressor. You create a Droplet by saving a setting or a group of settings and
destinations as an active icon. When you drag one or more source media files to it, the
Droplet begins the transcoding process automatically.
See “Creating a Droplet” on page 238 for more information.

Setting Compressor Preferences
You can use Compressor Preferences to configure several aspects of Compressor.
To open Compressor Preferences, do one of the following:

m Choose Compressor > Preferences.
m Press Command-, (comma).
The Preferences window appears.
To configure the email notification preference:

1 Enter the default email address to use when email notification is activated.
You can change this address in the Actions pane of the Inspector window.
2 Enter the mail server used by this computer for outgoing email.
For more information about email notification, see “Working With Post-Transcoding
Options” on page 204.
To set whether or not the Batch Monitor automatically opens,

do one of the following:
m Select the Auto Launch Batch Monitor checkbox to have the Batch Monitor
automatically open when you submit a batch.
m Deselect the Auto Launch Batch Monitor checkbox to prevent the Batch Monitor from
automatically opening. You can still manually launch the Batch Monitor from the
Batch window.

To control whether Compressor remains running after a batch has been
submitted through it by another application (such as Final Cut Pro):
m Select “Quit upon submitting batches from other applications” to have Compressor quit
once the batch has been submitted.
m Deselect “Quit upon submitting batches from other applications” to have Compressor
continue running once the batch has been submitted.
To control cluster options (for distributed processing scratch storage settings):

1 Click the Cluster Options pop-up menu.
2 Choose one of the following:
Â “Copy Source to Cluster as Needed” to have Compressor copy source files to a
cluster’s scratch storage location as needed.
Â “Never Copy Source to Cluster” to prevent Compressor from copying source files.
Â “Always Copy Source to Cluster” to require Compressor to always copy source files to
a cluster’s scratch storage location.
Note: This preference setting applies only to certain bundled copies of

Compressor 2 that have distributed processing enabled. The Compressor 2 distributed
processing feature is limited to computers that have either Final Cut Studio or
DVD Studio Pro 4 installed.
To control whether Compressor transfers Source files to the processing cluster

immediately, do one of the following:
m Select “Copy at Submission (High Priority)” to have Compressor transfer source
files immediately.
m Deselect “Copy at Submission (High Priority)” to prevent Compressor from transferring
source files immediately.
Note: This preference setting applies only to certain bundled copies of

Compressor 2 that have distributed processing enabled. The Compressor 2 distributed
processing feature is limited to computers that have either Final Cut Studio or
DVD Studio Pro 4 installed.
To control the default setting:

m Use the Default Setting pop-up menu to choose from the list of existing settings.
The setting you choose appears as the default setting when you import a new source
file in the Batch Window.

To change the default destination:
m Use the Default Destination pop-up menu to choose from the list of existing destinations.
The destination you choose appears as the default destination when you import a new
source file in the Batch Window.
To control whether Compressor can browse clusters from a wide area network,
do one of the following:
m Select Browse Wide Area Network to have Compressor use computers beyond the local
subnet, and enter the DNS domain in the DNS Domain field. This feature requires
Mac OS X v10.4 or later.
m Deselect Browse Wide Area Network to have Compressor limit itself to computers in
the local subnet.
Note: Any changes you make to the Compressor Preferences settings take effect only
when you click Apply. If you make changes but decide not to use them, click Cancel.

3 The Compressor Interface
3
The Compressor interface consists of a number of core
windows in which you do most of your transcoding
preparation work.
Â Compressor Windows and the Transcoding Workflow (p. 38)
Â Batch Window (p. 39)
Â Toolbar Buttons (p. 39)
Â Presets Window (p. 40)
Â Inspector Window (p. 42)
Â History Drawer (p. 49)
Â Preview Window (p. 50)
Â Batch Monitor (p. 51)
Â Droplet Windows (p. 52)
Â General Compressor Keyboard Shortcuts (p. 53)
Â Preview Window Keyboard Shortcuts (p. 54)
37
Compressor Windows and the Transcoding Workflow
Each Compressor window represents a part of the transcoding workflow.
Inspector window
Preview window
Presets window
Batch window
Â Batch window: Allows you to import source media files, add settings and
destinations, and name the batch.
Â Presets window: Contains two tabs—Settings and Destinations. The Settings tab
allows you to centrally manage Apple and custom settings. The Destinations tab
allows you to create, modify, or remove destination settings, set a default destination,
and add file identifiers to your output media filename.
Â Inspector window: Allows you easy access to common transcoding controls, and a full
summary table containing all the details of each setting. You can also use the
Inspector window to gather information on source clips, and to make dynamic
changes interactively with the Preview window.
Â Preview window: Allows you to play your source media file in its original format, or
preview your source media file with whichever settings have been assigned to it. You
can see the effects of your settings—such as filters and frame resizing—and make
adjustments to these attributes while previewing the media file in real time.
Â History (Not Pictured): The History drawer allows you to view a full log of all batches
submitted from your computer and resubmit any batches listed in the log.
Â Droplet window (Not Pictured): Allows you to save one or more settings or groups of
settings into a Droplet, a standalone preset, packaged into a drag-and-drop
application and saved as an icon.
Â Batch Monitor (Not Pictured): Allows you to view the status of all batches being
processed. (See the Batch Monitor User Manual for more information.)
The Compressor toolbar (not pictured) makes it easy to navigate to the main
Compressor windows, and to the Batch Monitor.
38 Chapter 3 The Compressor Interface

Batch Window
When you first open Compressor, the Batch window appears. The Batch window allows
you to import source media files for compressing, add settings and destinations, name
the batch, and choose where you want to save it. The Batch table is where you place all
source media files in preparation for transcoding.
You can use the Compressor menu bar or the toolbar at the top of the Batch window
to open all other windows. (If the toolbar isn’t visible when you open Compressor, click
the button in the upper-right corner of the Batch window to open it.)
Batch table
In addition to the Compressor toolbar, the Batch window contains a Batch Name field,
the Batch table, and buttons to add, remove, and submit jobs as well as Cluster and
Priority pop-up menus. For information about controls and settings in the Batch
window, see “About the Batch Window” on page 55.
Toolbar Buttons
The Batch window contains a toolbar with the following buttons that let you navigate
to other windows: Presets, Inspector, History, Preview, and Batch Monitor.
See “Compressor Windows and the Transcoding Workflow” on page 38 for more
information on each of these windows.
Note: If the toolbar isn’t visible when you open Compressor, click the button in the
upper-right corner of the Batch window to open it.
Chapter 3 The Compressor Interface 39

Presets Window
The Presets window has two tabs: Settings and Destinations. Settings allows you to
centrally manage Apple and custom settings. Destinations allows you to create, modify,
or remove destination settings, set a default destination, and add file identifiers to your
output media filename.
Settings Tab
You use the Settings tab in the Presets window together with the Inspector window to
create and modify settings, decide exactly which settings you want to use to transcode
your source media file, and which output format you want the transcoded file
converted to.
To open the Settings tab,

1 Do one of the following:
Â Choose Window > Presets.
Â Press Command-2.
2 Click the Settings tab.
The Settings tab contains the Settings table (which displays existing settings), and
buttons to create, remove, and duplicate settings and groups (folders), as well as a
button to create Droplets.
Settings table

Destinations Tab
The Destinations tab allows you to create, modify, or remove destination settings, set a
default destination, and add file identifiers to your output media filename.
To open the Destinations tab,

Â Choose Window > Presets.
Â Press Command-2.
2 Click the Destinations tab.

Inspector Window
The Inspector window has easy access to common transcoding controls (for creating
and modifying settings and destinations) and a full summary table containing all the
details of each setting.
Summary Pane
The Summary pane contains the Summary table, which describes all the settings (video
and audio settings, geometry, and filter settings) associated with the setting selected in
the Settings tab of the Presets window. Information in the Summary table is updated
automatically whenever any setting is modified.
The Summary table includes the following details:

Â Name: The name of the setting selected in the Settings tab.
Â Description: A description of the setting selected in the Settings tab.
Â File Extension: The extension assigned to the transcoded media file. This identifies
which format your source media file is being converted to.
Â Audio Encoder: Details of the audio output file format and other transcoding settings,
such as sample rate, channels, bits per sample, and codec type.
Â Video Encoder: Details of the video output file format and other transcoding settings
such as frame width and height, crop amount (in pixels), frame rate, aspect ratio,
codec type, pixel depth, spatial quality, minimum spatial quality, keyframe interval,
temporal quality, minimum temporal quality, and data rate (in bits per second).
Â Filter: Details of all, some, or none (depending on how many filters you selected in
the Filters pane) of the available Compressor filters.

Encoder Pane
You use the Encoder pane to select and configure the output file format and other
settings. The file format options and attributes are different for each format.
Â File Format: Use this pop-up menu to choose an output file format. See “Choosing an
Output Format” on page 29 for more information on the available output formats.
Â File Extension field: The following file extensions automatically appear in this field
based on the format you choose from the File Format pop-up menu, and if video and
audio tracks are enabled. Don’t alter this field without good reason, because your file
may not be recognized if you do.
Â aiff: Represents AIFF.
Â ac3: Represents Dolby Digital Professional.
Â mpg: Represents MPEG-1 multiplexed (video and audio) stream.
Â m1v: Represents MPEG-1 video elementary stream.
Â m1a: Represents MPEG-1 audio elementary stream.
Â m2v: Represents MPEG-2 video elementary stream.
Â mp4: Represents MPEG-4.
Â mov: Represents QuickTime.
Â tiff: Represents TIFF.
Â Allow Job segmenting: This checkbox allows you to turn off job segmenting. It is only
relevant if you are using Compressor with distributed processing and with two pass
or multi pass encoding. (The Compressor 2 distributed processing feature is limited
to computers that have either Final Cut Studio or DVD Studio Pro 4 installed.) For
more information, see “Job Segmenting and Two Pass VBR” on page 136.

Job Segmenting and Two pass (or Multi pass) Encoding
If you choose the two-pass or the multi-pass mode, and you are using Compressor 2 or
higher with distributed processing enabled, you may have to make a choice between
speedier processing and ensuring the highest possible quality. The Apple Qmaster
distributed processing system speeds up processing by distributing work to multiple
processing nodes (computers). One way it does this is by dividing up the total amount
of frames in a job into smaller segments. Each of the processing computers then works
on a different segment. Since the nodes are working in parallel, the job is finished
sooner than it would have been on a single computer. But with two-pass VBR and
Multi-pass encoding, each segment is treated individually so the bit-rate allocation
generated in the first pass for any one segment does not include information from the
segments processed on other computers.
First, evaluate the encoding difficulty (complexity) of your source media. Then, decide
whether or not to allow job segmenting (with the “Allow Job segmenting” checkbox at
the top of the Encoder pane). If the distribution of simple and complex areas of the
media is similar in any given segment as it is across the whole source media file, then
you can get the same quality whether segmenting is turned on or not. In that case, it
makes sense to allow segmenting to speed up the processing time.
However, you may have a source media file with an uneven distribution of complex
scenes. For example, suppose you have a 2-hour sports program in which the first hour
is the pregame show with relatively static talking heads, and the second hour is high-
action sports footage. If this source media were evenly split into 2 segments, the bit
rate allocation plan for the first segment would not be able to “donate” some of its bits
to the second segment because the segments would be processed on separate
computers. The quality of the more complex action footage in the second segment
would suffer. In this case, if your goal were ensuring the highest possible quality over
the entire 2-hour program, it would make sense to not allow job segmenting by de-
selecting the checkbox at the top of the Encoder pane. This forces the job (and
therefore, the bit-rate allocation) to be processed on a single computer.
For more information on variable bit rate encoding (VBR), see “Quality Tab” on
page 134. For more information on the Apple Qmaster distributed processing system,
see the Distributed Processing Setup guide.

Frame Controls Pane
This pane of the Inspector offers automatic and customized settings for advanced
image analysis in frame resizing and frame retiming.
Frame resizing would be necessary when transcoding between a high definition

format such as 1080i and a standard definition format, such as DV-NTSC. An example
of frame re-timing would be when transcoding between video formats with different
frame rates such as NTSC (29.97 frames per second) and PAL (25 frames per second).
For more information about the Frame Controls pane, see “About the Frame Controls
Pane” on page 196.

Filters Pane
You use the Filters pane to add filters to your setting. You can perform such tasks as
gamma correction and noise removal from here.
Filters list
Select the checkbox next to any of the filters you want to include in a particular setting.
Use each filter’s sliders or arrow controls to adjust your filter settings as necessary.
Filters are applied to the source media file in the order you organize them in the Filters
list. You can reorder filters by dragging them up or down in this list.
For more information about the Filters pane, see “About the Filters Pane” on page 188.

Geometry Pane
You use the options in the Geometry pane to crop and size the media file being
compressed, and set its aspect ratio.
Â Source inset (Cropping): Use any of the four fields to enter the number of pixels by
which you want to reduce the source media file size.
Â Frame size: Use this pop-up menu or these fields to create an appropriate output
frame size and aspect ratio for your output media file.
Â Pixel aspect: Use this pop-up menu to set width and height values to conform to a
designated pixel aspect ratio.
Â Constrain to display aspect: Use this pop-up menu to calculate the output height or
width values.
For more information about the Geometry pane, see “About the Geometry Pane” on
page 201.

Actions Pane
You use the Actions pane to activate transcode-completion notification emails and
execute post-transcoding AppleScript actions.
Â “Email Notification to” checkbox and field: Use to enter the address to which you want
an email notification sent after the media file has been transcoded, or in the event of
an error.
Â “Execute AppleScript on output” checkbox: Select this checkbox to activate any
AppleScript you have assigned to the setting after the media file has been
transcoded.
Â Choose button: Click to select the AppleScript you want to assign to the setting.
For more information about the Actions pane, see “About the Actions Pane” on
page 205.

History Drawer
The History drawer gives you quick access to all previously submitted batches. You can
use it to resubmit batches by dragging them to the Batch window, or view submission
details about when particular job batches were submitted from your computer.
To open and close the History drawer, do one of the following:

m Choose Window > Show History.
m Click the History button in the Batch window toolbar.
History drawer History table
The History drawer contains a History table that displays information about the batch
name and the date and time it was originally transcoded. The entries are ordered by
date, with the oldest first. When you drag a batch into the Batch window for
resubmission, it replaces the existing batch in the Batch table.
For more information about the controls and settings in the History drawer, see “About
the History Drawer” on page 84.

Preview Window
The Preview window consists of a split screen that displays your selected source media
file in its original form on the left side, and what your output media file will look like on
the right side. This allows you to make a comparison between the original and
transcoded versions and adjust your settings as necessary. Using the options in this
window, you can crop the frame, add keyframes, and change the aspect ratio.
To open the Preview window, do one of the following:

m Choose Window > Preview.
m Click the Preview button in the Batch window toolbar.
m Press Command-3.
Marker pop-up menu button
The Preview window also contains several features—such as a marker management

pop-up menu—for MPEG-2 encoding expediency. The marker management pop-up
menu allows you to manually insert I-frames into your source media file wherever you
decide additional ones are needed to improve the compression quality of your media
file. If you are exporting a Final Cut Pro project to Compressor, these settings or
markers are transferred with your project. These markers are also exported to
DVD Studio Pro. See “Working With MPEG-2 I-Frames” on page 150 and “About MPEG-2
Markers and DVD Studio Pro” on page 144 for more information.
For more information about the controls and settings in the Preview window, see
“About the Preview Window” on page 210.

Batch Monitor
You use the Batch Monitor to monitor the progress of all transcoding batch activity,
including estimates for the transcoding time remaining for all jobs. The Batch Monitor
is a separate application that can be opened without opening Compressor. For more
details on the Batch Monitor see the Batch Monitor User Manual.
Status table
History table
To open the Batch Monitor, do one of the following:

m Submit a batch from the Batch window. By default, Compressor Preferences are set so
that Batch Monitor launches automatically when you submit a batch. See “Setting
Compressor Preferences” on page 34 for more information.
m Click the Batch Monitor button in the Batch window toolbar.
m Double click the Batch Monitor icon in the Utilities folder.
The Batch Monitor displays the status of all your submitted batches. The Batch Monitor
contains the Status table, which displays each batch’s name and other details that you
can add or remove from the Status table via the Batch Monitor Preferences window.
Batches not yet running appear as pending. Once your batch has been processed, it
disappears from the Status table and moves to the History table at the bottom of the
Batch Monitor window. You can view reports for both successful and failed jobs in the
History table.
For more information about the controls and settings in the Batch Monitor, see the
Batch Monitor User Manual.

Droplet Windows
You can save one or more settings or groups of settings into a Droplet, a standalone
preset, packaged into a drag-and-drop application and saved as an icon. Then you can
transcode source media files (without even opening Compressor) by simply dragging
them to a droplet icon. See Chapter 18, “Using Droplets,” on page 235, for information
on creating and using Droplets.
Drag selected source

media files to a droplet to
transcode them.
You can open any Droplet and view its window for full details about the Droplet.
To open a Droplet window:

m Double-click a Droplet icon.
For more information about the controls and settings in the Droplet window, see
“About the Droplet Window” on page 236.

General Compressor Keyboard Shortcuts
Key command Function
Brings the Batch window to the front.
x +1
Brings the Presets window to the front.

x +2
Brings the Preview window to the front.

x +3
Saves the current batch.

shift + x +S
Opens a saved batch.

x +O
Opens the Preferences window.

x +,
Submits a batch from an open Droplet.

return
Removes a selected item from the Batch, Preview, or Destination

delete
window.
Navigates up list items in the Batch, Destinations, Settings, and
Filters tables.
Navigates down list items in the Batch, Destinations, Settings,
and Filters tables.
Navigates through text fields in all panes.
tab
Imports a source asset to the batch.

x +I
Opens Compressor Help.

shift + x +?

Preview Window Keyboard Shortcuts
Starts fast reverse motion.
J
Starts fast forward motion.

L
Moves the clip backward frame by frame.
Moves the clip forward frame by frame.
Starts or stops clip playback.

space
(Only with MPEG-2) Adds or removes marker.

M
Sets an In point for the clip.

I
Sets an Out point for the clip.

O

4 Importing Source Media Files
4
The first step in the Compressor transcoding process
is to import at least one source media file into the
Batch window.
The source media files you import appear in the Batch table of the Batch window.
You can import source media files from any folder that you have access to.
See “Adding Source Media Files to a Batch” on page 58 for further information.

Â About the Batch Window (p. 55)
Â Adding Source Media Files to a Batch (p. 58)
About the Batch Window

The Batch window provides a central location for organizing your transcoding tasks and
quickly assigning settings. When you first open Compressor, the Batch window appears.
You use the toolbar at the top of the Batch window to open all other task windows.
Import Surround
Sound Group
Show toolbar
Batch Name field
Remove
Import File
Batch table
Cluster pop-up menu

Priority pop-up menu
Submit button
55
Batch window buttons and menus
Â Import Surround Sound Group: Opens an interactive graphic interface for importing
source audio files intended for surround sound output. For more information about
this interface, see “Assigning Files to Surround Sound Channels (Manual Method)” on
page 103.
Import File button
Remove button
Import Surround
Group button
Â Import File: Click to add a source media file to the Batch table. Clicking this button
opens a file selection dialog, allowing you to navigate to your source media files.
Select as many media files from this dialog as you want to add to the Batch table
for transcoding.
Â ( – ) Remove: Click to remove selected source media files or settings from the Batch
table. If you remove a selected setting, the source media file remains in the Batch
table, but if you remove the source media file, you remove the job as well as its
associated presets.
Â Submit: Click this button to submit a batch for transcoding.
Â Cluster: This pop-up menu allows you to choose a cluster of computers on your
network to which you can submit batches for distributed processing. The menu
will have only one available option (This Computer) unless all of the following
conditions are met:
Â Your copy of Compressor 2 has distributed processing enabled. (See the Distributed
Processing Setup guide for details.)
Â Other clusters are available on the network.
Â Priority: This pop-up menu allows you set the priority level (High, Medium, or Low)
of a batch, relative to other batches. It defaults to Medium. High-priority batches get
processed before low-priority batches.
56 Chapter 4 Importing Source Media Files

Batch table
You use the Batch table to assign settings to imported source media files.
Note: You can preview any source media file in the Batch table by double-clicking it.
The Preview window opens at the start of the selected media file.
The Batch table contains the following headings:

Â Source: Lists the source media filename. When you first add a source media file to the
Batch table, its original filename and extension appear in this column. The Setting
column displays 0 entries, indicating that no settings are currently associated with
the media file, so it cannot yet be transcoded.
Â Setting: Lists the name and number of settings associated with each source media
file. When you first add a source media file to the Batch table, this column contains a
pop-up menu for assigning settings. When you assign a setting, a default destination,
Source (the same folder as that of the source media file), is also assigned to the
media file.
Â Destination: Lists the name of the destination folder where your output media files
are saved. The default destination folder is the same as the source media files folder,
known as Source. You can change either by choosing something different from the
Destination pop-up menu, or by dragging a new destination path from the
Destinations tab (in the Presets window) to the source media file in the Batch table.
Â Output Filename: Lists the output filename, output format extension, and any
additional file identifiers assigned. Filename identifiers are derived from the
selections made by selecting a Destination preset in the Destinations tab of the
Presets window and then adjusting it with the Filename Template pop-up menu
located in the Inspector. You can also edit this field directly by double-clicking it. See
“About the Destinations Tab” on page 224 for more information about creating
destination presets and using the Filename Template.
Note: When you are transcoding one source media file into a variety of output
formats and using different settings, the Output Filename column can help you keep
track of the output files by displaying the filenames and different output extensions
for the same media file. For example, if you were transcoding a media file (named
filename) into both QuickTime and MPEG-2 formats using settings that you created
and called Web QuickTime and DVD MPEG-2 respectively, the Output Filename
column would display the two filenames as follows:
Â filename-Web QuickTime.mov (the QuickTime clip)
Â filename-DVD MPEG-2.m2v (the MPEG-2 clip)
Chapter 4 Importing Source Media Files 57

Batch name field
Enter a name in this field to help you distinguish one batch from another once you
have submitted several of them. Name your batch so that you can easily view its
progress in the Batch Monitor, and recall it from the History drawer if you want to
resubmit it. The default batch name is the name of the first source file in the batch. You
can easily edit the name by double-clicking it.
Adding Source Media Files to a Batch

You need to import the source media files into the Batch table in the Batch window
before you can add any transcoding settings to them. Once they are imported into the
Batch table, the source media files become part of the batch to be submitted.
To add source media files to a batch:

1 Open Compressor.
The Batch window opens with an empty Batch table and Batch Name field.
Batch Name field
Batch table
2 Enter a new name in the Batch Name field.

Â Open your source media file folder and drag one or more source media files into the
Batch table.
Â Click the Import File button, navigate to the relevant media file folder, select one or
more source media files, and then click Open.
Â Choose File > Import File.
Note: You can combine the above steps by selecting all the source media files you
want to transcode before opening Compressor and then dragging them to the
Compressor application icon. This opens Compressor and adds the media files to the
Batch table at the same time.
Chapter 4 Importing Source Media Files 59

The Batch table now contains your selected media files, and displays 0 entries in the
Setting column. This means that you have not yet assigned a setting, which means you
have not yet created a job. See Chapter 5, “Creating, Previewing,
and Modifying Settings,” on page 61, for information on how to perform this task.
Important: It is strongly recommended that you do not use highly compressed files,
such as MPEG files, as your source files, because this can cause undesirable artifacts in
the encoded video.

5 Creating, Previewing,
and Modifying Settings 5
A setting is a combination of transcode attributes,
such as output format, filter, and geometry settings,
that you apply to the source media file as a part of the
transcoding process.
You need to assign at least one setting to a source media file before you can transcode
it. Once you have a source media file in the Batch table of the Batch window, you can
either select a pre-existing setting or create a customized one using the Settings tab in
the Presets window.
Once you have all the settings that you think you need, you won’t have to open the
Settings tab in the Presets window again, because you can select all settings directly
from the Batch window, or the Settings menu, once The settings have been created.
This chapter covers the following:

Â About the Settings Tab (p. 62)
Â About the Inspector (p. 65)
Â Choosing a Pre-Existing Setting (p. 67)
Â Creating a Setting (p. 68)
Â Modifying a Setting (p. 70)
Â Previewing a Setting (p. 72)
Â Duplicating and Deleting Settings (p. 74)
Â Creating Groups of Settings (p. 75)
Â Distributing and Sharing Settings (p. 75)
Note: A setting is just one kind of Compressor preset. You can also create, modify, save,
or remove Destination presets. For more information on Destination presets, see
“Creating and Changing Destinations” on page 223.
61
About the Settings Tab
The Settings tab in the Presets window allows you to manage your settings. In
conjunction with the Inspector window, the Settings tab also provides details of all the
settings with easy access to common transcoding controls.
You use the Settings tab in the Presets window (together with the Inspector window)
to create, modify, or delete settings, as well as create group folders for multiple
settings. You can also create Droplets from this window.
The Settings tab contains the Settings table (which displays existing settings) and the
necessary buttons to add, remove, or duplicate a setting, and create groups and Droplets.
Duplicate Selected
Setting button
Create New Delete Selected

Setting Group Settings button
Save Selection
as Droplet Create a New
Setting button
Click the disclosure Settings table

triangles to show
or hide a setting
group’s contents.
Custom settings group
62 Chapter 5 Creating, Previewing, and Modifying Settings

Settings tab buttons
Â Create a New Setting ( + ): Click to add a new setting to the Settings tab. You must
also choose an output file format from the accompanying menu when you click this
button before you can continue.
Â Delete Selected Settings ( – ): Click to remove a setting from the Settings tab. You are
not asked for a confirmation, so be sure you want to remove the setting before
clicking this button.
Â Create a New Setting Group: Click to create a folder where you can group existing
settings. Use this button as a way to organize your settings into some sort of logical
order, keeping the Settings table easy to navigate. Once settings have been created,
you can assign a whole group of settings to a source media file (by dragging it onto
the source file in the Batch window) or you can create a Droplet containing multiple
settings. See “Creating Groups of Settings” on page 75 for more information.
Â Duplicate Selected Setting: Click to duplicate a selected setting in the Settings table.
The Duplicate button copies the exact settings of the setting currently selected in
the Settings table. Using the Duplicate button allows you to create a new setting
from a pre-existing one; you can then adjust that setting according to your needs,
rather than creating a new setting from scratch.
Â Save Selection as Droplet: Click to create a Droplet from an existing setting or group
of settings. Droplets allow you to transcode a media file by simply dragging one or
more source media files over the Droplet icon. Once you have selected your setting
or group and clicked the Save Droplet button, the Save dialog asks you to name your
Droplet, choose a location for it, and choose a destination folder for the relevant
output media files. Once you complete this dialog, your Droplet is ready and you can
drag as many files as you want to its icon. See Chapter 18, “Using Droplets,” on
page 235 for more information about Droplets.
Chapter 5 Creating, Previewing, and Modifying Settings 63

Settings table
When you first open the Settings tab in the Presets window, the Settings tab contains a
set of pre-existing (Apple) settings supplied with Compressor. The Settings tab displays
name and description details of all existing settings and groups stored on your computer.
Setting group with

five settings
New “Untitled” setting
New settings appear in the Custom group folder with the default name “Untitled ___”
with “___” being the file format you chose from the ( + ) pop-up menu. It’s a good idea
to change the setting name to something meaningful, such as details of the settings or
distribution method associated with the setting. Double-click the setting in the
Settings tab to open the Inspector window. Use the Name field in the Inspector
window to enter a name. Use the Description field to enter more information about
each setting. This information only appears within the Settings tab in the Presets
window and can help you keep track of your files when you have many settings.
You can also organize your settings by putting them in group folders. Once you have
created and named a group folder, you can drag any existing setting into it. When you
drag a setting to a group, you remove it from the main Settings table. You can also
drag individual settings from a group to a source media file. See “Creating Groups of
Settings” on page 75 for more information.

Batch selection
Whenever you select a setting in the Batch table of the Batch window, it also
immediately appears in the Inspector window with “Batch selection” in the Name field.
This is a temporary copy of the setting and not the setting itself, so you can make
temporary modifications to the setting for just that one batch submission.
When you modify the Batch selection, the Save As button at the bottom of the
Inspector window becomes active. Click Save As to save the modified setting with a
new name. The saved copy appears in the Settings table as Setting Name-Copy, and
immediately becomes the selected setting in the Settings table.
About the Inspector

Use the Inspector window to choose a particular output file format, filters, frame size,
geometry settings, aspect ratio, and output file delivery method.
The Inspector contains a number of panes in which you can do the following:
Â View a detailed summary of a selected setting (Summary pane).
Â Select an output file format and other related video and audio settings
(Encoder pane).
Â Customize changes to the frame size, frame rate, or field dominance (Frame
Controls pane).
Â Add filters to your setting to enhance the quality of the output files (Filters pane).
Â Crop and set the frame size for your output media file (Geometry pane).
Â Execute AppleScripts and send email notifications (Actions pane).

Inspector panes
The Inspector window contains the following panes that let you create and modify all the
settings related to your output media file, such as filters, geometry, and output format:
Â Summary pane: Provides a detailed summary of a selected setting. See “Summary
Pane” on page 42 for more information about this pane.
Â Encoder pane: Allows you to select an output file format and other related video and
audio settings. See the following specific sections for more information about the
different encoder panes:
Â “About the AIFF Encoder Pane” on page 180
Â “About the Dolby Digital Professional Encoder Pane” on page 94
Â “About the H.264 Encoder Pane” on page 110
Â “About the MPEG-1 Encoder Pane” on page 117
Â “About the QuickTime Export Components Encoder Pane” on page 178
Â “About the QuickTime Movie Encoder Pane” on page 164
Â “About the TIFF Encoder Pane” on page 183
Â Filters pane: Allows you to add filters to your setting. (See “About the Filters Pane” on
page 188 for more information.)
Â Geometry pane: Allows you to crop and set the frame size for your output media file.
(See “About the Geometry Pane” on page 201 for more information.)
Â Actions pane: Allows you to execute AppleScripts and send email notifications. (See
“About the Actions Pane” on page 205 for more information.)

Choosing a Pre-Existing Setting
Compressor comes with a number of pre-existing (Apple) settings and destinations
that you can use as soon as you have installed Compressor. If these presets meet your
transcoding needs, you don’t have to create new presets or modify existing ones.
To assign a pre-existing setting:

1 Open the Batch window.
2 Import a source file.
3 Choose a pre-existing (Apple) setting from the pop-up menu in the Setting column of
the Batch table.
Note: You can repeat step 3 to assign multiple settings to a source media file.

To assign a pre-existing destination preset:
2 Import a source file.
3 Choose a pre-existing destination from the pop-up menu in the Destination column of
the Batch table.
For more information on destination presets, see “Creating and Changing Destinations”
on page 223.
Creating a Setting
If the pre-existing settings are not sufficient for your transcoding needs or if you simply
want additional settings, you can create your own.
To create a setting:
1 Click the Add ( + ) button in the Settings tab of the Presets window and choose an
output format from the pop-up menu.

A new setting called Untitled appears in the custom Settings folder of the Settings
table, appended with the selected output file format (for example, Untitled MPEG-2).
Note: You can always change the output file format for that setting in the Encoder pane
of the Inspector, but be sure to change the setting name to reflect its output file format.
2 Enter a suitable name and description for the setting in the Name and Description
fields in the Inspector window.
See “Assigning Settings to Source Media Files” on page 78 for information about
assigning settings.
Note: You can create groups of settings that can then be applied to a media file in one
step. See “Creating Groups of Settings” on page 75 for more information.

Modifying a Setting
You can edit or change any component of an existing setting by modifying its
attributes in the Inspector. Compressor offers two setting modification methods:
Â Select and modify an unassigned setting directly in the Inspector.
Â Modify a setting already assigned to a source media file in the Batch table (identified
as Batch selection in the Inspector window).
Once you have modified a setting, you can either save it as the existing setting, or save
it as a copy.
To modify an unassigned setting directly in the Inspector:

1 Select the setting you want to modify in the Settings tab of the Presets window.
2 Click the relevant tabs in the lnspector window to open the various panes and access
the existing settings that you want to modify:
Â Encoder pane: Change the output format and video and audio codecs and their
associated attributes here.
Â Frame Controls pane: Change any attributes in the Frame Controls pane.
Â Filter pane: Change any filter attributes here. Click the checkbox next to a filter to add
it to the setting, or deselect it to remove it from the setting.
Â Geometry pane: Change any attribute in the Geometry pane.
Â Actions pane: Change any attribute in the Actions pane.
3 If you have modified the setting in any way, you can do either of the following to save
the changes:
Â Click the Save button at the bottom of the Inspector window to save the changes.
Â Attempt to select any other setting.
In either case, a dialog asks if you want to save the changed attributes.
Click OK to save the changes, or click Revert to cancel the changes and return to
the Inspector.
See “Assigning Settings to Source Media Files” on page 78 for information about
assigning settings.

To modify a setting already assigned to a source media file in the Batch table:
Â Select the setting in the Batch table that you want to modify and choose Window >
Inspector to open the Inspector window.
Â Double-click the setting in the Batch table that you want to modify.
The setting appears in the Inspector window with “Batch selection” in the Name field.
Don’t worry about damaging the original setting. This is a temporary copy of the
setting you selected, and not the setting itself. So you can make temporary
modifications to the setting for just this one batch submission.
See “Batch selection” on page 65 for more information.
3 Open the following Inspector panes to modify the following items:

Â Encoder pane: Change the output format and video and audio codecs and their
associated attributes here.
Â Frame Controls pane: Change any attribute in the Frame Controls pane.
Â Filters pane: Change any filter attributes here. Click the checkbox next to a filter to
add it to the setting, or deselect it to remove it from the setting.
Â Geometry pane: Change any attribute in the Geometry pane.
Â Actions pane: Change any attribute in the Actions pane.
4 After you’ve finished modifying “Batch selection,” do one of the following:
Â Return to the Batch window and click Submit.
Â Click the Save As button at the bottom of the Inspector window and enter a name to
create a new setting containing the modifications you made in Step 3. The new
setting appears in the Custom group folder in the Settings tab of the Presets window.

Previewing a Setting
The Compressor Preview window lets you see the effects of your setting—such as
filters and frame resizing—and make adjustments to these attributes while previewing
the media file in real time.
To view your setting in the Preview window:

1 Select the setting in the Batch table for the particular job that you want to preview.
Â Double-click the setting in the Batch table.
Â Click the Preview button.
The opening frame of the selected source media file appears in the Preview window
and the title of the selected setting appears in the Batch Item pop-up menu with the
Out point timecode field displaying the length of the clip. The left half of the screen
displays the source media file in its original form (Source view) and the right half
displays what the output image will look like with selected filters and other setting
attributes applied to it (Output view).
Batch Item
pop-up menu
Batch Item
selection buttons
Output view
Source view
Out point
timecode field

3 Make any necessary adjustments to your setting while previewing the media file in the
Preview window.
The Preview window
Make adjustments while

previewing the media file
in the Preview window.
Note: To preview the effect of the filters on your media file, you need to make sure that
the checkbox for that particular filter is selected in the Filters table. Otherwise, the
Preview window won’t recognize that filter, and it will not be part of the transcoding
settings for that job. See Chapter 16, “Using the Preview Window,” on page 209, for
more information about previewing your settings and “About the Filters Pane” on
page 188 for more information on filters.

Duplicating and Deleting Settings
If there is a setting that contains some attributes that you want to use in another
setting, you can duplicate the existing setting and make the necessary modifications to
the duplicated one.
To duplicate a setting:
1 Select the setting that you want to duplicate in the Settings tab.
2 Click the Duplicate button.
Remove button
Duplicate button
A new setting appears in the Custom folder with the word Copy appended to the
original name.
Note: You can only duplicate settings one at a time.
To delete a setting:
1 Select the setting that you want to delete.
2 Click the Remove ( – ) button or press the Delete key on your keyboard.
Note: You can delete only one setting at a time.
Warning: There is no warning when you delete a setting, and you cannot undo the
deletion to restore the setting.

Creating Groups of Settings
Creating a group of settings allows you to quickly assign multiple settings to a source
media file.
To create a group of settings:

1 Click the Group button in the Settings tab of the Presets window.
A folder called Untitled appears in the Settings tab with 0 Settings in the Description
column. You cannot modify this field. It displays the number of settings the group
contains.
Group button
2 Enter a suitable group name in the Inspector Name field.

3 In the Settings tab, drag the relevant settings into the group folder.
Note: Settings must be added to a group one at a time—you cannot drag multiple
selected settings to a group.
The Description field displays the number of settings your group contains. Once you
have at least one setting inside the group folder, you can click the disclosure triangle
next to the group folder to show or hide the setting group details. You can also see full
details of the settings in any group by selecting the group and then looking at the
Summary pane in the Inspector window.
Note: You can also drag settings from one group to another group.
To add the same setting to more than one group:

1 Select the setting.
2 Click the Duplicate button to create a copy, and rename the duplicated setting.
3 Drag the duplicated setting to another group folder.
Distributing and Sharing Settings

Both pre-existing and newly created settings are stored in the home folder at Library/
Application Support/Compressor as XML files, with the file extension .setting. You can
distribute and share any of these settings by placing them into the same location
within the home folder of whatever computer you distributed the settings to. You can
also transfer these files the same way that you would distribute any other file, by
emailing them as an attachment or placing them on a server.

6 Creating Jobs
and Submitting Batches 6
A job consists of a source media file with at least one
setting and destination assigned to it. You create jobs by
adding presets to your source media files in the Batch
table of the Batch window.
Compressor gives you a number of different options for assigning settings and
destinations and submitting and resubmitting batches.
Note: See “About the Settings Tab” on page 62 and “About the Destinations Tab” on
page 224 for more information about creating presets in these windows.
See the following sections for assigning settings and destinations and
submitting batches:
Assigning settings
Â Assigning Settings to Source Media Files (p. 78)
Assigning destinations
Â Assigning Destinations to Source Media Files (p. 81)
Submitting batches
Â Submitting a Batch (p. 83)
Â Resubmitting a Batch (p. 85)
Â Submitting a Final Cut Pro Project for Transcoding (p. 87)
Â Transcoding Different Clips From One Source Media File (p. 90)
Saving and opening batches

Â Saving and Opening a Batch File (p. 86)
77
Assigning Settings to Source Media Files
You need to create a job (add a setting to the source media file) before your source
media file can be successfully submitted for transcoding.
To create a job:
2 Enter a name for the batch in the Batch Name field. (Or Compressor will name the
batch after the first source file in the batch list you create in Step 3.)
3 Add source media files to the Batch table.
See “Adding Source Media Files to a Batch” on page 58 for more information.
4 Once you have at least one source media file and at least one available setting, do one
of the following to assign the setting:
Â Click the Setting pop-up icon for a media file, then choose a setting from the menu
that appears. If you select a setting group, you can choose a specific setting or
choose All if you want to assign all the settings to the source media file.
Batch Name field with

batch name entered
Setting pop-up icon with
Setting pop-up menu
78 Chapter 6 Creating Jobs and Submitting Batches

Â Select one or more source media files and choose a setting from the Settings menu
in the Compressor menu bar. Using this method, you can assign one setting to
multiple source media files at the same time.
Open the Settings menu

from the menu bar and
assign relevant settings.
Select source
media files in the
Batch window.
Â Drag-select all source media files in the Batch table and, while keeping the mouse
button down, position the pointer over the Setting pop-up icon to open the menu.
You can then choose a single setting to assign to all the source media files.
Selected source
media files
Chapter 6 Creating Jobs and Submitting Batches 79

Â Open the Settings tab of the Presets window and drag one or more settings or
setting groups to the intended source media file in the Batch table. This method is
most useful when you want to quickly apply multiple settings to a source media file,
producing a variety of output file formats. When dragging a setting group, all
settings in the group are automatically applied to the source.
In the Setting column, the setting number changes from 0 entries to the number of
settings you have just added. Once you add at least one setting, a disclosure triangle
appears to the left of the source media filename. Click this to view or hide setting
details for the job.
Click the disclosure

triangles to show or hide
the setting information.
Submit button
Note: Once all of your source media files in the Batch table have at least one setting
associated with them, the Submit button becomes active.
You have now created a job that is ready for transcoding. If you want to preview it first
to ensure that you are satisfied with the results, see Chapter 16, “Using the Preview
Window,” on page 209.

Assigning Destinations to Source Media Files
Once you have assigned settings to your source media files, you can assign different
destinations. You can set a default destination with Compressor preferences. (Choose
Compressor > Preferences.) This can be one of those supplied with Compressor or a
custom destination you have created. See “Creating a Destination” on page 226 for
details on working with destinations.
There are a number of different ways to assign a destination to a source file.
To assign a destination, do one of the following:

m In the Batch window, open the Destination pop-up menu in the Batch table and
choose a destination. You can change destinations as often as you like.
Destination
pop-up menu
Note: You can also assign a temporary destination by choosing Other. This opens the
File Selection dialog and allows you to create a new destination for just that batch
submission. This destination preset is not saved and only applies to the submitted batch.
m Select one or more source file settings to set the destination for, then choose the
destination from the Destination menu in the menu bar. You can change destinations
as often as you like.
Select the settings to

have their destinations
changed.

m Drag the destination from the Destinations tab of the Presets window to a source file’s
setting in the Batch table (a setting must be assigned to the source media file first).
You can always change the destination again, by dragging another destination to the
same setting.
Once you have assigned the destinations, they appear in the Batch window’s
Destination column.

Submitting a Batch
One or more jobs in the Jobs table is considered a batch. When you have assigned at
least one setting to all source media files in the Batch table, you are ready to submit
the batch for processing.
To submit a batch:
2 If you haven’t already done so, enter a suitable name for the batch in the
Batch Name field.
3 Add appropriate source media files, settings, and destinations.
4 Click Submit.
A progress bar appears, indicating that the batch is being submitted.
Note: When submitting larger batches (for example, nine source media files with three
settings assigned to each), there is about a 10-second delay after submitting the batch
when nothing happens. Be patient. Compressor is preparing the large batch before it
can be properly submitted for processing. If you are transcoding a large batch, you
should turn off the screen saver application on your computer. This will improve the
speed of your transcode because resources are not being diverted to the screen saver.
See “About the Batch Window” on page 55 for more information about using the
Batch window.

About the History Drawer
The History drawer provides quick access to all previously submitted batches, allowing
you to conveniently resubmit batches by dragging them to the Batch window, and
view submission details about when particular job batches were submitted from your
computer. Whatever batch you drag to the Batch window for resubmission replaces the
existing batch in the Batch table of the Batch window.
The History drawer consists of a History table that displays information about the batch
name and the date and time it was originally transcoded. The entries are ordered by
date, with the oldest first.
History table History drawer
The History drawer contains the following items:

Â History table: Contains a list of all batches submitted from your computer. These
batches are sorted into daily groupings, the contents of which can be viewed by
clicking the disclosure triangle. The History table contains the following headings:
Â Date/Time: Displays all the dates when batches were submitted from your
computer. Click the disclosure triangle to see the exact time all batches were
submitted on that particular date.
Â Batch Name: Displays the batch name.
Â Status: Displays status (Successful or Failed)
Â Remove ( – ): Click this button to remove a selected batch from the History table.

Resubmitting a Batch
All batch submission information is stored in the History drawer, accessible from the
Batch window. This information includes all of the source media files and all of the
presets that were assigned to them for that batch submission. You can use this
information to resubmit a batch, simply by dragging a particular entry from the History
drawer back to the Batch table.
Important: Make sure that the Batch table is empty before dragging a batch from the
History table, because any batch you drag from the History table automatically
overrides whatever jobs are currently in the Batch table.
To resubmit a batch:
Â Click the History button in the Compressor toolbar.
Â Choose Window > Show History.
The History drawer opens to the side of the Batch window, displaying all batches that
have been submitted previously, identified by the day and time of submission.
2 Select the batch that you want to resubmit and drag it to the Batch table in the
Batch window.
Note: You must drag the date from the Date/Time column.
Select the batch to

resubmit from the
History drawer and drag
it to the Batch table.
History drawer

The batch appears in the Batch table with all its original details (source media files,
assigned settings, destinations, output format, and batch name) and is immediately
ready for transcoding again.
Note: Don’t drag multiple batches, because you can only resubmit one batch at a time.
3 Either modify the setting and destination settings to suit your current needs or click
Submit to submit the batch as is.
The batch is submitted for transcoding and cleared from the Batch table.
Saving and Opening a Batch File

There may be times when you configure a batch but are not able to submit it right
away. In those cases, you may find it useful to save the batch settings for later reference.
To save a batch file:

Â Choose File > Save Batch As.
Â Press Shift-Command-S.
A dialog opens to name the file and choose its destination. By default, the filename is
the same as the first source media file.
2 Enter a name for the file if you do not want to use the default name.
3 Choose the destination for the file.
4 Click Save.
Batch filenames have a “.compressor” extension added to them.

To open a batch file within Compressor:
Â Choose File > Open Batch.
Â Press Command-O.
A dialog opens to select the batch file to open.
2 Locate and choose the batch file to open.
3 Click Open.
You can also open a batch file by double-clicking it in the Finder, or by dragging the
batch file to the Compressor application icon.
Note: An error message appears if Compressor cannot locate any of the source files
listed in the batch file, and only those sources it finds will appear.
Submitting a Final Cut Pro Project for Transcoding

You can use Compressor to improve the transcoding process for your Final Cut Pro
projects. For example, you can transcode your Final Cut Pro project without rendering
it. This avoids a potentially time-consuming step depending on how many transitions,
filters, and video effects have been applied to your project, and also results in no
generational loss of the content from your source media files. This process also
eliminates one step from the earlier transcoding workflow which involved exporting
from Final Cut Pro to QuickTime and then to a compression application. Now, you can
directly export from Final Cut Pro to Compressor.
Depending on its file size, a Final Cut Pro project that is transcoded only on your
computer could significantly affect your computer’s performance.
Note: Transcoding a Final Cut Pro project doesn’t actually create a rendered project,
although the transcoded output media file does have all the rendered effects applied. If
you want to continue working on the project within Final Cut Pro, you need to render it
in Final Cut Pro.

To transcode a Final Cut Pro project:
1 Open the project you want to transcode in Final Cut Pro.
2 Use one of the following methods to select the project for transcoding in Final Cut Pro:
Â In the Browser, select the sequence you want to transcode.
Â Make the Timeline the active window by clicking in it.
3 Save your Final Cut Pro project and give it an appropriate name.
4 Choose File > Export > Using Compressor.
A progress dialog appears, indicating that the files are being submitted for transcoding.
Compressor opens with the selected media file (the Final Cut Pro project) in the Batch
table of the Batch window. The project name appears in the Source Media column with
0 entries in the Setting column.

5 Assign settings and destinations to the source media file as necessary.
See the following sections for more information:
Â “Assigning Settings to Source Media Files” on page 78
Â “Assigning Destinations to Source Media Files” on page 81
6 Click the Submit button in the Batch window.
Compressor begins transcoding the Final Cut Pro project and then closes.
You can open the Batch Monitor to view the transcoding status of your Final Cut Pro
project. See the Batch Monitor User Manual for more information.
Note: Final Cut Pro needs to remain open throughout this process, because much of
the transcoding preparation of the frames occurs within Final Cut Pro rather than
within Compressor. Also, you cannot continue working in Final Cut Pro until the
transcode is completed.
Resubmitting a Final Cut Pro Project

You can use the History drawer to resubmit a Final Cut Pro project, the same way as
you resubmit any other batch. Compressor recognizes that this particular batch
originated from Final Cut Pro, so when you drag the batch from the History drawer to
the Batch table of the Batch window, it automatically opens Final Cut Pro.
See “Resubmitting a Batch” on page 85 for details about the steps in this process.

Transcoding Different Clips From One Source Media File
If you have a large source media file and you only want to transcode a few different
sections of it, you can do this in one batch submission.
To transcode different clips from one source media file:

2 Import the source media file into the Batch table as many times as the number of clips
you want to make.
3 Add settings to each media file.
A unique identifier is applied to the output filename, so that you can easily identify
each clip after it is transcoded.
Unique file identifiers are

automatically applied to
each job.
4 Do one of the following to open the Preview window:

Â Click the Preview button in the Batch window.
Â Double-click one of the applied settings.
The Preview window opens.

5 Use the Batch Item selection buttons or pop-up menu to navigate to each media file
you want to transcode.
Drag the In and Out points to the first relevant section of the media file, and repeat for
the next media file by dragging its In and Out points to the next relevant section of the
media file. You can also use the I (In) and O (Out) keys to move the markers to the
current location of the playhead.
6 Return to the Batch window and click Submit.
See “About the Preview Window” on page 210 for more information.

7 Creating Dolby Digital
Professional Output Files 7
Compressor provides the tools you need to encode, and
batch-encode, Dolby Digital Professional (AC-3) audio files.
Dolby Digital Professional format (also known as AC-3) is a very common compressed
audio format for DVD-Video discs. Compressor 2 accepts multichannel sound files in a
variety of formats and gives you complete control over the AC-3 encoding process.
Dolby Digital programs can deliver 5.1-channel surround sound with five discrete full-
range channels (left, center, right, left surround, and right surround) plus a sixth channel
for low-frequency effects (LFE), sometimes known as “the subwoofer.” Another surround
option is Dolby Surround, with four channels (left, center, right, surround). But not all
AC-3 audio is 5.1 surround sound. Dolby Digital Professional is commonly used to
encode stereo files to greatly reduce their file size.

Â About the Dolby Digital Professional Encoder Pane (p. 94)
Â Converting Audio Files to Dolby Digital Professional Format (p. 100)
Â Creating Surround Files (p. 101)
Â Options for Spatial Mixing (p. 106)
Note: Dolby Digital Professional encoding with Compressor is available only on

computers that also have DVD Studio Pro 4 or Final Cut Studio installed. If you are
using Compressor with distributed processing, DVD Studio Pro must be installed on
each node that will be doing Dolby Digital Professional encoding.
If you are planning to make DVDs using DVD Studio Pro, see the DVD Studio Pro User
Manual for more information about the DVD authoring workflow.
Note: It’s important to understand that Compressor cannot take stereo audio files and
create 5.1 surround sound from them. If you want to create a 5.1 surround sound AC-3
audio file, you must first create the six channels of audio it requires. This must be done
using other applications outside Compressor.
93
About the Dolby Digital Professional Encoder Pane
This section contains detailed information about the various tabs within the Dolby
Digital Professional (AC-3) Encoder pane of the Inspector window.
You make your Dolby Digital Professional settings using the tabs described below, by
either modifying an existing setting or creating a new setting in the Settings tab of the
Presets window. The Dolby Digital Professional pane opens with the default Audio tab
on top and contains the following items:
Â File Extension: This field displays the Dolby Digital Professional file extension (ac3)
automatically after the Dolby Digital Professional output format is selected from the
File Format pop-up menu or the ( + ) pop-up menu in the Settings tab of the
Presets window.
Â Allow Job segmenting: This checkbox allows you to turn off job segmenting. It is
relevant only if you are using Compressor with distributed processing and with two
pass or multi pass encoding. (The Compressor 2 distributed processing feature is
limited to computers that have either Final Cut Studio or DVD Studio Pro 4 installed.)
For more information, see “Encoder Pane” on page 43.
Â Audio, Bitstream, and Preprocessing: These buttons open the Audio, Bitstream, and
Preprocessing tabs described next.
94 Chapter 7 Creating Dolby Digital Professional Output Files

Audio Tab Settings
All of the most important Dolby Digital Professional settings are accessible in the
Audio Tab.
Â Target System: Compressor limits available settings to those appropriate for the
target system. If you’re encoding for use with DVD Studio Pro, choose DVD Video.
Â Audio Coding Mode: Specifies the audio channels of the encoded stream.
Chapter 7 Creating Dolby Digital Professional Output Files 95

For example, “3/2 (L, C, R, Ls, Rs)” means three front channels (left, center, right), and
two rear channels (surround). “2/0 (L, R)” is essentially a standard stereo file. The audio
coding mode affects settings such as the available bandwidth and surround channel
preprocessing. If you choose Automatic, Compressor makes its best guess at the
intended Audio Coding Mode, based on available source audio files.
L C R L C R L C R
LFE LFE LFE
Ls Rs S
3/2 channels 3/1 channels 3/0 channels
L R L R L R C
LFE LFE LFE LFE
Ls Rs S
2/2 channels 2/1 channels 2/0 channels 1/0 channels
(LFE option not available) (LFE option not available)
Note: In the Audio Coding Mode pop-up menu, “S” stands for a single rear “Surround”
channel, and in this illustration, “LFE” stands for Low Frequency Effects (also known as
“subwoofer”). In subsequent sections of this manual, the Low Frequency Effects
channel is referred to as “the LFE channel” and its channel identifier code is “.S” (for
“subwoofer”). The single rear “Surround” channel is referred to as “Center surround”
(and its channel identifier code is “Cs”). For more information, see “Assigning Files to
Surround Sound Channels (Manual Method)” on page 103 and “Assigning Files to
Surround Sound Channels (Automatic Methods)” on page 104.
Â Sample Rate: Specifies the sample rate. All files intended for DVD authoring must
have a 48 kHz sample rate as per the DVD specification.
Â Data Rate: The choices depend on the coding mode and target system. The higher
the rate, the better the quality. AC-3 streams have a constant data rate. At 448 kbps,
which is the default for 5.1 encoding, one minute of AC-3 audio takes about 3.3 MB of
storage space. For stereo encoding, rates of 192 kbps and 224 kbps are typical and
will produce good results.
Â Bit Stream Mode: Defines the purpose of the encoded audio material. The information
is included in the finished stream and can be read by some decoding systems.

Â Dialog Normalization: Specifies the average volume of the dialog in your sound files
relative to full modulation. The playback device uses this information to maintain
similar volume among different AC-3 streams. A setting of –31 dBFS ensures the
sound levels will not be altered at all.
Â Enable Low Frequency Effects: Select this checkbox to include the LFE channel in the
encoded stream. (Not available for mono or stereo.)
Bitstream Tab Settings

These settings are stored in the finished stream for use by the playback device. Leave them
at their default values unless you have a specific technical reason for changing them.
Â Center Downmix, Surround Downmix: If your encoded audio has these channels, but the
player does not, the channels are mixed into the stereo output at the specified level.
Â Dolby Surround Mode: When encoding in 2/0 (stereo) mode, specifies whether the
signal uses Dolby Surround (Pro Logic).
Â Copyright Exists: Select this checkbox to specify that a copyright exists for this audio.
Â Content is Original: Select this checkbox to specify that this audio is from the original
source and not a copy.
Â Audio Production Information: Select this checkbox and fill in the fields below to
specify how the encoded audio content was mixed. Playback devices may use this
information to adjust output settings.
Â Peak Mixing Level: Specifies peak sound pressure level (SPL) (between 80 dB and
111 dB) in the production environment when this mix was mastered.
Â Room Type: Specifies information about the mixing studio.

Preprocessing Tab Settings
Preprocessing options are applied to the audio data before encoding. With the
exception of the Compression Preset setting, leave these settings at their default values
unless you have a specific technical reason for changing them.
Â Compression Preset: Specifies one of the dynamic range processing modes built in to
the AC-3 format. The default of Film Standard Compression should only be used
when you are encoding an original mix intended for cinema. In almost all cases, you
should choose None.

General
Â RF Overmodulation Protection: Determines whether to use an RF preemphasis filter in
the clip protection algorithm to prevent RF overmodulation in set-top-box decoders.
Â Apply Digital Deemphasis: Specifies whether input audio data is preemphasized and
needs to be deemphasized before encoding.
LFE Channel
Â Apply Low-Pass Filter: Select this checkbox to apply a 120 Hz low-pass filter to the
Low Frequency Effects (LFE) channel. Turn off this filter if the digital signal fed to the
LFE’s input does not contain information above 120 Hz.
Full Bandwidth Channels

Â Apply Low-Pass Filter: Select this checkbox to turn on a low-pass filter with a cutoff
near the available audio bandwidth that is applied to the main input channels. If the
digital signal fed to the main input channels does not contain information above the
available audio bandwidth, you can turn off this filter. Compressor will automatically
determine the available bandwidth.
Â Apply DC Filter: Select this checkbox to turn on a DC high-pass filter for all input
channels as a simple way to remove DC offsets. Most mixed audio material is already
free of DC offsets.
Surround Channels
Â Apply 90° Phase-Shift: Select this checkbox to generate multichannel AC-3 streams
that can be downmixed in an external 2-channel decoder to create true Dolby
Surround–compatible output.
Â Apply 3 dB Attenuation: Select this checkbox to apply a 3 dB cut to the surround
channels of a multichannel film soundtrack being transferred to a consumer home
theater format. Cinema surround channels are mixed 3 dB “hot” (higher) relative to
the front channels to account for cinema amplifier gains.

Converting Audio Files to Dolby Digital
Professional Format
Follow these steps to encode a Dolby Digital Professional (AC-3) stream.
To encode an AC-3 stream:

1 Add source audio files to the Batch window. (See Chapter 4, “Importing Source Media
Files,” on page 55 for details.)
2 Enter a name for the batch you are submitting in the Name field.
3 Do one of the following to apply the appropriate Apple setting from the Dolby Digital
Professional category to the source audio file:
Â Choose a setting from the pop-up menu in the Settings column of the Batch table.
Â Drag a setting from the Settings tab of the Presets window to the source audio file in
the Batch window.
4 Optionally, make any adjustments to the setting in the Encoding pane of the Inspector
window. See “About the Dolby Digital Professional Encoder Pane” on page 94 for more
information.
Note: Compressor will map channels intelligently. Here are some examples:
Â If you import a stereo source file and apply a mono 1/0 (C) audio coding mode to it,
the file will be down-mixed.
Â If you apply a surround audio coding mode to the stereo file, the left and right
channels will be mapped to the left front (-L) and right front (-R) channels, leaving
the other channels of the coding mode silent.
Â If you assign a stereo file to the left front or left (rear) surround channel, Compressor
will pick the left channel and ignore the right channel.
For more information about surround sound files, see “Creating Surround Files,” next.
5 Click Submit.

Creating Surround Files
To give your listeners a “surrounding” audio experience, your sound must be created with
that goal in mind. For example, if you want the sound of an explosion coming from behind
the listener, you need to put the sound in the rear channels during recording and mixing.
Dolby Digital Professional Surround Sound

Dolby Digital programs can deliver 5.1-channel surround sound with five discrete full-
range channels (left, center, right, left surround, and right surround) plus a sixth
channel for low frequency effects (LFE). Another Dolby surround option is Dolby
Surround, with four channels (left, center, right, surround).
An Overview of the Surround Sound Workflow

The following steps outline the general workflow used to go from recording the sound
to encoding it as an AC-3 surround sound file.
Note: Compressor is not a sound editing or mixing tool. You will need sound editing
and mixing tools for the first three steps outlined below.
Step 1: Record the sound

As with any audio track, the first step is finding and recording the sound that you want.
Keep your end result in mind. If you want to position particular sounds in the surround
sound environment, you should record them separately.
Step 2: Mix the sound

The second step is mixing the audio. You need a separate audio file for each channel. If
you want to create Dolby Digital Professional 5.1 sound, you need a file for each of the
six source channels—left front, right front, center front, left rear, right rear, and Low
Frequency Effects (LFE). To create files for channels, assign your sounds to channels
using a recording/mixing system that supports six-track playback.
When mixing, you can enhance the video action by dynamically moving the
sounds within the surround field. The following are some common approaches to
multichannel sound:
Â Use the surround channels for effects only. Create a stereo mix, then add
“sweetening” sound effects in the surround channels.
Â Create special sounds for the rear and low-frequency channels (the rumble of an
earthquake, the pounding of drums, an airplane buzzing overhead, and so on) and
add them to a standard stereo mix. (To create sound for the LFE channel, you can
extract low frequencies from the rest of your sound using band-pass filters.)
Â Position instruments, effects, and voices anywhere in the sound field.
Â Use the center channel for voiceover, leaving it out of the left and right channels.
(This is called stereo plus center.)
See “Options for Spatial Mixing” on page 106 for more information.

Step 3: Digitize the sound
Once your sound is mixed, save the resulting channels as sound files in one of these
formats:
Â AIFF
Â SoundDesigner II
Â QuickTime
Â WAVE
Depending on the format, a file can contain a single channel (mono), dual channels
(stereo), or multiple channels. Compressor supports Dolby Digital Professional in all
these configurations.
Sound files intended for Dolby Digital Professional encoding must conform to the
following rules:
Â All source files should be the same length. (If they are not, Compressor sets the
length of the AC-3 stream to match the length of the longest file.)
Â All files must have a 48 kHz sample rate (as required for DVD).
Â AC-3 streams must have a multiple of 1536 samples. If the selected input files do not,
Compressor adds digital silence to the end of the files.
Note: Compressor 2 can support any kind of source files that contain surround sound
and high resolution audio up to 64 bits per sample (floating point) and sample rates up
to192 kHz.
Step 4: Make channel assignments

Assign your source audio files to specific channels of the AC-3 stream. For more
information about channel assignments, see “Assigning Files to Surround Sound
Channels (Manual Method),” next, and “Assigning Files to Surround Sound Channels
(Automatic Methods)” on page 104.
Step 5: Encode the sound files

Click Submit and Compressor does the rest, giving you an AC-3 audio stream.

Assigning Files to Surround Sound Channels (Manual Method)
To manually assign source audio files to channels of a surround sound stream:
1 Do one of the following to import the source audio files:
Â Click the “Import Surround Sound Group” button in the Batch window.
Â Choose File > Import Surround Group.
The channel assignment interface opens.
2 Do one of the following to assign a source audio file to a particular channel.
Â Drag the source audio file from the Finder to the icon for a specific channel (for
example, “L”).
Â Click the icon for a specific channel (for example, “L”) and use the Open dialog to
locate the source audio file intended for that channel.
The file is now assigned to the “L” (Left Front) Channel.
3 Repeat Step 2 for each of the source audio files that you intend to include in the
surround stream.
Note: If you are creating Dolby Digital Professional (AC-3) surround sound streams, you
will not use all the channels listed in the table at once. See “Audio Tab Settings” on
page 95 for a diagram of the Dolby audio coding modes.
4 When you have finished adding source audio files to the channel assignment interface,
click OK.
The group of surround files appears as a single surround source media file in the
Batch window.

the Batch window.
6 Make any necessary adjustments in the Inspector window and click Submit.
Compressor creates an AC-3 surround audio stream.
Assigning Files to Surround Sound Channels

(Automatic Methods)
Compressor offers some streamlined channel assignment techniques that can save
you time.
To assign files to surround channels with channel identifier codes:

1 Append the channel identifier code of the target surround channel to the filename of
each source audio file. (See the table below for a list of the appropriate channel
identifier codes.)
For example, for if a source audio file is named lemur and is intended for the left front
channel, then you would be rename the file lemur.L.
Channel assignment Channel Identifier Code

Left front channel .L
Right front channel .R
Center front channel .C
Left surround channel .Ls
Right surround channel .Rs
Center surround channel .Cs
Low frequency channel .S
(Subwoofer, LFE)
Note: Mac OS X may require that you add a file extension like .aiff. This will not interfere
with this channel assignment method. So the complete filename would look like
this: lemur.L.aiff.
Note: If you are creating Dolby Digital Professional (AC-3) surround sound streams, you
will not use all of the channels listed in the table at once. See “Audio Tab Settings” on
page 95 for a diagram of the Dolby audio coding modes.

2 Drag the renamed source audio files to the Batch window.
If the following conditions are met, Compressor automatically collapses the entire group
of files into what appears as a single surround source media file in the Batch window:
Â The files in the group must be named correctly. (See table above.)
Â The total number of files in the group must be fewer than seven.
the Batch window.
4 Make any necessary adjustments in the Inspector window and click Submit.
Compressor creates an AC-3 surround audio stream.
Note: In Mac OS X, the above suffixes can be interpreted as information about the file
creator. As a result, the files that make up the different channels can be associated with
various Mac OS X applications based on the suffix. This has no effect on the decoding
of the files.
Assigning Files to Surround Sound Channels with Droplets

You can further streamline the channel assignment process by encapsulating the
“automatic” method described above in a “droplet.”
For more information about droplets, see “Using Droplets” on page 235.

Options for Spatial Mixing
This section offers additional insights and suggestions for using the channels in a Dolby
Digital Professional program.
Using the Center Channel

In a multichannel system, there are three ways to achieve a centrally placed sound image:
Â Create a “phantom center” (mix sound to the left and right equally, as with stereo).
Commonly used, but assumes the listener is seated exactly between the speakers
(which is not possible in automobiles and not always the case in homes). The timbre
of sound is not the same as from a direct speaker because of cross-cancellation effects.
Â Use the center channel alone. This creates a stable center image for listeners in any
location. (To prevent the audio from sounding too focused or narrow, its reverb can
be spread to the left and right channels.)
Â Use all three front channels equally or in various proportions. This method allows for
greater control of the range of spatial depth and width. The phantom center can be
reinforced by additional signals in the center channel, which can be enhanced by
signal spread into the left/right pair. The disadvantage is that sound from all three
speakers may not blend well or may not arrive at the listener at the same time,
causing side effects such as comb filtering, shifts in tone color, or smearing. To
counteract these side effects, you can first process the additional signals to change
their spatial character, timbre, or prominence relative to the main center signal.
Using Surround Channels

Subtle surround effects can greatly enhance the listener’s sense of depth compared to
conventional stereo. Popular music often benefits from creative use of surround. But
don’t overdo it. The film industry guideline—don’t use surround effects to distract the
listeners from the story—also works well for music.
Limitations of the LFE Channel

The Low Frequency Effects (LFE) channel is a separate signal with a limited frequency
range, and is created by the mixing engineer and delivered alongside the main
channels in the mix. A “brick wall” filter at 120 Hz in the Dolby Digital Professional
encoder limits use of the LFE channel to the bottom two audible octaves. Dolby
recommends limiting the signal to 80 Hz when mixing your sound.
In most music productions (with such exceptions as the famous cannon shots in
Tchaikovsky’s “1812 Overture”), the LFE channel is not necessary. The LFE signal is also
discarded in the Dolby Digital Professional downmix process, so intense bass signals do
not stress small stereo systems. Be sure not to include vital information in the LFE
channel that would be missed in mono, stereo, or Pro Logic playback.

Because LFE is separate from other channels, its ability to blend with higher
frequencies can be affected by filters used to generate the LFE signal. To ensure a
cohesive audio signal, keep the entire signal together in the main channel or channels.
Avoid creating an LFE channel for material originally produced without one. Dolby
Digital Professional’s five main channels are all full-range, and the LFE channel does not
increase the frequency response. Dolby Digital Professional decoders offer bass
management, directing low frequencies to a subwoofer or other suitable speakers. An
LFE track may interfere with bass management.
Accommodating Stereo Playback

Even with the popularity of 5.1 systems, you should always address stereo reproduction.
There are three basic ways to do this:
Â Prepare a new stereo mix from the original multitrack elements (using conventional
stereo-mixing sessions).
Â Prepare a studio-adjusted downmix from the multichannel mix. This method takes
advantage of the work that has gone into mixing the 5.1 version. It retains flexibility
in the exact proportions of each channel represented in the final stereo mix.
Â Let the decoder derive a stereo downmix, based on preset formulas in the decoder.
Downmix options and dynamic range control effects can be previewed and adjusted
in the production studio, and a range of adjustments are possible.
Always check the mix on an inexpensive surround system to evaluate how well it
sounds on modest playback systems.
Note: For more information about Dolby Digital Professional, see “Frequently Asked
Questions about Dolby Digital Professional,” available at the Dolby Laboratories Inc.
website: http://www.dolby.com

8 Creating H.264 DVD Output Files
8
Compressor can output H.264, also known as MPEG-4
Part 10. This ultra-efficient, fully scalable video technology
produces higher quality video at lower data rates.
Compressor 2 adds output for H.264, also known as MPEG-4 Part 10. Not only is H.264
very efficient, providing extremely high quality in smaller files, but H.264 is also
scalable, producing video for everything from 3G for mobile phones to High Definition
(HD). H.264 is currently mandatory in both new high definition DVD specifications (HD
DVD and Blu-Ray) and functionally included in hundreds of new electronics products.
At DVD data rates, H.264 is twice as efficient as MPEG-2. That means you can count on a
lower bit rate to get the same quality, or higher quality at the same bit rate. H.264 is
the result of the combined efforts of two standards bodies — the ITU (International
Telecommunication Union) and ISO MPEG (International Organization for
Standardization’s Moving Picture Experts Group). H.264’s outstanding performance and
efficiency makes it the likely successor to MPEG-2 in the professional media industry.
This chapter contains the following:

Â About the H.264 Encoder Pane (p. 110)
Â Job Segmenting and Multi-pass (p. 112)
Â H.264 Workflows for DVD (p. 113)
For information on creating H.264 files for uses other than DVD authoring (such as web
video), see “Creating QuickTime Movie Output Files” on page 163.
109
About the H.264 Encoder Pane
This section contains detailed information about the elements of the H.264 Encoder
pane in the Inspector window. You make your H.264 settings using this pane, by either
modifying an existing setting or creating a new setting in the Settings tab of the
Presets window.
Note: This particular Encoder pane is devoted to encoding H.264 files intended for
authoring high definition (HD) format video DVDs. For information about using H.264
for other purposes, see “Creating QuickTime Movie Output Files” on page 163.
The H.264 pane contains the following items:

Â File Extension field: Displays the QuickTime file extension (mov) automatically after
the H.264 output format is selected from the File Format pop-up menu.
or multi-pass encoding. (The Compressor 2 distributed processing feature is limited
more information, see “Job Segmenting and Multi-pass” on page 112.
110 Chapter 8 Creating H.264 DVD Output Files

Â Video Format: Use the Video Format pop-up menu to choose from the following four
choices. All of them are HD progressive formats:
Â 576p: 16x9 anamorphic format (720 x 576 PAL-only @ 50p fps)
Â 480p: 16x9 anamorphic format (720 x 480 NTSC-only @ 59.94p fps)
Â 720p: 16x9 format (1280 x 720 NTSC @ 59.94p fps or 1280 x 720 PAL at 50p fps)
Â Automatic: Choose this setting if you are unsure of your source media file’s video
format. This setting analyzes your source media clip’s frame rate and frame size to
determine the correct video format.
Â Frame Rate: Use the Video Format pop-up menu to choose from the following options:
Â 50 fps (for PAL)
Â 59.94 fps (for NTSC)
Â Automatic: Choose this setting if you are unsure of your source media file’s video
format. This setting analyzes your source media clip’s frame rate to determine the
correct frame rate.
Note: If you choose a format in the Video Format menu, the Frame Rate menu will be
filled in automatically.
Â Bit Rate: Choose the bit rate to use for the output video with the slider, or enter a
value directly. While the available range is between 0.5 and 29.4 Mbps, typical HD-
based DVD video bit rates with H.264 might range from 7 to 15 Mbps, depending on
your DVD bit-budget and the nature of your source media files. The H.264 file format
is twice as efficient as the standard MPEG-2 format. This means you can count on a
lower bit rate to get the same quality, or higher quality at the same bit rate.
Chapter 8 Creating H.264 DVD Output Files 111

Â Frame Sync: Use the slider to choose the Frame Sync rate for the output video or
enter a value directly. Also known as the key frame interval, this value represents how
often a keyframe is inserted in the H.264 stream. More frequent keyframes will
increase the quality and the bit rate; less frequent keyframes will reduce the quality
and bit rate. The default setting is 2 seconds.
Â Multi-pass: Use this checkbox to turn on multi-pass encoding. Similar to two pass
MPEG-2 encoding, multi-pass offers the best possible quality. For faster (single-pass)
encodes, turn this feature off by deselecting the checkbox.
Â Include PCM Audio: Use this checkbox to include a 16-bit, 48kHz stereo PCM audio
track in the output QuickTime movie. Most DVD producers will use a Dolby Digital
Professional (AC-3) setting for the audio with its much higher efficiency. In that case,
you can deselect this checkbox and make sure that a Dolby 2.0 setting is applied to
the job in the Batch window. If you select the checkbox, encode the H.264 movie,
and then import the movie into DVD Studio Pro, the video track and the audio track
will appear as two separate items in the Assets tab, as if you had imported one video
asset and one audio asset.
Job Segmenting and Multi-pass

If you choose the multi-pass mode, and you are using Compressor 2 or higher with
distributed processing enabled, you may have to make a choice between speedier
processing and ensuring the highest possible quality. The Apple Qmaster distributed
processing system speeds up processing by distributing work to multiple processing
nodes (computers). One way it does this is by dividing up the total amount of frames in
a job into smaller segments. Each of the processing computers then works on a
different segment. Since the nodes are working in parallel, the job is finished sooner
than it would have been on a single computer. But with Multi-pass (and two-pass VBR
MPEG-2), each segment is treated individually so the bit-rate allocation generated in
the first pass for any one segment does not include information from the segments
processed on other computers.
112 Chapter 8 Creating H.264 DVD Output Files

scenes. For example, suppose you have a 2-hour sports program in which the first hour
is the pregame show with relatively static talking heads, and the second hour is high-
action sports footage. If this source media were evenly split into 2 segments, the bit
rate allocation plan for the first segment would not be able to “donate” some of its bits
to the second segment because the segments would be processed on separate
would suffer. In this case, if your goal were ensuring the highest possible quality over
the entire 2-hour program, it would make sense to not allow job segmenting by de-
selecting the checkbox at the top of the Encoder pane. This forces the job (and
H.264 Workflows for DVD

The efficiency and quality of H.264 creates a number of options for DVD producers:
Â Since H.264 can deliver high definition (HD) video at standard definition (SD) bit
rates, you can get 90 minutes of HD content on a regular DVD-5 disc, which will be
playable on the next generation of DVD players.
Â Video resolutions supported by SD DVDs are also supported by HD DVDs. This means
that a high definition DVD can use an HD video resolution file for its main content,
such as a feature film, and then use SD video resolution files for additional features
like trailers and a “making-of” documentary.
Chapter 8 Creating H.264 DVD Output Files 113

9 Creating MPEG-1 Output Files
9
Compressor provides the tools you need to create
exceptional MPEG-1 transcoded files.
MPEG-1 is an internationally accepted compression standard developed by the Motion
Picture Experts Group (MPEG). MPEG-1 allows you to create VHS-quality video files and
was designed to support SIF (Standard Interface Format) resolution non-interlaced
(progressive) video using relatively low bit rates (Compressor supports 0.5 Mbps to
2 Mbps). It also allows you to create compressed 1-channel and 2-channel audio.

Â Common Uses for MPEG-1 (p. 115)
Â MPEG-1 File Format Specifications (p. 116)
Â About the MPEG-1 Encoder Pane (p. 117)
Â About System and Elementary Streams (p. 120)
Â MPEG-1 Transcoding Workflow (p. 121)
Â Configuring the MPEG-1 File Format for Web Use (p. 122)
Â Configuring the MPEG-1 File Format for DVD Use (p. 123)
Common Uses for MPEG-1

MPEG-1 is a widely adopted standard, so it can be used in many different ways. Here
are a few:
DVD, VCD, and CD ROM

MPEG-1 is the video compression format used for video CD (VCD) titles and is
compatible for use on DVD titles since all DVD players contain the hardware required
for MPEG-1 playback. MPEG-1 is commonly used in videos distributed on CD ROM. Its
low bit rate and small file sizes are useful when you must fit multiple hours of video
onto a DVD and do not require the broadcast quality of MPEG-2 encoding. A DVD can
contain a mix of MPEG-2 and MPEG-1 video.
115
On the Web
Since MPEG-1 was one of the first widely adopted compression standards, it has an
advantage of being compatible with most media players. This makes MPEG-1 attractive
for use on the web when you need maximum compatibility with relatively high quality.
Audio-Only
MPEG-1 audio provides a way to reduce audio file sizes and reduce the bit rate needed
to play the files. You can use MPEG-1 audio in conjunction with MPEG-2 video on a
DVD, which is useful when you want to maximize the amount of disc space and bit rate
available for your project’s video.
MPEG-1 Specifications
Compressor supports all the MPEG-1 specifications for frame sizes, frame rates, video
encoding, and audio encoding.
MPEG-1 Frame Sizes and Frame Rates

Compressor can produce full frame rate video (25 fps and 29.97 fps for DVD and 23.976
fps, 25 fps, and 29.97 fps for the web) with SIF resolutions dependent on the use:
Â Web: 320 x 240
Â NTSC: 352 x 240
Â PAL: 352 x 288
While the NTSC and PAL resolutions are roughly half the full resolution of MPEG-2
video, when played on a DVD player they automatically expand to fill the entire screen.
MPEG-1 File Format Specifications

MPEG-1 video encoding uses a process very similar to MPEG-2 encoding—many of the
same terms and settings apply. In Compressor, the encoding settings are set as follows:
Â Encoding mode: One pass
Â GOP structure: Open
Â GOP pattern: BBIBBP
Â GOP length: 15 frames for NTSC; 12 frames for PAL
These settings are fixed and apply to all Compressor MPEG-1 video output files.
See “GOP Tab” on page 138 for information about Group of Pictures (GOP) settings.
See “Quality Tab” on page 134 for information on the encoding mode.
The MPEG-1 output files can have I-frames forced on specific frames by placing
compression markers on them. These markers can be added to the source media file
using Final Cut Pro or can be added manually in the Preview window. See “Adding
Markers to a Clip” on page 220 for more information.
The MPEG-1 format does not support named chapter markers.
116 Chapter 9 Creating MPEG-1 Output Files

About the MPEG-1 Encoder Pane
This section contains detailed information about the various tabs within the MPEG-1
Encoder pane of the Inspector window. You make your MPEG-1 settings using these
tabs, by either modifying an existing setting or creating a new setting in the Settings
tab of the Presets window.
The MPEG-1 Encoder pane opens with the default Video Format tab on top and
contains the following items:
Â Extension: This field displays the MPEG-1 file extension mpg automatically after the
MPEG-1 output format is selected from the File Format pop-up menu, or the ( + )
pop-up menu in the Settings tab of the Presets window. Changes to m1v if the Audio
tab is disabled, or m1a if the Video tab is disabled.
Â Allow cluster segmenting: This checkbox allows you to turn off cluster segmenting. It
is relevant only if you are using Compressor 2 or higher with distributed processing
enabled. (The Compressor 2 distributed processing feature is limited to computers
that have either Final Cut Studio or DVD Studio Pro 4 installed.) For more
information, see “Encoder Pane” on page 43.
Â Video and Audio tabs: These buttons open the Video and Audio tabs described next.
Chapter 9 Creating MPEG-1 Output Files 117

Video Tab
You use the Video tab to make settings related to the video format.
Â Enabled checkbox: Make sure this box is selected if you want the MPEG-1 output
format to include the Video tab settings.
Â “Frame rate” pop-up menu: Choose the frame rate of the video you are encoding.
Â With Purpose set to Web, the choices are 23.976, 25 (PAL frame rate), 29.97 (NTSC
frame rate), and Automatic.
Â With Purpose set to DVD, the choices are 25 (PAL frame rate), 29.97 (NTSC frame
rate), and Automatic.
Choosing Automatic forces the encoder to determine the proper frame rate by
choosing the rate that most closely matches the source frame rate.
Note: Using the Automatic setting with nonstandard source frame rates may result in
output frame rates that do not match the intended video frame rate. For example, a
source frame rate of 15 fps with the Purpose set to DVD results in an automatic
selection of 25 (PAL). If you are intending to use the output on an NTSC DVD, you
must choose 29.97 as the frame rate.
Â Purpose buttons: Choose the intended purpose for the output files.
Â Web: Forces the resolution to 320 x 240 regardless of the “Frame rate” selection.
Â DVD: Allows the “Frame rate” selection to set the resolution. With the 29.97 frame
rate, the resolution is 352 x 240. With the 25 frame rate, the resolution is 352 x 288.

Â Bit rate: Use this slider to choose the bit rate to use for the output video, or enter a
number directly into the text field. While the available range is from 0.5 Mbps to
2.0 Mbps, the actual setting you should use depends on how the output is to be
used. Higher bit rates produce better picture quality, but they also produce larger
output files.
Â For web projects, choose a bit rate that best balances the picture quality with file
size and download expectations.
Â For VCD projects, the recommended video bit rate is 1.15 Mbps, with a system stream
(multiplexed video and audio in the same file) bit rate of under 1.3944 Mbps.
Â For DVD projects, the typical video bit rate is 1.15 Mbps with 1.856 Mbps being the
maximum allowed.
Audio Tab
You use the Audio tab to make settings related to the audio format.
Â Enabled checkbox: Make sure this box is selected if you want the MPEG-1 output
format to include the Audio tab settings.
Â “Sample rate” pop-up menu: Choose the sample rate of the output audio.
Â 48 kHz: Required for use on DVDs.
Â 44.1 kHz: Used on audio CDs. This is the most commonly supported sample rate.
Â Channels buttons: Choose whether to create a stereo or mono output audio.
Â “Bit rate” pop-up menu: Choose the bit rate to use for the output audio. Choices are
64 Kbps, 128 Kbps, 192 Kbps, 224 Kbps, and 384 Kbps. While higher bit rates produce
higher quality audio, they also produce larger output files.
Note: The 224 Kbps and 384 Kbps settings are not available when Channels is
set to Mono.

About System and Elementary Streams
You can use Compressor to create system or elementary MPEG-1 streams.
System Streams
System streams, also known as multiplexed streams, combine the video and audio
components into the same file. This type of stream is most often used in web applications.
Compressor automatically creates a system stream when you enable both the Video
and Audio tabs in the same setting.
Elementary Streams
With elementary streams, there are separate files for the video and audio components.
Elementary streams are required by some applications, such as DVD Studio Pro.
Compressor automatically creates an elementary stream when only the Video or

Audio tab is enabled, but not both. To create elementary streams of both the video
and the audio, you must use two settings—one with the Video tab enabled using the
file extension of .m1v, and a second with the Audio tab enabled using the file
extension of .m1a.

MPEG-1 Transcoding Workflow
This section gives step-by-step instructions for setting your MPEG-1 attributes prior to
creating MPEG-1 output files with Compressor. Make your MPEG-1 settings from the
MPEG-1 Encoder pane by either modifying an existing setting or creating a new
setting. See the following steps for working with the MPEG-1 output file format.
Example MPEG-1 Settings

The settings you use depend on whether you are encoding for use on the web or in a
DVD project.
Encoding for the Web

Use the following settings when encoding MPEG-1 system streams for the web.
Video tab
Â Frame rate: Automatic
Â Purpose: Web
Â Bit rate: As low as you can set it and get acceptable picture quality
Audio tab
Â Sample rate: 44.1 kHz
Â Channels: Stereo with two-channel sources; Mono with one-channel sources
Â Bit rate: As low as you can set it and get acceptable audio quality; use higher bit
rates when encoding stereo audio
Encoding for DVD

Use the following settings to configure two settings when encoding MPEG-1
elementary streams for DVD authoring.
Video elementary stream setting—Video tab

Â Frame rate: 29.97 for NTSC or 25 for PAL
Â Purpose: DVD
Â Bit rate: 1.15 Mbps
Video elementary stream setting—Audio tab

Â Enabled box deselected
Audio elementary stream setting—Video tab

Â Enabled box deselected
Audio elementary stream setting—Audio tab

Â Sample rate: 48 kHz
Â Channels: Stereo with two-channel sources; Mono with one-channel sources
Â Bit rate: 192 Kbps or 224 Kbps

Configuring the MPEG-1 File Format for Web Use
The following steps guide you through configuring the MPEG-1 output file format for
web use. This process creates a single MPEG-1 system stream.
Step 1: Open the MPEG-1 Encoder pane and choose Video settings
1 Open the Settings tab of the Presets window, then choose MPEG-1 from the “Create a
New Setting” ( + ) pop-up menu.
The MPEG-1 Encoder pane opens in the Inspector with the default Video tab displayed.
Select to enable the

Video tab. Choose the frame rate.
Select Web to set the Choose the bit rate.

resolution to 320 x 240.
2 Select the Enabled box.

3 Choose Automatic from the “Frame rate” pop-up menu.
You can also choose 23.976, 29.97, or 25 if you know the frame rate of the source video.
4 Select the Web button.
This sets the resolution of the output to 320 x 240.
5 Choose the bit rate to use from the “Bit rate” slider, or enter a value directly.

Step 2: Choose Audio settings
1 Click the Audio button in the MPEG-1 Encoder pane to open the Audio tab.

Audio tab. Choose the 44.1 kHz
sample rate.
Select the number of
audio channels. Choose the bit rate.

3 Choose 44.1 kHz from the “Sample rate” pop-up menu.
4 Select Stereo when using two-channel audio sources, or Mono when using one-
channel audio sources.
5 Choose the bit rate to use from the “Bit rate” pop-up menu.
Configuring the MPEG-1 File Format for DVD Use

The following steps guide you through configuring the MPEG-1 output file format for
DVD use. This process creates two settings, one for video and another for audio,
creating elementary streams.
Creating the MPEG-1 Video for DVD Setting

The following steps create the setting for an MPEG-1 elementary video output file.
Step 1: Create the MPEG-1 Video for DVD setting

1 Open the Settings tab of the Presets window, and choose MPEG-1 from the “Create a
New Setting” ( + ) pop-up menu.
This adds a new setting to the existing list.
2 Name the new setting “MPEG-1 Video for DVD. “
See “To assign a pre-existing destination preset:” on page 68 for more information.

Step 2: Open the MPEG-1 Encoder pane and configure the Video settings
1 Click the Encoder tab and choose MPEG-1 from the File Format pop-up menu.
2 Click the Video button in the MPEG-1 Encoder pane to open the Video tab.
The file extension changes

to m1v once the Audio tab
is disabled.
Video tab.
Choose the frame rate.
Select DVD to set the Choose the bit rate.

resolution to match the
frame rate.

4 Choose the frame rate that matches your source video, either 29.97 or 25, from the
“Frame rate” pop-up menu.
5 Select the DVD button.
This sets the resolution of the output to match the selected frame rate.
6 Choose the bit rate to use with the “Bit rate” slider, or enter a value directly.
The typical value used for DVD projects is 1.15 Mbps, with 1.856 Mbps being the
maximum allowed.
Step 3: Turn off audio for the video setting

2 Deselect the Enabled box.
This ensures that this setting (preset) will only create an elementary video stream and
sets the file extension to m1v.
Deselect to disable the

Audio tab.

3 Select a different setting in the Settings tab.
This opens a dialog prompting you to save the current setting.
4 Select the Save button and click OK.
This saves the “MPEG-1 Video for DVD “ setting.
Creating the MPEG-1 Audio for DVD Setting

The following steps create the setting for an MPEG-1 elementary audio output file.
Step 1: Create the MPEG-1 Audio for DVD setting

1 Open the Settings tab of the Presets window and click the Add Preset (+) button.
This adds a new setting to the existing list.
2 Name the new setting “MPEG-1 Audio for DVD.” See “To assign a pre-existing
destination preset:” on page 68 for more information.
Step 2: Turn off the video for the audio setting

1 Click the Encoder tab and choose MPEG-1 from the File Format pop-up menu.
2 Click the Video button in the MPEG-1 Encoder pane to open the Video tab.
The file extension changes

to m1a once the Video tab
Deselect to disable the
is disabled.
Video tab.
3 Deselect the Enabled box.

This ensures that this preset will only create an elementary video stream and sets the
file extension to m1a.

Step 3: Configure the Audio settings

Audio tab. Choose the 48 kHz
sample rate.
Select either
Stereo or Mono. Choose the bit rate.
3 Choose 48 kHz from the “Sample rate” pop-up menu.

4 Select Stereo when using two-channel audio sources, or Mono when using one-
channel audio sources.
5 Choose the bit rate to use from the “Bit rate” pop-up menu.
The typical values used for DVD projects are 192 Kbps and 224 Kbps.
6 Select a different setting in the Setting tab of the Presets window.
This opens a dialog prompting you to save the current preset.
7 Select the Save button and click OK.
This saves the “MPEG-1 Audio for DVD” preset.
Creating a Group and Destination

To make it easy to use these two MPEG-1 presets with a source, you can create a preset
group using them. See “Creating Groups of Settings” on page 75 for more information.
Also, to make it easier to use the output files created by these presets in
DVD Studio Pro, create a destination that ensures the video and audio output files have
the same name, only with different file extensions. See “Creating Destinations for Use
With DVD Studio Pro” on page 232 for more information.

10
MPEG-2 is an internationally accepted compression standard developed by the Motion
Picture Experts Group (MPEG). MPEG-2 allows you to create broadcast-quality video
files and was designed to support high-resolution, high bit-rate video. It is the video
compression format used for high-quality video titles on DVD and home satellite dish
systems. All DVD players contain the hardware required for MPEG-2 playback.

Â About Standard Definition MPEG-2 (p. 128)
Â About High Definition Sources and MPEG-2 (p. 128)
Â About the MPEG-2 Encoder Pane (p. 129)
Â Example MPEG-2 Settings (p. 145)
Â MPEG-2 Transcoding Workflow (p. 145)
127
About Standard Definition MPEG-2
Standard MPEG-2 is full frame rate (23.98–29.97 fps) and full-screen resolution (720 x
480 for NTSC and 720 x 576 for PAL). MPEG-2 has the following characteristics:
Â Support for interlaced video: MPEG-2 can support either interlaced or progressive
video. Because MPEG-2 streams are generally played from a local DVD drive, rather
than over a network with variable bandwidth, video frame rate usually stays
constant, and the video normally looks completely smooth.
Â No streaming support: MPEG-2 is not suitable for streaming video files over the web
because it requires a high bit rate (2 to 9 Mbps) to maintain acceptable image quality.
Note: The Compressor MPEG-2 encoder has been optimized for creating MPEG-2
video streams for the DVD-Video format. To create DVD-Video discs, you must use a
DVD authoring application, such as DVD Studio Pro, in conjunction with Compressor.
About High Definition Sources and MPEG-2

Compressor has several different options and workflows for transcoding high definition
(HD) video source files into MPEG-2 files.
HD on DVD
Compressor can output MPEG-2 files for creating HD-resolution DVDs from either HD or
standard definition (SD) source media. Compressor can retain the various frame sizes
and frame rates of high definition video when transcoding to MPEG-2. And Compressor
supports the higher bit rates required by HD-based DVD formats. For more information
on creating output for HD-based DVDs, see “About the MPEG-2 Encoder Pane” on
page 129 and the DVD Studio Pro User Manual.
Note: The other output file format option for HD-based DVDs is H.264, also known as
MPEG-4 Part 10. H.264 is currently mandatory in both new high definition DVD
specifications (HD DVD and Blu-Ray). For more information about creating H.264 files
for HD on DVD, see “Creating H.264 DVD Output Files” on page 109.

HD to SD Downconversion
For those situations in which you are editing high definition (HD) sources in
Final Cut Pro and want to create a standard definition (SD) DVD from them, Compressor
provides high-quality downconversion. Compressor retains as much detail as possible
during scaling and correctly preserves progressive or interlaced formats when
encoding to MPEG-2 for DVD.
To see the source media resolution and frame rate:

1 Import the source media file into the Batch window.
2 Click the source’s name in the Batch window.
The source media file’s resolution and frame rate, along with its duration, appear in the
lower-left corner of the Preview window.

This section contains detailed information about the various tabs within the MPEG-2
Encoder pane in the Inspector window. You make your MPEG-2 settings using these
tabs, by either modifying an existing setting or creating a new setting in the Settings
tab of the Presets window.

The MPEG-2 pane opens with the default Video Format tab on top and contains the
following items:
Â File Extension field: Displays the MPEG-2 file extension (m2v) automatically after the
MPEG-2 output format is selected from the File Format pop-up menu.
Â Video Format, Quality, GOP, and Extras: These buttons open the Video Format, Quality,
GOP, and Extras tabs described next.
Video Format Tab

You use the Video Format tab to make settings related to video formats, frame rates,
aspect ratio, field dominance, and timecode. It contains the following controls:
Â Video Format pop-up menu: Choose your output video file format as either NTSC
(default), PAL, 720p, 1080i (HDV res), 1080i (Std. res), Automatic (SD), or Automatic
(HD). When you choose a Video Format setting, the other settings in this tab will be
filled in with default values, or they will be grayed out, indicating that there are now
options for that setting. The NTSC and PAL items refer to standard definition settings
for the NTSC and PAL TV standards. Of the major-market DVD regions, NTSC is used
in North America and Japan, and PAL is used throughout Europe.
Generally, the output video format should match the source video format. For
interlaced video originating from traditional NTSC or PAL camcorders, choose NTSC
or PAL from this pop-up menu. If you are unsure of what your source media file’s
video format is, you can choose either Automatic (SD) for standard definition or
Automatic (HD) for high definition. This setting analyzes your source media clip’s
frame rate to determine the correct video format.

Note: If you choose Automatic, the GOP size is limited to 12 or 15, with a closed IBBP
pattern. With Automatic selected, you cannot change any of the frame rate and field
dominance settings in this tab, or the GOP settings in the GOP tab. See
“Understanding GOPs and Frame Types” on page 140 for more information about
GOPs.
Note: Since MPEG-2 for DVD uses fixed video frame sizes (shown in the table below),
Compressor enters the output frame size in the fields in the Geometry pane based
on your video format selection.
Note: The normal frame dimensions of standard definition (SD) NTSC digital video
are 720 x 486. If you want to transcode a source file using the NTSC setting,
Compressor crops the file to achieve the required MPEG-2 frame size of 720 x 480,
unless you have already specified cropping attributes for your setting. If not,
Compressor crops two rows of pixels from the top and four from the bottom. This
crop attribute is only temporary and is not saved in the setting. You can see the
effects of the crop by double-clicking the setting in the Batch table to open the
Preview window.
The video format you choose determines the options for the associated
characteristics such as frame size and rate, aspect ratio, and field dominance.
Video format Frame size (pixels) Frame rate (fps) Interlaced source
NTSC 720 x 480 29.97 Y
PAL 720 x 576 25 Y
720p 1280 x 720 23.98, 50, 59.94 N
1080i (HDV res) 1440 x 1080 23.98, 25, 29.97 Y
1080i (Std. res) 1920 x 1080 23.98, 25, 29.97 Y
Note: The NTSC frame rate is frequently mentioned as 29.97 fps. Similarly, the “NTSC
version” of 24 fps is mentioned as 23.98 fps. Both these numbers are actually
approximations to the true values 30/1.001 and 24/1.001, or 29.97003 and 23.97602
shown to more decimal places. These numbers show that 29.97 is a pretty good
approximation to 30/1.001 (only 3 frames drift in 100,000 seconds), but that 23.976
would be much better than 23.98. In fact, even though 23.98 is used as shorthand in
the Compressor Help and in the Compressor user interface, accuracy of 23.976 or
better is maintained internally in Compressor, and generally within QuickTime as well.

Â Rate: Choose the intended frame rate for the MPEG-2 output file. Film and some new
camcorders create progressive material at 24 fps (or the NTSC variant 23.98 fps).
Although the term “24p” implies video with a frame rate of 24 fps, the frame rate is
usually 23.976 fps (rounded to 23.98) fps. To transcode these sources for DVD
playback on NTSC-related TVs, choose the 23.98 setting. See “About 24p (23.98p)” on
Â Aspect Ratio pop-up menu: Choose the aspect ratio of your video file. The default is 4:3.
The other option of 16:9 is used for anamorphic DVD. The aspect ratio determines how
the picture fills the television screen. A 16:9 (widescreen) DVD viewed on a typical 4:3
television displays in letterbox format (black bars at the top and bottom of the screen).
However, a widescreen DVD displayed on a 16:9 (widescreen) TV fills the screen.
Â Field Dominance pop-up menu: Choose whether the top field or the bottom field of
your interlaced source media file will be the dominant (first) field in the output
MPEG-2 video file. If you choose Automatic (the default), Compressor analyzes the
source video and attempts to determine field dominance automatically. Bottom field
is dominant for DV source video. This setting pertains only to interlaced video output
formats, not 720p.
Note: For interlaced video, the top field is also known as the upper or odd field, and
the bottom field is also known as the lower or even field.
Â “Choose start timecode” checkbox and field: If you leave the checkbox deselected (the
default), Compressor embeds the source media file’s existing timecode into the
output media file. Selecting this box allows you to override the source media file’s
existing timecode and enter a new timecode in the timecode field. This field remains
dimmed unless the checkbox is selected, and if it is left blank, the output media file
uses the default timecode of 00:00:00:00.
Â “Drop frame” checkbox: If you have already selected the “Choose start timecode”
checkbox, and you want your timecode to be drop frame (rather than non-drop
frame), you must also select this checkbox.
Timecode is a numbering system for labeling the frames in a video sequence. The
type of timecode designed for 30 fps video has a frame counter which counts from 0
to 29, and then increments the seconds counter and returns to 0. This type of
timecode, also known as non-drop frame timecode, maintains an accurate measure of
elapsed time for true 30 fps video. However, the NTSC frame rate is 29.97 fps, and so
drop frame timecode was defined to provide a more accurate measure of elapsed time
for NTSC. Drop frame timecode skips frame numbers 0 and 1 once a minute on the
minute, except for every 10 minutes. For example, drop frame timecode 01:08:59;29 is
followed by 01:09:00;02, skipping timecodes 01:09:00;00 and 01:09:00;01.
Note: Drop frame timecode only applies if you are using interlaced NTSC video.

About 24p (23.98p)
For DVD authoring and encoding, 24p refers to a video sequence that contains 24
progressive (non-interlaced) frames per second, with NTSC-related standard definition
frame dimensions (720 x 480 for MPEG-2). Film-based movies have a native frame rate
of 24 fps, and because the MPEG-2 format is able to represent 24 fps video internally,
many commercial movie DVDs are encoded in this way. But any time you use NTSC
video in your project, the frame rate of film-transferred material will be slowed down
from 24 fps to 23.976 fps (rounded to 23.98) and a 2:3:2:3. pull-down is added. So, the
more accurate term is actually “23.98p.”
Compressor can also do this for 24P source video files. For such material, the 23.98
frame rate option (in the Video Format tab) compresses each source frame one-for-one,
without compressing repeated frames or fields in order to achieve a 29.97 fps display
rate. This results in higher quality at a lower compressed bit rate than would be possible
if the 24p material were converted to 29.97 fps prior to transcoding. Compressor also
sets internal MPEG-2 frame flags correctly, so DVD players will properly apply the 3:2
pull-down process for display on 29.97 fps interlaced NTSC TV sets.
This capability is supported in the Apple end-to-end 24p (23.98p) editing and delivery
solution (Final Cut Pro with Cinema Tools). The workflow typically goes like this:
23.98 fps film > Telecine > 29.97 fps video > Final Cut Pro > Cinema Tools > 23.98 fps
video > Compressor > DVD Studio Pro
Note: If your source video has a frame rate of 24.00 fps rather than 23.98 fps,
Compressor skips one out of every 1000 source frames. If the 24p source video is
23.98 fps, Compressor transcodes all source frames, without skipping (or repeating)
any of them.

Quality Tab
The Quality tab allows you to set the bit rate for your video so that it can be transcoded
to a suitable data size and quality.
In addition to the controls, the lower-right corner shows an estimate of how many
minutes of video would fit on a 4.7 GB DVD using the current settings. This time
assumes a single AIFF audio stream to be used with the MPEG-2 stream.
The Quality tab contains the following controls:
Mode pop-up menu
Motion Estimation
pop-up menu
Time estimate for a 4.7 GB disc

with a stereo AIFF audio stream
Â Mode pop-up menu: Allows you to choose one of the following MPEG-2
encoding modes. High Definition (HD) quality modes will be One pass VBR Best or
Two pass VBR Best.
Â “One pass”: Using this mode, the output MPEG-2 video stream’s bit rate is held
approximately constant from one GOP to the next. This is the fastest Compressor
MPEG-2 encoding mode, and it provides good to very good quality, especially at
bit rates between 5 and 9 Mbps.
Â “One pass VBR”: This VBR (variable bit rate) encoding mode aims to maintain
constant quality (at the expense of constant bit rate) for the transcoded video file.
This means that in scenes with much detail or fast motion, Compressor allows a
higher bit rate than it allows in less detailed or still parts of the stream. In spite of
this bit rate variability, Compressor ensures your specified average bit rate is
achieved accurately and that the maximum bit rate is not exceeded. Unlike the
two pass modes, one pass VBR doesn’t have a “bird’s eye” view of the source media
prior to encoding, so its bit allocation is less optimized than two pass VBR.
Nonetheless, for most Standard Definition (SD) media files at bit rates of 3.5 Mbps
and above, this mode provides good to excellent quality and transcodes quickly.

Â “One pass VBR Best”: This is similar to one pass VBR, but with this mode,
Compressor applies greater effort to its internal decision-making processes.
Although one pass VBR Best transcodes slower than one pass VBR, it provides
excellent to outstanding SD video quality at bit rates of 3 to 3.5 Mbps and above.
Bit rates for HD MPEG-2 can range from 10–29Mbps average, 12–29Mbps
maximum. Compared to one pass VBR, one pass VBR Best provides higher quality,
especially for difficult material at low bit rates.
Note: For short streams of 1 to 2 minutes or less, if you are using one pass VBR or
one pass VBR Best, the average bit rate accuracy may be compromised by as much as
10 to 30 percent.
Â “Two pass VBR”: In this mode, Compressor reads through the entire source video file
twice. In the first of these passes, Compressor analyzes the entire source video
stream prior to transcoding it to determine the degree of encoding difficulty of
each scene. It then creates a bit rate allocation plan that gives the higher bit rate to
complex scenes and a lower bit rate to easy scenes, so as to average out to the
specified average bit rate while ensuring that the specified maximum bit rate is not
exceeded. In the second pass, Compressor does the actual compression, creating
the MPEG-2 output video file according to its bit rate allocation plan. Like one pass
VBR, the goal of two pass VBR is constant quality rather than constant bit rate.
Unlike One-pass VBR, Two-pass VBR is able to establish an overview of where best to
spend its bits across the entire source media file, before beginning the actual
encoding. The result of this process is that transcoding time is almost twice that of
one pass VBR. Although the benefit is not twice the quality, two pass VBR provides
more consistent overall quality than one pass VBR, especially in source media files
where the difference between the most and the least complex scenes is substantial.
Â “Two pass VBR Best”: This mode devotes more effort to its internal decision-making
process than does two pass VBR. Encoding time for Two pass VBR Best is slower
than it is for Two pass VBR, but it provides the best possible quality that the
Compressor MPEG-2 encoder has to offer. This mode provides outstanding quality
at bit rates of 3–3.5 Mbps and above for standard definition (SD) video.

Job Segmenting and Two Pass VBR
If you choose a two-pass VBR mode, and you are using Compressor 2 or higher with
distributed processing enabled, you may have to make a choice between speedier
processing and ensuring the highest possible quality. The Apple Qmaster distributed
processing system speeds up processing by distributing work to multiple processing
nodes (computers). One way it does this is by dividing up the total amount of frames in
a job into smaller segments. Each of the processing computers then works on a
different segment. Since the nodes are working in parallel, the job is finished sooner
than it would have been on a single computer. But with two-pass VBR (and multi-pass
H.264) each segment is treated individually so the bit-rate allocation generated in the
first pass for any one segment does not include information from the segments
processed on other computers.
scenes. For example, a 2-hour sports program in which the first hour is the pre-game
show with relatively static talking heads, and the second hour is high-action sports
footage. If this source media were evenly split into two segments, the bit-rate
allocation plan for the first segment would not be able to “donate” some of its bits to
the second segment because the segments would be processed on separate
would suffer. In this case, if your goal was ensuring the highest possible quality over
the entire 2-hour program, it would make sense to not allow job segmenting by
deselecting the checkbox at the top of the Encoder pane. This forces the job (and
Note: The “Allow Job segmenting” checkbox only affects the segmenting of individual
jobs (source files). If you are submitting batches with multiple jobs, the distributed
processing system will continue to speed up processing by distributing (unsegmented)
jobs, even with job segmenting turned off.

For more information on the Apple Qmaster distributed processing system, see the
Distributed Processing Setup guide.
Â Average Bit Rate slider and field: Choose an average bit rate between 2 Mbps and
9 Mbps for standard definition (SD) video, or between10 and 29 Mbps for high
definition (HD) video. You can also enter any number in these ranges into the
accompanying field.
Â Maximum Bit Rate slider and field: Choose a maximum bit rate between 5 Mbps and
9 Mbps for standard definition (SD) video, or between 12 and 29 Mbps for high
definition (HD) video. You can also enter any number within these ranges into the
accompanying fields. This slider is only available with the VBR modes and cannot be
set lower than the average bit rate.
Important: When determining average and maximum bit rates for standard DVD
playback, remember to consider the bit rate of your audio track as well as the
MPEG 2 bit rate. You must keep the total of both average and maximum audio and
video bit rates under 10.08 Mbps, the maximum guaranteed transfer rate from
standard DVD players. (Because DVD-compatible audio formats are constant bit rate
(CBR), there is no maximum audio bit rate to worry about.) For example, if you are
using AIFF audio at 1.5 Mbps, you should keep both the average and maximum video
bit rates under 8.5 Mbps. Typically, your average bit rate will be lower than this (for
example, 3.5 Mbps for 2 hours of footage on your DVD). However, your maximum bit
rate must also stay under this number. 8.0 Mbps maximum bit rate is recommended
to provide an extra margin for error (for example, to accommodate subtitle streams).
If you are using one of the DVD-compatible compressed audio formats such as Dolby
Digital or MPEG-1/Layer-2, your audio bit rate may be as low as 0.2 to 0.4 Mbps, in
which case you can set your maximum bit rate about 1 Mbps higher. As a general
rule, set your maximum bit rate at least 1 Mbps higher than your average bit rate, to
allow for bit rate variability in achieving the goal of constant quality.
Â 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.
Choose one of the following settings:
Â Good: The fastest ME 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.

Â Better: A good general purpose ME 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.
Note: If you are using a progressive video format, the Better mode will do only
frame-based ME, and not field-based motion-vector searching, which is not relevant
for progressive source. In this case the Better mode will run somewhat faster.
Â Best: This is the highest quality ME 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.
Note: Choose a Motion Estimation (ME) mode from the Motion Estimation pop-up
menu that is appropriate for the encoding mode you have selected from the five
possibilities above. Use Good ME mode for one pass, Better mode for the One pass
VBR and Two pass VBR modes, and Best mode for one pass VBR Best and Two pass
VBR Best. Any of the ME modes work with any of the encoding modes but these
combinations are most suitable. See below for more information about the options
in this pop-up menu.
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” on
GOP Structure Closed button

pop-up menu
GOP Size
pop-up menu
Pattern field

Â GOP Structure pop-up menu: This setting specifies whether there will be two, one, or
no B-frames between the reference frames within a GOP. GOP structure, along with
GOP size, determines the number of I-frames, P-frames, and B-frames that are used
within a GOP during encoding. Choose from one of the following:
Â IP: No B-frames are used with this setting. Choose IP only if your media contains
fast motion which was encoded without sufficient quality using an IBBP or IBP
structure. Set the average bit rate as high as 8 Mbps or more for good quality.
Â IBP: One B-frame is used between reference frames (I-frames and P-frames) with
IBP. Choose this setting only if your media contains fast motion which was
encoded without sufficient quality using an IBBP structure. Set the average bit rate
as high as 6 to 8 Mbps for good quality.
Â IBBP: Use IBBP for the majority of MPEG-2 encoding situations, along with a GOP
size of 15 for NTSC, or 12 for PAL. Two B-frames are used between reference frames
with this setting.
Note: For all HD MPEG-2 formats, the GOP structures are closed.
Â GOP Size pop-up menu: Choose how many frames are contained within your GOP,
following the format of the chosen GOP structure. The maximum GOP size you can
choose within Compressor is 15 frames (NTSC) or 12 frames (PAL and 720p). The
minimum GOP size for all video formats is 6 frames (closed GOP) or 7 frames (open
GOP). The relationship between GOP structure and GOP size gives you GOP patterns.
See “Understanding GOPs and Frame Types” on page 140 for more information.
Note: For HD MPEG-2 formats, GOP sizes are fixed at 15 for all 30p and 60i formats, and
at 12 for 50i, 50p and 24p formats.
Note: For most DVD authoring MPEG-2 encoding situations, choose IBBP as the GOP
structure setting, and GOP size 15 for NTSC, or GOP size 12 for PAL. These selections will
give the best results in most situations.
Â Open and Closed buttons: Closed GOPs may not contain any frame which refers to a
frame in the previous GOP, while open GOPs begin with one or more B-frames that
reference the last P-frame of the previous GOP. Closed GOPs created by the
Compressor MPEG-2 encoder begin with an I-frame. Choose your GOP type (open or
closed) based on whether and how you create chapter markers for DVD authoring
with DVD Studio Pro, and whether you intend to use multiple video angles in your
title. See “Open and closed GOPs” on page 141 for more information.
Â Pattern field: This field cannot be edited but displays the actual GOP pattern based
on your chosen GOP structure and size

.
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 way:
Â Intra (I): Also known as the keyframe. 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” on
Â 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.
Â 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.
Things to Consider When Choosing a GOP Setting

You need to consider the following aspects when choosing a GOP setting:
GOP structure
This setting specifies whether there will be two, one, or no B-frames between the
reference frames within a GOP. GOP structure, along with GOP size, determines the
number of I, P, and B-frames that will be used during transcoding.
The GOP structure you choose depends on how far apart P-frames should be spaced.
Since a P-frame is predicted from the previous reference frame (either an I-frame or a
P-frame), if there are one or two B-frames in between, the prediction must cover the
distance objects can move over the duration of two to three frames.

In principle, the less average motion there is from one frame to the next, the farther apart
P-frames can be spaced, and the greater the compression can be. For most video
material, the IBBP structure is a good choice. Material with unusually fast motion
throughout the entire sequence may benefit from an IBP or IP structure, but in such cases
a relatively high bit rate (6 to 8 Mbps for SD video) may be required for good quality.
GOP size
This setting specifies the number of frames within a GOP. Because exactly one I-frame
exists per GOP, longer GOP sizes generally provide greater compression, because B- and
P-frames are smaller than I-frames.
For most media, spacing I-frames about 1/2 second apart gives good results. This
equates to a GOP size of 15 frames for NTSC and 12 frames for PAL. The DVD-Video
specification prohibits GOP lengths from being much longer than this. Generally, only
material with scene changes occurring less than 1/2 second apart frequently
throughout the video will benefit from shorter GOP sizes.
Open and closed GOPs

Open GOPs are most efficient because they allow B-frames from one GOP to look at the
last P-frame from the preceding GOP as well as the first I-frame of their own GOP. Open
GOPs don’t have to start with I-frames as shown below:
Open GOP
(IBBP, 15 frames)
P B B I B B P B B P B B P B B P B B I
:03 :04 :05 :06 :07 :08 :09 :10 :11 :12 :13 :14 :15 :16 :17 :18 :19 :20 :21
Closed GOP
(IBBP, 15 frames)
I B B P B B P B B P B B P B P
:04 :05 :06 :07 :08 :09 :10 :11 :12 :13 :14 :15 :16 :17 :18

By definition, closed GOPs cannot contain any frame that refers to a frame in the
previous GOP. In contrast, open GOPs begin with one or more B-frames that reference
the last P-frame of the previous GOP. Closed GOPs created by Compressor always begin
with an I-frame.
Open GOPs generally provide slightly better compression than do closed GOPs of the
same structure and size. The illustration above shows that a closed GOP contains one
more P-frame than does an open GOP of the same length. Since P-frames generally
require more bits than do B-frames, the open GOP achieves slightly better
compression.
There are limitations to using open GOPs for DVD-Video discs that are created using a
DVD authoring application such as DVD Studio Pro. One limitation is that only closed
GOPs are permitted within MPEG-2 streams that will be used for mixed-angle or
multi-angle DVDs.
The other limitation is that DVD chapter markers can only be set at the beginning of a
closed GOP. The best time to define chapter markers is before doing MPEG-2
transcoding. For example, if you specify your chapter markers in Final Cut Pro, you can
set Compressor to do MPEG-2 transcoding with open GOPs. Compressor will then force
a closed GOP to begin only at the specified chapter markers, and will make all other
GOPs open. You can also accomplish this by specifying “forced I-frames” in the
Compressor Preview window, and giving them a chapter name to be used by
DVD Studio Pro.
However, if you want to specify chapter markers at any GOP boundary after your video
has been transcoded in the MPEG-2 format, you should only use closed GOPs. This
freedom is limited, as it allows you to set chapter markers only at GOP boundaries,
rather than at any video frame.

Extras Tab
You use the Extras tab to control the inclusion or exclusion of specific MPEG-2
authoring information. The Extras tab contains the following controls:
Â Add DVD Studio Pro meta-data: Selecting this checkbox allows Compressor to parse
specific MPEG-2 authoring information during the transcoding process to accelerate
the import process into DVD Studio Pro. However, these MPEG-2 files will be
incompatible with versions of DVD Studio Pro 1.5 or earlier. Leaving the checkbox
unselected means the information will be parsed later in DVD Studio Pro.
Note: MPEG-2 streams with additional DVD Studio Pro metadata are only compatible
with DVD Studio Pro 2 (or later) versions. MPEG-2 streams with this checkbox
selected will not be compatible with versions prior to DVD Studio Pro 2, or with other
DVD authoring tools. All Apple settings have this box checked by default. To make
your MPEG-2 files compatible with other DVD authoring tools, uncheck this box, and
then save the setting.
Â Include chapter markers only: Selecting this checkbox excludes unnamed
compression markers from the stream but still retains the chapter markers. Leaving
the checkbox unselected allows all markers to be recognized in the output media
file. See “Adding DVD Studio Pro Chapter Markers to a Clip” on page 222 for more
information about chapter markers.
Â Multiplexed MPEG-1/Layer 2 Audio: Selecting this checkbox makes the output file a
transport stream rather than an elementary stream. A transport stream combines
multiple elementary streams, in this case, video and audio, into a single file for real-
time distribution such as television. The audio in this stream will be MPEG-1 Layer 2,
with a sample rate of 44.1 kHz or 48 kHz (depending on the source) and a bit rate of
384 kbps. To create an audio-only (MPEG-1/Layer 2 Audio) elementary stream, see
“Creating the MPEG-1 Audio for DVD Setting” on page 125.

About MPEG-2 Markers and DVD Studio Pro
The following MPEG-2 markers can be found in a source media file:
Â Chapter markers: These identify frames that should be encoded as I-frames and are
recognized as chapter markers when imported into DVD Studio Pro.
Â Forced compression markers: These are added by an editor during editing, and
identify frames in the video that should be forced to I-frames for better quality
encoding, such as the first frame of a new scene. Forced compression markers are
not recognized as chapter markers by Final Cut Pro.
Â Automatic compression markers: These are inserted by Final Cut Pro at all edit points,
forcing I-frames where scene changes are likely to occur. Automatic compression
markers are not recognized as chapter markers by DVD Studio Pro. These will not be
included if you select the “Include chapter markers only” checkbox.
If the “Include chapter markers only” checkbox is not selected, Compressor

automatically places I-frames at all three kinds of markers. In most cases, this produces
the best results. However, if you intend to use the media files as part of a mixed-angle
or multi-angle DVD title, all media files must have identical I-frame patterns.
Chapter markers set in Final Cut Pro and transcoded in Compressor, or set directly in
Compressor, will not be present in the imported MPEG-2 data in versions earlier than
DVD Studio Pro 2. However, I-frames will be set where chapter markers were named. If
you are using a version earlier than DVD Studio Pro 2, you have the following options:
Final Cut Pro native projects

You have the following two options for Final Cut Pro native projects:
Â Export using Compressor: If quality and transcoding controls are important to your
project, use Compressor to export your MPEG-2 media file. You will save time and
avoid generation loss.
Â Export a QuickTime Reference Movie: You will not get the high quality and encoding
options that Compressor provides, but you be able to continue editing in your
Final Cut Pro timeline while Compressor works in the background.
Compressor native projects

You can set chapter markers using the Compressor Preview window, but they will not
be preserved when exported to versions earlier than DVD Studio Pro 2. I-frames will be
preserved. If you are using a version prior to DVD Studio Pro 2, you can manually set
the chapter markers directly in DVD Studio Pro.

MPEG-2 Transcoding Workflow
This section gives step-by-step instructions for setting your MPEG-2 attributes prior to
creating MPEG-1 output files with Compressor. Make your MPEG-2 settings from the
MPEG-2 Encoder pane by either modifying an existing setting or creating a new one in
the Settings tab of the Presets window. See the following steps for working with the
MPEG-2 output file format:
Example MPEG-2 Settings

The following MPEG-2 settings can be used for the most general MPEG-2 encoding
situations. Open the MPEG-2 Encoder pane and click the appropriate button to access
these tabs.
Note: Be aware that many of the settings shown in this example are not suitable for
all video input formats, nor for all encoding situations. Some alternative settings are
shown in parentheses where appropriate. See the sections at the beginning of this
chapter for details on how and when to use other settings.
Video Format tab

Â Video Format: NTSC (PAL, 720p, 1080i-HDV, 1080i-Std, Automatic-SD, or Automatic-HD)
Â Aspect Ratio: 4:3 (16:9 for anamorphic widescreen)
Â Field Dominance: Automatic (not available for 720p)
Quality tab
Â Mode: One pass VBR Best (Other one pass and two pass settings)
Â Average Bit Rate: 5 Mbps (2 to 9 Mbps) for standard DVD
Note: Your choice of bit rate may be influenced by several factors, including the
complexity of your source video, the format and number of your audio streams, and
the total duration of all video clips to fit on your DVD.
Â Maximum Bit Rate: 8.0 Mbps for standard DVD
Â Motion Estimation: Best
GOP tab
Â GOP Structure: IBBP
Â GOP Size: 15 (12 for PAL and 50i, 50p, and 24p HD formats)
Â GOP Type: Open (Closed)
Note: Your choice of GOP type (Open or Closed) may be influenced by whether and
how you create chapter markers for DVD authoring with DVD Studio Pro and whether
you intend to use multiple video angles in your title. See “Adding DVD Studio Pro
Chapter Markers to a Clip” on page 222 for more information.

Step 1: Open the MPEG-2 Encoder pane and choose Video Format
It’s important to match the video format, aspect ratio, and field dominance to those of
your source media file. See “Video Format Tab” on page 130 for a more detailed
description of each of these settings.
1 Open the Settings tab of the Presets window, then choose MPEG-2 from the Add Preset
(+) pop-up menu button.
The MPEG-2 Encoder pane opens in the Inspector window with the default Video
Format tab displayed.
Video Format
pop-up menu
Aspect Ratio
Field Dominance pop-up menu
pop-up menu
2 Choose a format from the Video Format pop-up menu:

Â NTSC (default)
Â PAL
Â 720p
Â 1080i (HDV res)
Â 1080i (Std. res)
Â Automatic (SD
Â Automatic (HD)
If you are unsure of what your source media file’s video format is, you can choose either
Automatic (SD) for standard definition or Automatic (HD) for high definition and
Compressor will determine the correct setting.
3 Choose an aspect ratio from the Aspect Ratio pop-up menu.
You must determine whether the intended shape of your source video is 4:3 (normal)
or 16:9 (widescreen) before you can choose your aspect ratio.
4 Choose a field dominance setting based on your source media type from the Field
Dominance pop-up menu. For example, for DV choose Bottom First. Or choose
Automatic to let Compressor determine the correct setting.

5 If you want to use the timecode from your source video, leave the “Choose start
timecode” checkbox unselected. Otherwise, select this box and enter a new timecode.
6 If you have checked the “Choose start timecode” checkbox, and if your video format is
NTSC, select the “drop frame” checkbox if you want to use drop frame (rather than
non-drop frame) timecode.
See “Video Format Tab” on page 130 for more information.
Step 2: Choose Quality settings

In the Quality tab, you set the MPEG-2 encoding attributes that have the greatest
influence on the resulting quality of your MPEG-2 video output file: encoding mode,
average and maximum bit rate, and type of motion estimation.
1 Click the Quality button in the MPEG-2 Encoder pane to open the Quality tab.
Mode pop-up menu

Bit rate calculator.
Motion Estimation
pop-up menu
2 Make a selection from the Mode pop-up menu.

For best image quality, choose One pass VBR Best or Two pass VBR Best. For faster
encoding, with excellent image quality, choose One pass VBR or Two pass VBR. For HD
sources, choose either One pass VBR Best or Two pass VBR Best.
With two pass modes, the source media file is examined on the first pass and
transcoded on the second pass, with bit rates tailored to the video content.
Alternatively, one pass modes transcode the material more quickly, but allocate bits
less optimally than do the corresponding two pass modes.
Note: If you are using two pass VBR and Compressor 2 or higher with distributed
processing enabled, you may want to uncheck the “Allow Job segmenting”
checkbox in the Encoder pane. See “Job Segmenting and Two Pass VBR” on page 136
for more information.

3 Choose an average bit rate using the Average Bit Rate slider or field.
Choose an appropriate bit rate based on the content and length of your source video
and the intended size (in bytes) of your output file. In DVD authoring, the entire video
must fit on the DVD disc—the lower the bit rate, the more data you can store.
However, the higher the bit rate, the better the image quality will be.
Note: As you change the Average Bit Rate value (with the slider or the field), the bit
rate calculator at the bottom of the Quality tab dynamically shows the maximum
number of minutes of video on a DVD-5. The calculator assumes 1.5 Mbps for audio
(two-channel AIFF).
See the following table for some average bit rates and corresponding footage times for
a 4.7 GB DVD:
Average bit rate1 Approximate duration for 4.7 GB DVD

3.5 Mbps 121 minutes
5.0 Mbps 94 minutes
6.0 Mbps 82 minutes
7.5 Mbps 68 minutes
8.0 Mbps 65 minutes
1 For DVD clip with video, audio, and subpictures: assumes 1.5 Mbps for audio (two-channel AIFF).
The lower-right corner of the Quality tab shows an estimate of how many minutes of
video would fit on a 4.7 GB DVD using the current settings. As in the above table, this
time assumes a single AIFF audio stream to be used with the MPEG-2 stream.
Note: When One pass VBR or One Pass VBR Best is chosen for very short clips (less than
a minute or two in length), the resulting MPEG-2 output file size may not accurately
reflect the average bit rate you specified. If the MPEG-2 output media file is larger than
you want, you can try transcoding it again at a lower average bit rate.
4 If available, use the Maximum Bit Rate slider or field to set a maximum bit rate.
Because DVD players support peak bit rates of up to 10.08 Mbps for video plus audio,
you should set the maximum video bit rate between 8.0 to 8.5 Mbps if you are using a
1.5 Mbps (two-channel AIFF) audio track.

5 Choose one of the following settings from the Motion Estimation (ME) pop-up menu:
Â Good: The fastest ME setting—sufficient when there is relatively low motion
between frames
Â Better: A good general purpose ME setting—provides very good results even in the
presence of complex interlaced motion
Â Best: The highest quality setting to handle the most demanding and complex
motion for interlaced sources—somewhat slower than the Better mode
See “Quality Tab” on page 134 for more information.
Step 3: Choose GOP settings

Select a suitable GOP structure and size, and decide whether you want the GOPs to be
open or closed.
1 Click the GOP button in the MPEG-2 Encoder pane to open the GOP tab.
Closed button
GOP Structure
pop-up menu GOP Size
pop-up menu
2 Choose a GOP structure from the GOP Structure pop-up menu.

For the majority of MPEG-2 encoding jobs for DVD authoring, choose the IBBP
GOP structure.
3 Choose a GOP size from the GOP Size pop-up menu.
For the majority of MPEG-2 encoding jobs for DVD authoring, choose GOP size 15 for
NTSC and GOP size 12 for PAL and 24P.
The options available in this menu are determined by the GOP structure you choose,
and whether or not the GOP is open or closed.

4 Decide whether you want the GOP pattern to be open or closed and click the
appropriate button.
Working With MPEG-2 I-Frames

The Compressor Preview window offers additional MPEG-2 transcoding flexibility by
allowing you to manually insert I-frames into your output MPEG-2 file at any frame
location, regardless of your chosen GOP pattern and size. These are known as forced
I-frames, and may be useful for improving the quality of the MPEG-2 file in the vicinity
of the scene change. See “Understanding GOPs and Frame Types” on page 140 for
more information on I-frames.
In addition, adding I-frames to your clip allows you to create chapter markers that
DVD Studio Pro can understand and use. See “Adding Markers to a Clip” on
page 220 and “Adding DVD Studio Pro Chapter Markers to a Clip” on page 222
for more information.
Note: For all HD MPEG-2 formats, the GOP structures are closed.
See “Understanding GOPs and Frame Types” on page 140, “Things to Consider When
Choosing a GOP Setting” on page 140, or “GOP Tab” on page 138 for more information
about GOPs.
Step 4: Choose Extras settings

You can control the inclusion or exclusion of specific MPEG-2 authoring information in
the Extras tab.
1 Click the Extras button in the MPEG-2 Encoder pane to open the Extras tab.

2 Select the “Add DVD Studio Pro meta-data” checkbox if you want Compressor to parse
specific MPEG-2 authoring information rather than parse the information later in
DVD Studio Pro.
Warning: Checking this box may make your MPEG-2 files incompatible with any DVD
authoring tools other than DVD Studio Pro 2 (or later).
3 Select the “Include chapter markers only” checkbox if you want to exclude automatic
compression markers from the stream but still retain the chapter markers.
See “Extras Tab” on page 143 and “About MPEG-2 Markers and DVD Studio Pro” on
Also, to make it easier to use the output files created by these presets in
DVD Studio Pro, create a destination that ensures the video and audio output files have
the same name, only with different file extensions. See “Creating Destinations for Use
With DVD Studio Pro” on page 232 for more information.

11
MPEG-4 Part 2 (known as MPEG-4 video in QuickTime 6) plays an important role in the
evolution of standards for the Internet and wireless multimedia industries, where it has
been widely adopted.
Use MPEG-4 Part 2 anywhere you want to be compatible with MPEG-4 Part 2 devices or
players, such as the millions of 3G mobile phones and digital still cameras that capture
and play back MPEG-4 Part 2 video.
H.264, also known as MPEG-4 Part 10, is a newer technology than MPEG-4 Part 2,
providing up to four times the frame size of video encoded with the MPEG-4 Part 2
codec at a given data rate. But, just as MPEG-1 and MPEG-2 are still used in the industry
today, MPEG-4 Part 2 will continue to be used.
Note: MPEG-4 Part 2 is both a QuickTime codec (MPEG-4 Video) and an output format.
This chapter discusses MPEG-4 Part 2 as an output format.
MPEG-4 Part 2 offers the following advantages:

Â Standards compliance: Output is with MPEG-4 Part 2 devices and other standards-
based (ISMA) players, such as mobile phones.
Â High-quality video: A versatile transcoder that can be set to a target data rate and—
using one-pass variable bit rate (VBR)—can maximize the highest quality output or
speed for the fastest possible transcode.
Â Advanced Audio Coding (AAC): MPEG-4 audio accommodates a wide variety of source
audio, and brings true variable bit rate (VBR) audio transcoding to QuickTime. It uses
the Advanced Audio Coding (AAC) codec, which provides more clarity than MP3 audio
at the same bit rate with smaller file sizes, or files of the same size at higher quality.
153
Â Hinting for streaming: Hinting refers to how a video stream is divided into streamable
pieces. To create streaming video, the streaming server needs some hints about what
data to send out and when. These hints consist of defining a maximum packet size
and maximum packet duration. A hint track contains information needed to stream
your output file. A hint track is created for every streamable media track in the
output file (video and audio), and the streaming server uses the hint track to turn the
media into real-time streams.

The MPEG-4 Part 2 Encoder pane allows you to select a variety of streaming types
and options.
The MPEG-4 Part 2 pane contains the following items:

Â File Extension field: Displays the MPEG-4 Part 2 file extension mp4 as soon as the
MPEG-4 output format is selected from the File Format pop-up menu, or the ( + )
pop-up menu in the Settings tab of the Presets window.
Â Video, Audio, and Streaming buttons: These buttons open the Video, Audio, and
Streaming panes, described next.
to computers that have either Final Cut Studio or DVD Studio Pro 4 installed.) Since
the MPEG-4 Part 2 format uses single pass VBR, you can leave this box checked in all
cases for added speed gains with distributed processing. For more information, see
“Job Segmenting and Two Pass VBR” on page 136.

Video Pane
The Video pane allows you to make settings for the quality (ISMA profile), frames per
second (fps) rate, key frame interval, and bit rate of your MPEG-4 Part 2 output file. The
pane contains the following controls:
Either enter a number in the Bit

Rate field or use the slider to set
the bit rate (only available with
“Constant at” setting).
Â Video Enabled checkbox: Make sure that this box is selected if you want the MPEG-4
Part 2 output format video settings to be applied.
Â ISMA Profile buttons: Choose from one of the following MPEG-4 Part 2 quality settings:
Â Basic (0): Ensures playback on all MPEG-4 Part 2 devices.
Â Improved (1): Gives better output quality, but this setting is not compatible with
older MPEG-4 Part 2 devices.
Â Frame Rate (fps) pop-up menu and field: Choose or enter a number to set the overall
frame rate of your output media file.
Â Key frame interval field: Enter a value to designate how often (number of frames) you
want keyframes created in your output media file.
Â Bit Rate pop-up menu: Choose from one of the following bit rate settings. Whatever
setting you choose, quality will vary from frame to frame to maintain the selected
bit rate.
Â Constant at: Sets a manually specified bit rate based on your slider setting.
Â Low VBR: Sets an overall low quality for all frames.
Â Medium VBR: Sets an overall medium quality for all frames.
Â High VBR: Sets an overall high quality for all frames.
Â Bit rate slider and field: (Only available with the “Constant at” setting.) Move the slider
to set the overall video bit rate for your output media file between the range of
32 Kbps to 2048 Kbps, or enter a specific number in the accompanying field.

Audio Pane
You use the Audio pane to set the audio track quality, sample rate, quality, and bit
rate of the MPEG-4 output file. Use the following buttons and slider to make more
detailed adjustments:
“Sample rate”
pop-up menu
Bit Rate slider
Â Audio Enabled checkbox: Make sure that this box is checked if you want the MPEG-4
Part 2 output format audio settings to be applied.
Â Channels buttons: Choose the audio channel for your output media file to be either
mono or stereo.
Â “Sample rate” pop-up menu: Choose from one of the following sample rates:
8, 11.025, 22.05, 24, 32, 44.1, or 48 kHz.
Â Quality pop-up menu: Choose one of the following for the audio quality of your
output media file:
Â Low: This allows for fast transcoding, but it is at the expense of output file quality.
Â Medium: The audio quality is better than Low, but this takes longer to transcode.
Â High: This is the best audio quality setting available. Use this setting when the
audio quality is important for the output media file and you don’t mind how long
it takes to transcode.
Â Bit Rate slider and field: Move the slider to set the overall audio bit rate for your
output media file between the range of 16 Kbps (2 KB/sec.) to 256 Kbps (32 KB/sec.),
or enter a specific number into the accompanying field.

Streaming Pane
You use the Streaming pane to set hints for your output file, as well as set the
maximum packet size and packet duration limits of the MPEG-4 Part 2 output file. You
can also set your output media file to work with an older version of QuickTime
Streaming Servers (version 4.1 or earlier).
The Streaming pane contains the following controls:

Â “Streaming hints enabled” checkbox: Make sure that this box is selected if you want
the MPEG-4 Part 2 output format streaming settings to be applied.
Â “QuickTime Streaming Server Compatibility (pre v4.1)” checkbox: Select this checkbox if
you want your output media file to work with an older QuickTime Streaming Server
(version 4.1 or earlier). You don’t need to select this box if you are using a newer version
of QuickTime, because any streaming compatibility issues are automatically resolved.
Â Packet Maximums Size field: Enter a number to specify the largest file size allowable
(in bytes) for a streaming packet in your output media file. The packet size you
choose should be no larger than the largest packet used on any network between
the streaming server and the viewer.
Â Packet Maximums Duration field: Enter a number to specify the longest duration
allowable (in milliseconds) for a streaming packet in your output media file. The
duration affects MPEG-4 Part 2 audio only. It limits the maximum amount of audio
(in milliseconds) in any packet, which limits the audio dropout created by the loss
of a packet.

MPEG-4 Part 2 Transcoding Workflow
If you don’t need to customize the video and audio settings of your MPEG-4 Part 2 file,
you can use the “quick-and-easy” method to transcode your source media files. This
consists of accepting the following default MPEG-4 Part 2 output format settings:
Video pane
Â Video Enabled checkbox: Selected
Â ISMA Profile: Basic
Â Frame Rate: 15 fps
Â Key frame interval: 15 frames
Â Bit Rate: 368 Kbps
See “Video Pane” on page 155 for more information.

Audio pane
Â Audio Enabled checkbox: Selected
Â Channels: Stereo
Â Sample Rate: 44.1 kHz
Â Quality: High
Â Bit Rate: 64 Kbps
See “Audio Pane” on page 156 for more information.
Streaming pane
Â “Streaming hints enabled” checkbox: Selected
Â Packet Maximums Size: 1,450 bytes
Â Packet Maximums Duration: 100 milliseconds
See “Streaming Pane” on page 157 for more information.
If these settings are acceptable to you, there is nothing further that you need to do,
and you can begin transcoding source media files immediately.

If you want to customize your MPEG-4 Part 2 file format settings, you need to perform a
more detailed transcoding workflow than the one described above, that involves the
following steps:
Step 1: Customize MPEG-4 video settings

1 In the Inspector window, click the Encoder pane and choose MPEG-4 from the File
Format pop-up menu.
The MPEG-4 Encoder pane opens, displaying mp4 in the File Extension field, and the
default Video pane.
Either enter a number in the

Bit Rate field or use the slider
to set the bit rate.
2 Adjust the MPEG-4 video settings using the available controls.

Note: Make sure the Video Enabled checkbox is selected.
See “Video Pane” on page 155 for details about MPEG-4 Part 2 video settings.
If you don’t want to edit any other attributes, your MPEG-4 setting can be assigned to
any source media file in the usual way. See “Preparing Compressor for Transcoding” on
page 28 for more information. Otherwise, go to the next step to edit MPEG-4 audio
settings.

Step 2: Customize MPEG-4 audio settings
1 Click the Audio button to open the Audio pane.
Either enter a number in the

Bit Rate field or use the slider
to set the bit rate.
2 Adjust the MPEG-4 audio settings using the available controls.

Note: Make sure that the Audio Enabled box is selected.
See “Audio Pane” on page 156 for details about MPEG-4 Part 2 audio settings.
If you don’t want to edit any other attributes, your MPEG-4 setting can be assigned to any
source media file in the usual way. See “Preparing Compressor for Transcoding” on
page 28 for more information. Otherwise, go to the next step to edit streaming settings.
Step 3: Edit MPEG-4 streaming settings

1 Click the Streaming button to open the Streaming pane.
2 Select the “QuickTime Streaming Server Compatibility (pre v4.1)” checkbox if your
intended distribution method is via a QuickTime Streaming Server earlier than version 4.1.
3 Enter new numbers into the Size and Duration fields for Packet Maximums, and make
sure that the “Streaming hints enabled” checkbox is selected.
4 See “Streaming Pane” on page 157 for details about MPEG-4 Part 2 streaming settings.

Adding Additional Settings and Presets
Although the output format setting is the most important component of the
Compressor workflow, you can also add other settings and presets, such as filters,
cropping, frame sizing, actions and destinations. For further instructions on how to
add these settings, see the following:
Â Chapter 14, “Adding Filters to a Setting,” on page 185
page 195

12 Creating QuickTime Movie
Output Files 12
QuickTime media files.
QuickTime is cross-platform multimedia technology, and allows Mac OS applications to
capture and play back video, audio, and still-image files. QuickTime supports a wide
variety of codecs and can also be extended to accommodate additional codec options
and third-party codecs. See “Creating QuickTime Export Component Output Files” on
page 177 for more information about additional QuickTime export options.

Â Creating QuickTime Output Files (p. 164)
Â About the QuickTime Movie Encoder Pane (p. 164)
Â QuickTime Transcoding Workflow (p. 171)
Â Understanding Codecs (p. 174)
Â QuickTime Video Codecs (p. 174)
Â QuickTime Audio Codecs (p. 175)
163
Creating QuickTime Output Files
QuickTime is an open standard with many built-in codecs, and is both a multimedia
and streaming media architecture. It is widely used for both authoring and delivery. For
example, many video editing and compositing applications use QuickTime as their
base format, and most title developers author their CD-ROM content using the
QuickTime format. QuickTime contains a wide range of video and audio codecs suitable
for everything from streaming video to DVD. The QuickTime architecture can also
handle file formats other than QuickTime movies, such as AVI files and 3G streams. For
more information on creating those kinds of formats, see Chapter 13, “Creating
QuickTime Export Component, AIFF, and TIFF Files,” on page 177.
QuickTime Media Files for the Web

You can play your output media files over the web with QuickTime, once they are
compressed to a data rate appropriate for the bandwidth you expect the users to
have. You can do this by making your output media files either QuickTime Fast Start
movies (pre-buffered download) or QuickTime Streaming movies (complete
download).
Compressor allows you to choose different streaming options via the Streaming pop-
up menu in the QuickTime Encoder pane. See the Streaming pop-up menu item for
more information about streaming QuickTime media files over the web.
About the QuickTime Movie Encoder Pane

The following options appear when you choose QuickTime Movie from the File Format
pop-up menu:
File Extension field
Streaming
Options button (dimmed) pop-up menu
Summary table
164 Chapter 12 Creating QuickTime Movie Output Files

Â File Extension field: Indicates the file extension for this output file format. The file
extension .mov represents QuickTime. It is recommended that you don’t alter this field.
more information, see “Encoder Pane” on page 43.
Â Video Settings and Audio Settings: These buttons open the QuickTime Compression
Settings and Sound Settings dialogs. Use these dialogs to select suitable codecs and
change other video or audio compression settings. See “About the Sound Settings
Dialog” on page 169 and “About the Compression Settings Dialog” on page 167 for
more information on these dialogs.
Â Enabled/Disabled: Use these pop-up menus to enable or disable Video and Audio
settings. Enabled means the video or audio track will be included in the output movie.
Disabled means the video or audio track will be excluded from the output movie.
Â Streaming: Choose one of the following QuickTime streaming options from this pop-
up menu:
Â None: If you choose this setting (the default), your output media file will not
stream over the Internet.
Â Fast Start: This option allows your output media file to be viewed even before it is
fully downloaded from its server.
Â Fast Start–Compressed Header: This setting achieves the same results as Fast Start
(allowing your output media file to be viewed before it is fully downloaded from
the server), but the output media files are smaller.
Â Hinted Streaming: This setting allows hint tracks to be added to the output media
file so that it can be used with a QuickTime Streaming Server.
Â Options button: This button remains dimmed unless Hinted Streaming is selected from
the Streaming pop-up menu. Clicking this button opens the QuickTime Hint Exporter
Settings dialog, which allows you to choose extra hinting settings for your stream.
Â Summary table: Displays full details for this setting.
Chapter 12 Creating QuickTime Movie Output Files 165

QuickTime Video and Audio Settings
The QuickTime Video and Audio Settings buttons appear in the Encoder pane if you
selected QuickTime Movie as the output file format. (The Audio Settings button also
appears if you choose AIFF from the File Format pop-up menu.) You use these
buttons to open the Compression Settings and Sound Settings dialogs, where you
can modify whichever video or audio codec you want to add to the selected setting
in the Settings tab of the Presets window.
By default, both the Video and Audio Settings buttons are enabled, but you can
disable one or the other by deselecting the appropriate checkbox.
Video codec settings

Â For information on how to customize video codec settings, see Step 2: “Add a
QuickTime video codec to a setting” on page 172.
Â All codecs are compatible with QuickTime, but if you intend to play back the
output file using QuickTime Player, the following delivery codecs are
recommended:
Â H.264
Â Photo-JPEG
Audio codec settings

Â For information on how to customize audio codec settings, see Step 3: “Add a
QuickTime audio codec to a setting” on page 173.
Â All codecs are compatible with QuickTime, but if you intend to play back the
output media file using QuickTime Player, the following delivery codecs are
recommended:
Â AAC
Â IMA 4:1
See “QuickTime Audio Codecs” on page 175 for more information about audio codecs.

About the Compression Settings Dialog
You use the Compression Settings dialog to change your video codec settings for the
QuickTime output format. To open the Compression Settings dialog, click the Video
Settings button in the QuickTime Encoder pane.
If a particular setting can’t be changed, it remains dimmed. Some video codecs—such

as Sorenson Video 3 and Photo-JPEG—allow you to make additional settings. If this is
the case, the Options button becomes available. Click it to make additional settings.
Compression type
pop-up menu Frames per second field
and pop-up menu
Options button
The Compression Settings dialog contains the following items, depending on which
codec you choose in the Compression type pop-up menu:
Â Compression type: Use this pop-up menu to choose the video codec you want to
add to your preset.
Â Depth pop-up menu: You use the Depth pop-up menu to define the color setting. For
example, if a QuickTime movie were composed of millions or thousands of colors
and the playback computer only showed 256 colors, you would use this setting to
resolve this color depth discrepancy.
The contents of this pop-up menu change depending on the video codec selected in
the Compression type pop-up menu. For example, if you choose the PNG codec, you
can make a selection ranging from Grays to Millions of Colors+, while the Photo-JPEG
codec only allows you to choose between Color and Grayscale.
Â Quality slider: Use this slider to make general setting changes to the overall image
quality of your processed file. Quality is a subjective setting that trades image quality
for bandwidth and gives the entire media file the same quality. Lower quality means
that the finished file requires less bandwidth and streams faster. Available settings
are Least, Low, Medium, High, and Best. You can also drag the slider between any of
these settings to obtain a more specific rate (displayed numerically).

Â Options button: This button remains dimmed unless the codec you selected from the
Compression type pop-up menu offers options. It is recommended that you contact
the manufacturers of these codecs directly for more information about the additional
options they offer.
Â Frames per second: With this pop-up menu, you can reduce the frame rate of your
original file to reduce the size of the compressed file. Higher frame rates make for
smoother motion but require more bandwidth. You use the “Frames per second”
pop-up menu to choose a different frame rate, but for best results you should
change it to a number that the original file can be easily divided by. For example, if
your original file had a frame rate of 30 fps, you should use a frame rate of 10 fps or
15 fps. Choosing a frame rate of something like 24 fps would result in uneven motion
and even dropped frames, because 30 is not evenly divisible by 24. Choose from the
following settings: 8, 10, 12, 15, 23.98, 24, 25, 29.97, 30, 59.94, 60 fps, or choose
Custom to enter a number manually.
Â Key frame every: If your selected codec allows it, use the “Key frame every” field to
enter the number of frames you want between your keyframes. Codecs based on
the temporal compression method use keyframes. These act as a reference frame for
the next sequence of frames, so that any data redundancy between the keyframe
and the ensuing frames can be removed. In between keyframes are the less detailed
delta frames. You need to insert keyframes throughout your media file because
content changes. Some video codecs allow you to insert a keyframe every certain
number of frames, while other video codecs use natural keyframes by scanning the
whole file to detect where the major similarities and differences occur and inserting
the keyframes accordingly.
Keyframe
Delta frames
Keyframe
If there’s a lot of motion in your media file, you need keyframes more often than you
do with something more static, such as a talking head sequence.

Â Limit data rate to: Use this field to set the number of kilobytes per second
(KB/sec.) required to deliver your media file. This setting is useful if you have a
specific bit rate (such as a DSL connection) or amount of space (on a DVD or CD
ROM). You should choose a data rate that is appropriate for your delivery medium
and set it as high as possible within your data limitations. When you set a data rate,
you override other codec quality settings because the codec compresses the file as
much as it needs to based on its data rate limit.
Remember that the data rate is only for the video track of a media file. If your media
file also contains audio, you must allow some space for that too.
About the Sound Settings Dialog

You use the Sound Settings dialog to change your audio compression settings for
either the QuickTime or AIFF output format. To open this dialog, click the Audio
Settings button in the QuickTime Movie or AIFF Encoder pane.
If a particular audio setting cannot be changed, it remains dimmed. Some audio

codecs—such as Qualcomm PureVoice and QDesign Music 2—allow you to make
additional settings. If this is the case, the Options button becomes available. Click it to
make additional settings.
Format
pop-up menu
Rate field and

pop-up menu
Options button (dimmed)

The Sound Settings dialog contains the following items, with various choices for each,
depending on the audio codec you choose in the Format pop-up menu.
Â Format: Choose the audio codec you want to add to your setting.
Â Channels: Choose the type of channel output, such as mono, stereo, or some type of
multi-channel output, depending on the codec.
Â Rate: Choose the sample rate you want to use for your media file. The higher the
sample rate, the higher the audio quality, but the larger the file. Downloading a
larger file takes longer and requires more bandwidth.
Â Options: This button remains dimmed unless the codec you selected from the
Format pop-up menu offers options. It is recommended that you contact the
manufacturers of these codecs directly for more information about the additional
options they offer.
QuickTime Audio Sample Sizes and Rates

If you have the disk space and bandwidth, it is best to leave your audio uncompressed.
Uncompressed audio normally uses 8-bit (phone quality) or 16-bit (CD quality) samples.
Compressor 2 supports up to 64 bits per sample floating point and a maximum sample
rate of 192 kHz.
Choosing an Audio Codec

AAC is a good general purpose audio delivery codec and it is compatible with a wide
variety of playback devices. For low-bandwidth audio on faster computers, the
QDesign Music codec (QDMC) is good for most material, while Qualcomm PureVoice is
the best choice for speech-only material. For slower computers, CD-ROM, and kiosk
situations, IMA is a better choice, because it is less computer intensive, thus allowing
the computer to focus on the more challenging video stream. See “QuickTime Audio
Codecs” on page 175 for more information about audio codecs.

QuickTime Transcoding Workflow
The following steps outline the transcoding process required to create QuickTime
output media files:
Step 1: Open the QuickTime Encoder pane

There are a multitude of QuickTime video and audio codecs that you can choose from
in Compressor. You access all codecs via the Compression Settings and Sound Settings
dialogs, opened from the QuickTime Encoder pane by clicking the Video Settings and
Audio Settings buttons.
1 In the Settings tab of the Presets window, do one of the following:
Â Make sure that the correct setting is selected.
Â Create a new setting by choosing QuickTime Movie from the “Create a new setting”
( + ) pop-up menu.
2 Open the Encoder pane in the Inspector window.
The default QuickTime Encoder pane appears, containing the Video and Audio Settings
buttons, Enable pop-up menus, the Streaming pop-up menu, the Options button
(dimmed), and the Summary table. See “About the QuickTime Movie Encoder Pane” on
Note: Make sure that the Enable pop-up menus next to the Settings buttons are set to
Enable if you want those settings included in the transcoding.

Step 2: Add a QuickTime video codec to a setting
To add a QuickTime video codec to your setting, you need to open the Compression
Settings dialog and choose a video codec from the Compression type pop-up menu.
Note: If you don’t intend to use any video settings, deselect the Enable checkbox next
to the Video Settings button.
1 Click the Video Settings button in the QuickTime Encoder pane.
The Compression Settings dialog opens.
Choose a video codec

from the Compression
type pop-up menu.
2 Choose a video codec from the Compression type pop-up menu and either accept its
defaults or customize the other settings (Motion, Encoding Mode, Quality, Depth, and
Options, if available). See any of the following for more information about video codecs:
Â “Video codec settings” on page 166
Â “About the Compression Settings Dialog” on page 167
Â “QuickTime Video Codecs” on page 174
Note: You can see the current contents of your setting by viewing the Summary table.
3 Click OK to save changes and close this dialog.

Step 3: Add a QuickTime audio codec to a setting
If you want to add an audio codec to your setting, you need to open the Sound
Settings dialog and choose your audio codec settings from there.
Note: If you don’t intend to use any audio settings, deselect the Enable checkbox next
to the Audio Settings button.
1 Click the Audio Settings button in the QuickTime Encoder pane.
The Sound Settings dialog opens.
Choose an audio codec from

the Format pop-up menu.
2 Choose an audio codec from the Format pop-up menu and either accept its
defaults or customize the other audio codec settings (Format, Channels, Rate, and
Options, if available).
See any of the following for more information about audio codecs:
Â “Audio codec settings” on page 166
Â “About the Sound Settings Dialog” on page 169
Â “QuickTime Audio Codecs” on page 175
Note: You can see full details of the current contents of your setting by viewing the
Summary table.
3 Click OK to save your settings and close this dialog.

Adding Additional Settings and Presets
Although the output format setting is the most important component of the
Compressor workflow, you can also add other settings and presets, such as filters,
cropping, frame sizing, actions, and destinations. For further instructions on how to
add these settings, see the following:
page 195
Note: If you encode a QuickTime output file with a source file that contains timecode,
the source timecode is added to the QuickTime output file.
Understanding Codecs
Codec stands for compressor (CO)/decompressor (DEC) pairs. You use different codecs for
different playback methods (such as the web or CD-ROM). 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 1/100th of its original size, while others decrease
the file size very little. Some codecs are only available 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:

Â Minimum system requirements of your target audience
Â Source material
Â Quality of the compressed media file
Â Size of the compressed media file
Â Compression/decompression time for the media file
Â 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 your
target audience has 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:

Â 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.
Â Lossy codecs: In comparison to lossless codecs, lossy codecs only return an
approximation of the data and are usually used to deliver finalized video to an end
user. The level of approximation is determined by the quality of the codec. Typically
there is a tradeoff between the output quality of the codec and its achievable level of
compression. With some codecs, a compression ratio of at least 5:1 can be reached
without visible degradation. An example of a lossy codec is the Photo-JPEG codec.
Low-quality lossy compression introduces unnatural visual artifacts which may
become noticeable to the human eye. Using a lossy codec, you should only compress
your media file once, because compressing a file multiple times adds more artifacts.
QuickTime Audio Codecs

If you have the disk space and bandwidth, the best thing you can do is leave your
audio uncompressed. Uncompressed audio normally uses 8-bit (phone quality) or
16-bit (CD quality) samples. (Compressor 2 supports up to 64 bits per sample floating
point and a maximum sample rate of 192 kHz.) If you have disk space and bandwidth
limitations, you must compress your audio. However, audio takes up less disk space
than video, so it doesn’t need to be compressed as much as video.
The two most important components of audio codecs are sampling rates and size.
Sampling rate sets the sound quality, and sampling size sets the dynamic range of the
sound. QuickTime audio codecs allow you to set both the sampling rate and size of
your source media file.

Sound Sampling Rates
Digitized sound consists of sound samples captured at different frequency rates. The
more sound samples per second, the higher the sound quality. For example, audio CDs
use a 44.1 kHz sampling rate, DVDs sample at 48 kHz, and telephone networks sample
voices at 8 kHz. The sample rate you choose depends on the nature of the sound. Music
requires a higher sampling rate than voice, because music contains a wider range of
frequencies. Spoken voice has a more limited range of frequencies, so you can choose a
lower sampling rate and still maintain acceptable audio quality. In most cases, you
should choose the highest sampling rate available.
Reducing the sampling rate can shrink a media file by as much as 5:1. The audio quality
will be affected, but not as much as it would be if you used 8-bit sampling. The
following table shows common sampling rates and the audio device quality to expect
at each rate:
Sample rate Audio device quality

48 kHz DAT/DV/DVD
44 kHz CD
22 kHz FM radio
8 kHz Telephone
Sound Sampling Size

The sound sampling size determines the dynamic range of the sound. 8-bit sound
provides for 256 possible values, whereas 16-bit sound allows for more than 65,000
possible values.
Choose 16 bit for music that has both soft and loud sections, such as orchestral music.
For spoken voice or music that has a more or less constant volume level, choosing 8 bit
can still yield good results.
If you need to shrink your media file, you can reduce the sample size from 16 bit to
8 bit. This cuts the file size in half but also degrades the audio quality.

13 Creating QuickTime Export
Component, AIFF, and TIFF Files 13
You can use Compressor to output a variety of
additional formats.
This chapter discusses a variety of additional file formats that Compressor can output
from your source media files:
Â Creating QuickTime Export Component Output Files (p. 177)
Â Creating AIFF Output Files (p. 180)
Â Creating TIFF Output Files (p. 183)
Creating QuickTime Export Component Output Files

Compressor and QuickTime can be extended to support additional codec options and
third-party formats. This section focusses on QuickTime’s component plug-in feature,
which allows you to export exotic file formats that can play on third-party devices and
operating systems, such as cell phones. Unlike standard QuickTime movies, these
exported files cannot be played back with QuickTime Player or other QuickTime-based
applications. (For information on the native QuickTime movie file format, see “Creating
QuickTime Movie Output Files” on page 163.)
In the past, creating these kinds of files required multiple steps and multiple operating
systems: exporting the file, moving it to a computer on another platform, and then
encoding using another software application. The QuickTime Export Components
feature allows you to control the third-party encoding engine without having to open
another application. This streamlines your workflow and saves you the time and hassle
of working with multiple operating systems and software packages.
177
Installing QuickTime Export Component Plug-Ins
With no additional third party software, Compressor currently supports transcoding to
3G and AVI. The export component feature in Compressor was developed to make it
possible to add additional export plug-ins in the future. You would simply install the
third-party software and then choose the corresponding output file format from the
Encoder Type pop-up menu in the QuickTime Export Components Encoder pane of the
Inspector window.
To find out more about the currently available plug-ins and updates, check the
Compressor support web site:
Â http://www.apple.com/support/compressor
About the QuickTime Export Components Encoder Pane

The following options appear when you choose the QuickTime Export Components
output format from the File Format pop-up menu in the Encoder pane of the
Inspector window:
File Format
Options.
Â File Extension: This field indicates the file extension for the output format selected
from the Encoder Type menu.
more information, see “Encoder Pane” on page 43.
Â Encoder Type: Use this pop-up menu to choose from the available export component
output formats (plug-ins).
Â Options: Click this button to open the Settings window for the output file format
selected in the Encoder Type pop-up menu.
178 Chapter 13 Creating QuickTime Export Component, AIFF, and TIFF Files
Configuring Export Components Settings
When you choose QuickTime Export Components as your output format, you can only
create settings for export plug-ins that are already installed.
To create QuickTime Export Components settings:

Â Create a new setting by choosing QuickTime Export Components from the “Create a
new setting” ( + ) pop-up menu.
2 Choose an output file format from the Encoder Type pop-up menu.
3 Click the Options button in the Encoder pane.
The Settings window for that particular output file format opens.
Configure settings for

the QuickTime export
component.
Chapter 13 Creating QuickTime Export Component, AIFF, and TIFF Files 179
Creating AIFF Output Files
The AIFF (Audio Interchange File Format) file format was developed by Apple for
storing high-quality audio. The format was intended for DVD or CD authoring and is
now one of the most commonly used audio file formats for the Mac OS.
About the AIFF Encoder Pane

The following options appear when you choose the AIFF output format from the File
Format pop-up menu in the Encoder pane of the Inspector window:

Click to open the
Sound Settings dialog.
QuickTime AIFF
Summary table
Â File Extension: This field displays the AIFF file extension (aiff) automatically after the
AIFF output format is selected from the File Format pop-up menu or the ( + ) pop-up
menu in the Settings tab of the Presets window. Don’t alter this field.
Â Settings: This button opens the QuickTime Sound Settings dialog. Use this dialog to
select suitable audio codecs and change other audio compression settings. See
“About the Sound Settings Dialog” below for more information.
Â QuickTime AIFF Summary: This table displays full details for this setting.
About the Sound Settings Dialog
You use the Sound Settings dialog to change your audio compression settings for both
the QuickTime and AIFF output formats. To open this dialog, click the Audio Settings
button in the AIFF or QuickTime Movie Encoder pane.
If a particular audio setting cannot be changed, it remains dimmed. Some audio

codecs—such as Qualcomm PureVoice and QDesign Music 2—allow you to make
additional settings. If this is the case, the Options button becomes available. Click it to
make additional settings.
Format pop-up
menu
Rate field and
pop-up menu
Options button (dimmed)
The Sound Settings dialog contains the following items, with various choices for each,
depending on the audio codec you choose in the Format pop-up menu.
Â Format: Choose the audio codec you want to add to your setting.
Â Channels: Choose the type of channel output, such as mono, stereo, or some type of
multi-channel output, depending on the codec.
Â Rate: Choose the sample rate you want to use for your media file. The higher the
sample rate, the higher the audio quality, but the larger the file. Downloading a
larger file takes longer and requires more bandwidth.
Â Options: This button remains dimmed unless the codec you selected from the
Format pop-up menu offers options. It is recommended that you contact the
manufacturers of these codecs directly for more information about the additional
options they offer.
QuickTime Audio Sample Sizes and Rates

If you have the disk space and bandwidth, it is best to leave your audio uncompressed.
Uncompressed audio normally uses 8-bit (phone quality) or 16-bit (CD quality) samples.
Compressor 2 supports up to 64 bits per sample floating point and a maximum sample
rate of 192 kHz.
Choosing an Audio Codec
AAC is a good general purpose audio delivery codec and it is compatible with a wide
variety of playback devices. For low-bandwidth audio on faster computers, the
QDesign Music codec (QDMC) is good for most material, while Qualcomm PureVoice is
the best choice for speech-only material. For slower computers, CD-ROM, and kiosk
situations, IMA is a better choice, because it is less computer intensive, thus allowing
the computer to focus on the more challenging video stream.
Configuring AIFF Settings

When you choose the AIFF output file format as your output format, you can only
create audio settings (because it is an audio-only format). If you want to add an audio
codec to your AIFF preset, you need to open the Sound Settings dialog and choose
your audio codec settings from there.
To create an AIFF audio codec setting:

Â Create a new setting by choosing AIFF from the “Create a new setting” ( + ) pop-
up menu.
2 Click the Settings button in the AIFF Encoder pane.
The Sound Settings dialog opens.
Choose an audio codec from

the Format pop-up menu.
3 Choose an audio codec from the Format pop-up menu and either accept its defaults or
customize the other audio codec settings (Format, Channels, Rate, and Options, if
available). See “About the Sound Settings Dialog” on page 181 for more details.
Note: You can see full details of the current contents of your preset by viewing the
QuickTime AIFF Summary table in the Encoder pane.
Creating TIFF Output Files
TIFF (Tagged Image File Format) is one of the most common and flexible still-image
formats, and was developed to create a standard file format for storing and exchanging
digital graphics used in desktop publishing. It is compatible with a wide range of
compositing and image processing applications. Use this encoder to convert a video
clip to an image sequence for use with compositing applications that aren’t compatible
with QuickTime.
About the TIFF Encoder Pane
File Format pop-up

menu
Choose a frame rate

from the Frame Rate
pop-up menu.
The TIFF Encoder pane contains the following items to help you create your TIFF
output file:
Â File Extension: This field displays the TIFF file extension (tiff ) automatically after TIFF
output format is selected from the File Format pop-up menu or the ( + ) pop-up
menu in the Settings tab of the Presets window. Don’t alter this field.
Â Frame Rate (fps): Use this field and pop-up menu to enter the frame rate at which you
want the TIFF still images to be created. The higher the frame rate, the greater the
number of still images created and the larger the output file. For example, if you
choose 30 fps, Compressor creates 30 still images for every second of the video clip you
are transcoding. If you choose 8 fps, Compressor only creates 8 still images per second.
Â Create unique output directory: Select this checkbox to create a folder for the
resulting TIFF output files. The folder is given the same name as that of the media file,
and the TIFF files are stored inside the folder and named frame-nnn. For example, if
the output filename is test, the directory path is destination/test/frame-nnn.
If you don’t select this box, the TIFF files are stored at the top level of your
destination folder and named filename-nnn rather than frame-nnn. Be aware that
even at the slow rate of 8 fps, a large number of TIFF files are created when you
transcode to this output format, so creating an output directory is a good way to
keep your TIFF files organized.
Â Add leading zeros to frame numbers: Select this checkbox to add leading zeros to the
frame number. When choosing this method, all the TIFF files consist of multidigit
filenames, such as frame-000001 (or filename-000001 if these files aren’t being saved
in a unique output directory). If you don’t select this checkbox, each TIFF file uses a
regular filename, such as frame-1 (or filename-1 if these files aren’t being saved in a
unique output directory).
Configuring TIFF Settings

You use the TIFF output format if you want to transcode a video clip into a series of
still images.
To create a TIFF setting:

Â Create a new setting by choosing TIFF from the “Create a new setting”
( + ) pop-up menu.
2 Click the Encoder tab, then choose TIFF from the File Format pop-up menu.
The TIFF Encoder pane appears.
3 Enter a number in the Frame Rate (fps) field or choose a frame rate from the pop-up
menu.
4 Select the “Create unique output directory” checkbox if you want your TIFF files stored
in their own folder in the destination folder.
5 Select the “Add leading zeros to frame numbers” checkbox if you want your output TIFF
files numbered with the format 0000nn.
See “About the TIFF Encoder Pane” on page 183 for more information about the TIFF
Encoder pane.
Note: You can see the current contents of your setting by viewing the Summary pane
of the Inspector window.
14 Adding Filters to a Setting
14
Compressor comes with a variety of filters (such as
deinterlacing and noise removal) that you can use to
adjust the details of your transcoding projects.
Â Working With Filters (p. 185)
Â Adding Filters to a Setting (p. 192)
Working With Filters

Because the characteristics of broadcast video differ significantly from the characteristics
of video played back on computers, it is sometimes necessary to modify the visual
quality of the source media so that it looks acceptable during multimedia playback.
You can treat your source media file with a variety of filters before you transcode it to help
improve the output quality of your video. The best way to assign these filter settings is to
look at your source media file and choose the most suitable one based on its content.
185
Note: You can always preview a clip containing your current settings by double-
clicking the setting in the Batch window to open it in the Preview window. The Preview
screen is split into original and transcoded versions of your media file so that you can
see the effects of your filter settings before processing the batch (as long as the
checkbox for that particular filter is selected). Once you are reasonably happy with your
settings, it’s a good idea to scan through the whole movie to ensure that your changes
are not too extreme for some scenes. See “Using the Preview Window” on page 209 for
more information.
Adjustments you make

in the Filters list can
be viewed in the
Preview window.
Deinterlacing
NTSC and PAL video is interlaced. This means that each frame of video consists of two
fields (1/60th of a second apart), one with the odd broadcast lines and one with the
even lines of the image. The differences between these two fields create the impression
of motion. Our eyes combine these two images into one whole frame of smooth,
realistic motion at 30 fps in standard definition television, and because of the high
field-refresh speeds (1/60th of a second), the interlacing is invisible.
186 Chapter 14 Adding Filters to a Setting

Because interlacing creates two fields for each frame, areas with fast movement within
the field become separated into alternating jagged lines. You can view your source
media one frame at a time and check for horizontal stripes along the leading and
trailing edges of moving objects. If you find these, you need to deinterlace your source
media to convert it to a frame-based format.
Interlacing creates
a “comb” effect that
should be removed.
Note: For deinterlacing, the Frame Controls feature is recommended over the
Deinterlacing filter (a legacy filter) as it will always provide much higher quality. See
“Working With Frame Controls” on page 195 for more information.
Removing Video Noise

You can improve image quality and spatially compress your material more efficiently
by reducing its fine detail. Video noise is any sort of excessive detail which can make
compression more difficult. The noise reduction filter allows you to blur areas of low
contrast while leaving high-contrast edges sharp. This is known as adaptive noise
reduction. The results are imperceptible to the human eye, but improve the final
compression of the source media. It is especially important to use this filter with
live video.
Color Spaces
Compressor supports the following color spaces—YUV (R408), 2VUY, RGBA, ARGB, and
YUV (v210). Some filters require a color space conversion and some filters can handle
various color spaces. For each media file, Compressor chooses the most suitable color
space to provide the best output and performance results based on the color space of
three attributes: the source media format, the output file format, and chosen filters.
Chapter 14 Adding Filters to a Setting 187

About the Filters Pane
Use the following features in the Filters pane of the Inspector to select and adjust filters
that you want to assign to your settings.
Â Filters list: Select the checkbox next to the filters you want to add to your presets.
Filter settings you select appear in the Summary table in the Summary pane. You can
reorder filters by dragging them up or down in the Filters list. Because these filters
are processed one by one during transcoding—starting with the first entry in the
list—it is important that your filters are organized correctly. For example, it is sensible
to place your text overlay filter last, so that the text color you selected doesn’t get
modified by some other filter.
Â Filter controls: The controls available depend on the filter selected in the Filters list.
The slider allows you to make large numerical changes to your setting, while the
arrow control lets you make single incremental number changes. The setting number
appears in the field located between the slider and arrow control.
Filters list
Pop-up menu
Slider
Note: Once you make any adjustment to a filter, its checkbox is automatically selected.
If you decide that you no longer want to use that filter, be sure to deselect that
particular filter’s checkbox before transcoding.

The Filters pane contains the following available filters in the Filters list:
Â BlackWhite Restore: Restores nearly black colors to pure black and nearly white colors
to pure white without affecting colors in the rest of the image. Use this filter to better
compress the solid black and white areas (the luminance) in the image, such as
backgrounds. The two sliders allow you to separately set values between 0 and 100
for black and white. See “Color Spaces” on page 187 for information on how color
spaces relate to this filter.
Â Brightness Contrast: Alters the overall color and luminance values of your output
media file to a brighter or darker level. Some QuickTime codecs darken your video
file, so you can use this filter to compensate for that. Choose any number between
–100 and 100, but avoid the extreme settings as they give a very washed-out quality.
Â Color Correct Highlights: Corrects white balance inaccuracies and creates color effects
on the bright areas of your clip. Adjust red, green, and blue values independently
between –100 to 100.
Â Color Correct Midtones: Corrects white balance inaccuracies and creates color effects
on the midtone areas of your clip. Adjust red, green, and blue values independently
between –100 and 100.
Â Color Correct Shadows: Corrects white balance inaccuracies and creates color effects
on the dark areas of your clip. Adjust red, green, and blue values independently
between –100 and 100.
Â Deinterlacing: Removes the effects of interlacing. If your source media file needs to
be converted to a frame-based format, you must deinterlace it to remove the effects
of interlacing. Interlacing on computer displays can cause high-motion parts of your
video to look fuzzy, so this is especially important if you’re outputting a QuickTime
movie for desktop playback, or for streaming over the web. You can remove the
upper (odd) or lower (even) field from an interlaced video file, although smooth
motion may be compromised within the clip. This filter can also be used to eliminate
flickering caused by interlacing in still frames that have thin vertical lines, such as title
pages with small text. The remaining fields are interpolated to create a whole image,
resulting in an overall softening of the image.
Note: The Frame Controls feature is recommended over the Deinterlacing filter (a
legacy filter) as it will always provide much higher quality. See “Working With Frame
Controls” on page 195 for more information.

Experiment with one of the following deinterlacing methods in the pop-up menu to
see which one works best with your footage:
Â Blur: Blends the odd and even fields together. This setting gives more importance to
temporal data and preserves motion better, but because individual frames consist of
a composite of both frames, they don’t look good when you pause playback.
Â Even: Keeps the even fields and ignores the odd fields, avoiding motion blur.
Â Odd: Keeps the odd fields and ignores the even fields, avoiding motion blur.
Â Sharp: Looks at both fields to make all edges sharper. This setting gives more
importance to spatial data.
Â Gamma Correction: Controls the overall brightness of an image as displayed on a
monitor by changing the gamma amount of the media file. This filter can be used to
remove detail from an underexposed clip or reduce an overexposed clip’s saturation
to an acceptable level without washing out the image too much. Computers using
different operating systems have different monitor settings. For cross-platform
viewing, correcting the gamma will improve the image for all platforms. Choose a
gamma setting between 0.1 and 4.0.
Â Letterbox: Scales and positions the image in the frame within horizontal letterbox bars.
Â Type: This pop-up menu allows you to choose the type of letterboxing to use.
Scale vertically compresses the video to fit within the letterbox bars. Matte crops
off the video where the letterbox bars are placed.
Â Position: This pop-up menu allows you to choose the position of the video. Center
places letterbox bars above and below the video, keeping the video centered.
Bottom positions the video at the bottom of the screen with a single letterbox bar
above it. Top positions the video at the top of the screen with a single letterbox
bar below it.
Â Output: This pop-up menu allows you to choose the specific aspect ratio to use for
the letterbox. Each setting is followed by a value that shows the ratio of the width
to the height for that setting. For example, the Academy setting shows its aspect
ratio as 1.85:1, indicating that the image’s width is 1.85 times the size of its height.
The Manual setting enables the Manual slider which you can use to manually set
the letterbox aspect ratio.
Â Manual slider: Used when Manual is selected in the Output pop-up menu. Allows
you to manually set the letterbox aspect ratio. The Manual slider has no effect
when Manual is not selected in the Output pop-up menu.
Â Background color box: Sets the letterbox color. Click this box to choose a
background color from the color picker.

Â Noise Removal: Reduces random flecks of noise from the image. Some codecs
introduce noise into the video file, which can be softened with the Noise Removal
filter. You can improve image quality and spatially compress your material more
efficiently by reducing its fine detail.
Â Apply To: This pop-up menu allows you to choose which channels you want to
filter the noise from. The default is All Channels, which filters out noise from all
channels including the alpha channel. The other option is Chroma Channels, which
filters out noise only from the two chroma channels—U and V—in the AYUV color
space (or R408 in Final Cut Pro terminology).
Â Iterations: This pop-up menu smooths out image noise. Choose how many times
(between 1 and 4) you want the selected algorithm applied to the source media
file. The modified image is used each time as a starting point for the algorithm. The
more iterations used, the fuzzier the image becomes.
Â Algorithm: Select one of the following algorithms from the Algorithm pop-up
menu: Average (each pixel’s color is modified by taking an average color of pixels
around it, including its own color value); Replace (each pixel’s color is modified by
taking an average of pixels around it, while ignoring its own color value); and
Merge (each pixel’s color is modified by taking a weighted average of surrounding
pixels and itself; the pixel’s own color value is given greater weight).
Â Sharpen Edge: Enhances the image contrast around object edges. Some codecs blur
the video image, so this filter can counteract the softening effect of noise removal or
blurred source material and increase the perception of sharpness in the image. When
used to an extreme, the output media file can look grainy. Choose any number
between 0 and 100.
Â TextOverlay: Superimposes text onto the image. This is a useful tool for stamping
other relevant text information onto your output media file. Use the following
controls to position text, select color and font, and set its opacity:
Â Position pop-up menu: Positions text in the image clip. Choose from one of the
following positions: Center, Lower Left, Lower Left - TV Safe, Lower Right, Lower
Right - TV Safe, Upper Left, Upper Left - TV Safe, Upper Right, Upper Right - TV Safe.
Â Alpha: This slider sets the text opacity. Choose between 0 and 1. A value of 0 makes
the text completely transparent, while a value of 1 makes it completely opaque.
Â Overlay Text: Type your text here.
Â Text Color: Click this box to choose a text color from the color picker.
Â Select Font: Click this button to open a font selection palette for selecting type,
style, and size.

Â Watermark: Superimposes a watermark onto the image. This is a useful tool for
stamping a suitable logo onto your output media file. It allows you to make any
stored image into a watermark image to add to your output media file. Use the
following pop-up menus, fields, and sliders to position and size the watermark and
set its opacity:
Â Position: This pop-up menu positions the watermark image in the image clip.
Choose from one of the following positions: Center, Lower Left, Lower Left - TV
Safe, Lower Right, Lower Right - TV Safe, Upper Left, Upper Left - TV Safe, Upper
Right, Upper Right - TV Safe.
Â Scale By: This slider sets the size of the watermark image size.
Â Alpha: This slider sets the watermark image opacity. Choose between 0 and 1. A
value of 0 makes the watermark image completely transparent, while a value of 1
makes it completely opaque.
Â Choose: Click this button to open the file selection dialog and select a stored
watermark image.
Adding Filters to a Setting

You use the Filters pane in the Inspector window to add filters to your settings.
To add filters to a setting:

1 Open the Settings tab of the Presets window.
2 Select the setting in the Settings table that you want to modify. (Or select a setting
already applied to a source media file in the Batch window. This way, you can open the
Preview window and see the effects of your filter adjustments.)
3 Click the Filters tab in the Inspector.

4 Make adjustments to any filters that you want added to the setting.
Note: A checkmark appears automatically as soon as you make adjustments to any filter.
5 Drag the filters up or down within the Filters list to set the order in which you want
them applied to the source media file during transcoding.
Drag filters up or down to set

the order you want them to
be applied to the source
media file.
Because these filters are processed one by one during transcoding—starting with the
first item in the list—it is important that your filters be organized in the order you want
them. For example, it is sensible to place your text overlay filter last, so that the text
color you selected doesn’t get modified by some other filter.

If you move a filter, be sure to select the checkbox so that Compressor knows to apply
the filter to that setting. As an additional reminder, once you select the moved filter and
then try to select another setting, the Save dialog appears, requiring you to save or revert
the changes to that setting. By default, all selected filters are displayed first in the list.
Note: You can see setting details in the Summary pane of the Inspector window.
See “About the Filters Pane” on page 188 for more details.

15 Adding Frame Controls, Geometry,
and Actions to a Setting 15
You can make advanced adjustments to your settings
with the Frame Controls, Geometry, and Actions panes
of the Inspector window.
This chapter contains the following sections:
Frame Controls
Â Working With Frame Controls (p. 195)
Â Adding Frame Controls to a Setting (p. 198)
Geometry
Â Working With Cropping and Scaling (p. 200)
Â Making Geometry Adjustments to a Setting (p. 203)
Actions
Â Working With Post-Transcoding Options (p. 204)
Â Adding Actions (p. 206)
Working With Frame Controls

Compressor now offers high-quality transcoding from many different source formats to
many different target formats using advanced image analysis. That means you can now
do any of the following at levels of quality that were previously only available through
expensive hardware solutions:
Â Convert video files between international television standards such as PAL to NTSC,
or NTSC to PAL.
Â Downconvert high definition (HD) video sources to standard definition (SD), or
upconvert SD to HD.
Â Convert a progressive stream to an interlaced one, or interlaced to progressive.
Note: The Advanced Format Conversions settings group in the Settings tab of the
Presets window has particular relevance to working with frame controls.
195
About the Frame Controls Pane
Use the following features in the Frame Controls pane of the Inspector to select and
adjust frame controls attributes that you want to assign to your settings.
Frame Controls
Use this pop-up menu to choose from the following Frame Controls options:
Â Off: The default setting for most Apple presets. Choose Off if your Compressor
project does not involve changes to the frame size, frame rate, or field dominance.
Â Automatic: Compressor analyzes the transcoding job (the source media file and the
applied setting), and then automatically determines the appropriate Frame Controls
attributes.
Â Custom: Allows you to manually adjust all of the attributes in the Frame Controls
pane (below).
Note: In Automatic mode, frame controls technology is engaged in the following
two types of transcodes only:
Â Transcoding from high definition (HD) sources to standard definition (SD) MPEG-2
output files.
Â Transcoding from interlaced sources to H.264 for HD DVD (progressive) output files.
Resizing Control
Use the controls in this section to choose the algorithm with which frames are resized.
Â Resize filter: Use this pop-up menu to choose from the following re-size options. This
decision is a trade-off between faster processing time and higher output quality in
projects that involve a change in resolution.
Â Fast (Nearest pixel)
Â Better (Linear filter)
Â Best (Statistical prediction)
196 Chapter 15 Adding Frame Controls, Geometry, and Actions to a Setting

Â Output fields: Use this pop-up menu to choose the output scanning method (either
the field dominance or a conversion to progressive scanning).
Â Same as Source: No change to the scanning method.
Â Progressive: Scanning method where each frame is complete (not divided into fields).
Â Top first: Interlaced field dominance (field order), also known as field two, the upper
field, or the odd field.
Â Bottom first: Interlaced field dominance (field order), also known as field one, the
lower field, or the even field.
Note: Frame Controls is recommended over the Compressor Deinterlacing filter (a

legacy filter in the Filters Pane) as it will always provide much higher quality.
Â Deinterlace: Use this pop-up menu to choose from several levels of mesh warping.
This decision is a trade-off between faster processing time and higher output quality.
Â Fast (Live averaging)
Â Better (Motion adaptive)
Â Best (Motion compensated): This option intelligently deinterlaces only those parts
of the image that are in motion. This increases source resolution, improves quality,
and removes noise from static areas.
Warning: Using all Best settings may result in unexpectedly long processing times.
Note: Frame Controls is recommended over the Compressor Deinterlacing filter (a

legacy filter in the Filters Pane) as it will always provide much higher quality.
Â Adaptive Details: Click this checkbox to use advanced image analysis to distinguish
between noise and edge areas.
Â Anti-alias: Use this slider to set a softness level from 0 to 100.
Â Details Level: Use this slider to set a level (from 0 to 100) to preserve sharp edges.
Chapter 15 Adding Frame Controls, Geometry, and Actions to a Setting 197

Retiming Control
Use the controls in this section to choose the algorithm by which frame rates
are adjusted.
Â Rate Conversion: Use this pop-up menu to choose from the following options. This
decision is a trade-off between faster processing time and higher output quality.
Â Fast (Nearest frame): No frame blending is applied; Compressor simply uses a copy
of the nearest available frame to fill the new in-between frames.
Â Good (Frame blending): Averages neighboring frames together to create new in-
between frames.
Â Better (Motion compensated): Uses motion vectors to interpolate frames.
Â Best (High quality motion compensated): Uses motion vectors to interpolate frames;
this option is particularly useful for transcodes that involve increases in frame rates
(for example, 23.98 fps to 59.94 fps).
Warning: Using all Best settings may result in unexpectedly long processing times.
Adding Frame Controls to a Setting

You use the Frame Controls pane in the Inspector window to add frame resizing and
retiming adjustments to your settings.
To add automatic frame control adjustments to a setting:

already applied to a source media file in the Batch window.)
3 Click the Frame Controls tab in the Inspector.
4 Choose Automatic from the Frame Controls pop-up menu.
Compressor analyzes the transcoding job (the source media file and the applied
setting), and then automatically determines the appropriate Frame Controls attributes.

To add custom frame control adjustments to a setting:
3 Click the Frame Controls tab in the Inspector.
4 Choose Custom from the Frame Controls pop-up menu.
Custom allows you to manually adjust all of the attributes in the Frame Controls pane.
5 Make changes to any of the following controls in the Frame Controls pane. (See “About
the Frame Controls Pane” on page 196 for details on each of the controls.)
Â Resize filter
Â Deinterlace
Â Adaptive Details
Â Anti-alias
Â Details Level
Â Rate Conversion
6 Click Save to save the changes.

Working With Cropping and Scaling
Scaling involves shrinking your output media image size to save storage space or
reduce the bit rate. Cropping deals with removing unnecessary image area (such as the
overscan area, which is necessary for television, but not computers) to make what’s left
seem bigger in the same frame size. Cropping also allows you to reduce the output
media image size more than can be achieved by simply scaling the image.
You can significantly reduce the file size of your output media file by cropping the
actual image to be transcoded and selecting its output frame size dimensions. For
example, a media file that is destined to be viewed only on a website doesn’t require a
full-screen frame and remains perfectly viewable at a 320 x 240 frame size.
Note: It’s important to understand that these aspect ratio dimensions are based on the
cropped frame size, not the original frame size of the source media file.
As you reduce the clip image by cropping it, the output image will be scaled up to fill
the new output frame size. This effect is similar to zooming in on an image, which
results in larger pixels and overall image degradation.

About the Geometry Pane
You use the Geometry pane to choose cropping and sizing settings, output media file
sizes, and the aspect ratio (the ratio between image frame width and height):
Cropping fields
Output size fields
Â Source inset (Cropping): The four cropping fields (Left, Top, Right, and Bottom) allow
you to crop the frame of your source media file in pixel increments. Most broadcast
video files have overscan areas. If the output file will be shown exclusively on a
computer screen rather than a television screen, you can safely remove some edging
from your file without impacting the picture area. The numbers give the distance (in
pixels) between the edge of the original frame and the resulting cropped frame. All
fields default to 0.
Note: The regular (“action safe”) overscan area is the outer five percent of the image
on all four sides. Cut in an additional five percent and you have the more
conservative “title safe” area. So you can safely crop anywhere between five and ten
percent of your outer frame area and still preserve the essential material.
Â Frame size: This pop-up menu and associated text fields allow you to customize the
frame size and aspect ratio of your output file’s frame size. Choose from one of the
following: 100% of source, 50% of source, 25% of source, 320 x 240, 640 x 480, or
Custom (a manually created setting). With this last option, you enter whichever
dimensions suit your needs in the Width and Height fields. This is useful when
dealing with square/non-square pixel discrepancies. Resizing a 720 x 480 frame to
640 x 480 compensates for this type of image distortion.
Note: If you are either modifying or creating an MPEG-1, MPEG-2, or H.264 for HD
DVD setting, all of the Geometry pane pop-up menus and fields are dimmed. The
relevant output size dimensions are automatically entered in the Width and Height
fields based on the video format you selected (NTSC or PAL) from the Video Format
pop-up menu in the Encoder pane.

Note: If you want to transcode a normal size standard definition (SD) source media
file (720 x 486) using an MPEG-2 NTSC setting, your output media file will be
automatically cropped (two pixels from the top and four from the bottom) to achieve
the MPEG-2 required dimensions of 720 x 480, unless you already specified cropping
attributes. This crop attribute is only temporary and is not saved in the setting. You
can see the automatic crop in the usual way, by double-clicking the setting in the
Batch table to open the Preview window.
See “About the MPEG-2 Encoder Pane” on page 129 for more information about the
Video Format pop-up menu.
Â “Pixel aspect” pop-up menu: Forces the pixel aspect ratios to conform to specific
formats. This is especially important when using some filters. For example, if the
graphic you use for the Watermark filter uses a circle and you want to be sure it still
looks like a circle when finished (as opposed to an oval), you must choose the “Pixel
aspect” setting that matches your output format. Options include:
Â Default: The pixel aspect ratio is not changed.
Â Square: Use this when the output is to be displayed on computers.
Â NTSC CCIR 601/DV: Forces the pixel aspect ratio to 4:3 using 720 x 480 pixels.
Â NTSC CCIR 601/DV (Anamorphic): Forces the pixel aspect ratio to 16:9 using
720 x 480 pixels.
Â PAL CCIR 601: Forces the pixel aspect ratio to 4:3 using 720 x 576 pixels.
Â PAL CCIR 601 (Anamorphic): Forces the pixel aspect ratio to 16:9 using 720 x 576 pixels.
Â DVCPRO HD 720p60 (16:9): Forces the pixel aspect ratio to 16:9 using 1280 x 720 pixels.
Â DVCPRO HD 1080i60 (16:9): Forces the pixel aspect ratio to 16:9 using
1920 x 1080 pixels.
Â HDV 1080i (16:9): Forces the pixel aspect ratio to 16:9 using 1440 x 1080 pixels.
Â “Constrain to display aspect” pop-up menu: Forces the entered output size width and
height values to conform to a designated aspect ratio. You can leave it at the default of
None, or set it to either 4:3, 16:9, or 2.35:1. If you choose anything other than None, and
enter either a Width or a Height value, the other value will be calculated automatically.

Making Geometry Adjustments to a Setting
You use the Geometry pane in the Inspector window to crop, scale, and change the
frame aspect ratio in a setting.
To add cropping, frame sizing, and aspect ratio settings to your setting:
3 Click the Geometry tab in the Inspector.
4 Enter your source inset (cropping) settings, choose output size dimensions from the
Frame Size pop-up menu, and choose aspect ratio settings from the “Constrain to
display aspect” pop-up menu.
You can see all changes you make to your setting by viewing the Summary table in the
Summary pane.

Note: There are two ways to adjust frame size. You can either enter numbers in the
cropping fields or drag the red frame bars in the Preview window. Using the latter
method, the resulting numbers dynamically appear in the cropping fields so that you
can see a numerical representation of your frame cropping. Hold down the Shift key
to constrain the crop to either the source aspect ratio, the source height, or the
source width.
If Batch selection
is selected, any resizing
in the Preview window
is reflected in the
Geometry pane. You can
also directly enter
numbers into these
cropping fields.
Drag the red frame bars (by

the handles) to adjust the
output file frame size.
See “About the Geometry Pane” on page 201 or “Previewing a Clip” on page 215 for
more details.
Working With Post-Transcoding Options

Compressor can send an email to one recipient per preset, giving notice of when a
transcode is complete. You can also add one AppleScript per preset. This gives you
some post-transcoding options for your output media file, such as creating an
AppleScript for adding metadata to QuickTime files or automatically transferring the
transcoded file to a streaming web server.
Note: You need to have your Internet preferences set up with an outgoing mail
server for email notification. This option is not available for mail services that require
SMTP authentication.

About the Actions Pane
You use the Actions pane in the Inspector to set options related to transcode
completion notification emails and post-transcoding AppleScript options.
Email notification
checkbox
Choose button
The Actions pane contains the following items:

Â Email Notification to: If you want to be notified when a particular transcoding job has
been completed, select this box and enter the appropriate email address in the text
field. (You can only enter one email address.) This is useful if you are transcoding an
especially large source media file that may take many hours to complete. Rather than
continuously checking to see if the transcoding is finished, you just wait until you
receive an email.
Note: To enable this email feature, you must first enter an email address and outgoing
mail server in Compressor Preferences. (Choose Compressor > Preferences.)
Â Execute AppleScript on output: Select this box to activate a chosen AppleScript. Even if
you have chosen an AppleScript, it will not run unless you have selected this box.
Â Choose button: Click this button to select an existing AppleScript that you want to
assign to the output file. Adding an AppleScript is a useful way of applying post-
transcoding actions to your job, such as adding metadata to QuickTime files or
adding interactive QuickTime elements.

Adding Actions
You use the Actions pane in the Inspector window to set post-transcoding options for
your output media file, such as sending an email, adding metadata to QuickTime files,
or transferring the transcoded file to a streaming web server or to DVD Studio Pro.
To add an email notification to your setting:

3 Click the Actions tab in the Inspector.
4 Select the “Email Notification to” checkbox and enter the relevant email address in the
accompanying field.
Note: To enable this email feature, you must first enter an email address and outgoing
mail server in Compressor Preferences. (Choose Compressor > Preferences.)
To add an AppleScript to your setting:

3 Click the Actions tab in the Inspector.

4 Click the Choose button.
The File Selection dialog appears.
5 Navigate to the relevant AppleScript file and click Open.
The path to the AppleScript file appears below the Choose button. Make sure the
checkbox is selected; otherwise, the AppleScript won’t be applied to the setting.
See “About the Actions Pane” on page 205 for more details.

16 Using the Preview Window
16
The Preview window has two main roles. You can use it
to play your source media file in its original format, or
you can preview your source media file with whichever
settings have been assigned to it.
Â About the Preview Window (p. 210)
Â Previewing a Clip (p. 215)
Â Transcoding a Portion of the Clip With the Preview Window (p. 219)
Â Adding Markers to a Clip (p. 220)
Â Adding DVD Studio Pro Chapter Markers to a Clip (p. 222)
Â Preview Window Keyboard Shortcuts (p. 222)
When you use the Preview window to compare the original version of the clip with the
version that will be output, you can make and view real-time changes. This comparison
lets you check the effects of settings on your file before spending time and resources
transcoding it. Do this to check the quality of the output media file.
Original version Scaled, cropped, and

of the clip filtered version of the clip
209
You can also use the Preview window to enlarge the Preview screen size, manually add
I-frames (MPEG-1 and MPEG-2 only), and designate a portion of your media file for
transcoding using the In and Out markers.
About the Preview Window

The Preview window allows you to play batch items before submitting them for
transcoding, and allows you to compare versions of your clip to ensure that the quality
of the output media file is acceptable.
The Preview window contains the following items:
Preview scale selection
Batch item Source/Setting selection

selection controls
Preview screen area
Timeline controls Marker pop-up menu

In and out controls
Transport controls
Â Preview scale selection: Adjusts the Preview screen size. The three settings are 100%,
75%, and 50%, but you can also drag the Preview window handle to any size you like.
Â Source/Output selection: Use these buttons to preview the selected batch item using
either the source’s aspect and size or the output’s aspect and size. The Source View
button also provides a cropping boundary that you can use to define one or more
edges to be cropped. The Output View button shows the cropped version of the
media scaled to its aspect and size setting.
Â Source/Output information: The clip’s frame size and frame rate are shown in the
lower-left corner of the Preview window. The clip’s duration is shown in the lower-
right corner. With the Source View button selected, the frame size, frame rate, and
duration represent the source media clip. With the Output View button selected, the
frame size, frame rate, and duration represent the setting for this batch item, and the
duration is based on the In and Out points set in the Preview window.
210 Chapter 16 Using the Preview Window

Batch item selection control area
You can use the batch item selection area to choose specific items from the Batch
window to show in the Preview window.
Batch Item Batch Item

selection buttons pop-up menu
Â Batch item selection buttons: Use these buttons to click backward or forward through
the list of source media files and clips with settings available for previewing. As you
click through the list, the selected batch item appears in the batch item pop-up menu.
Â Batch item pop-up menu: Choose the source media file you want to preview from this
pop-up menu, with or without its assigned settings.
In and Out controls

Once you have selected the batch item, the In and Out controls can be used to see and
adjust the In and Out point timecode information.
In point timecode Out point timecode

Sets In point to current Sets Out point to current
playhead position playhead position
Â In and Out timecode fields: The exact locations of the In and Out markers are
displayed here using the standard timecode format of hh:mm:ss:frame. You can
manually edit these fields by selecting the field and entering new values. If a new
value is entered, the timeline’s relevant In or Out point moves to the specified point
in the current batch item.
Note: If your source media file has a timecode track with a specific timecode, the
start and end timecode of the clip will appear in both the In and Out timecode fields.
For everything else, the timecode will start with 00:00:00:00.
Â In and Out point buttons: Drag the In point (right-pointing arrow) or Out point (left-
pointing arrow) buttons in the timeline to set a new In or Out point. You can also use
the Set In and Set Out buttons (next to the timecode fields) to set In and Out points.
Chapter 16 Using the Preview Window 211

Preview screen area
The Preview screen area displays the currently selected batch item. The Preview screen
also contains the following items:
Split screen slider
Cropping dimensions (also

seen in Source Inset fields
in the Geometry pane)
Cropping boundary
Cropping handle for the

lower-right corner
Â Split screen slider: Drag the split screen slider any distance across the top of the
Preview screen to get a comparison view between the source media file (left side)
and output media file (right side). In addition to the location of the slider at the top,
the screen division is indicated by a vertical white line bisecting the image.
Â Cropping boundary: The cropping boundary is only available in Source view. Use the
handles to drag the red boundary edges and corners in the direction you want to
crop your output media file. Use the center handle to drag the entire frame in any
direction while still maintaining its dimensions. The new values (for left, top, right,
and bottom) appear dynamically in the Preview screen as you crop the frame. If you
also have the Inspector window open with the Batch selection showing in the Name
field, you can see the same values changing in the cropping fields of the Geometry
pane. Select the Output view to show the results of the crop boundary settings.

Timeline controls
The timeline controls provide information about the clip, including any markers it has
and the current In and Out point settings. You can also use the timeline to position the
playhead to a specific frame and set the In and Out points.
In point Playhead Out point
Playhead timecode
Marker
Â Playhead timecode: Shows the timecode of the playhead’s position in the timeline
using the standard timecode format of hh:mm:ss:frame. You can enter a new value to
precisely position the playhead along the timeline.
Note: If your source media file has a timecode track with a specific timecode, the
timecode of the clip will appear in the playback timecode field. For everything else,
the timecode will start with 00:00:00:00.
In and Out points: Use these if you want to transcode only a section of your source
media file, rather than the whole thing. Drag the points to indicate the Start and End
points within the source media file that you want to transcode. The In and Out
timecode fields at the bottom of the Preview window update as you drag these
points. (You can also click the Set In Point or Set Out Point buttons to set the points
to wherever the playhead is currently positioned.)
In and Out points are not preserved after a transcode has been completed, so if you
want to resubmit a batch from the History table, you need to reapply these markers
to your clip. In and Out markers are assigned to the source media file rather than the
setting, so whatever In and Out points you create will be the same for all other
settings related to that source media file in the current batch.
Â Playhead: Gives you a visual indication of where the displayed frame is located
within the clip. You can drag the playhead to navigate quickly to a specific location
within the clip.
Â Marker: Gives you a visual indication of where a marker has been placed in the clip.
The color of the marker indicates its type:
Â Blue: Compression markers
Â Purple: Chapter markers
Â Green: Edit/cut markers
See “Adding Markers to a Clip” on page 220 for more information.
Â Playback Loop button: Click to play the media in a continuous loop.

Transport controls
These move the playhead backward or forward to the exact position of the next marker
or In and Out point, making it easy to navigate quickly between existing markers. You
can also use these buttons to quickly move the playhead to the start or end of the clip.
Move to Move to
previous marker. next marker.
Playback Loop button
Fast backward Fast forward
Play/pause
Â Play/Pause button: Starts or stops playback of the clip. If you stop playback, the
playhead remains at its current position. To return to the start of the clip, you
need to drag the playhead back to the beginning or click the “move to previous
marker” control.
Â Move to previous or next button: Moves the playhead to the previous or next marker,
or to the start or end of the clip if no more markers are present.
Â Fast backward and fast forward buttons: Allow you to play your clip in either direction at
twice the normal speed. Hold down a button to continue scanning in either direction.
Marker pop-up menu

Use the Marker pop-up menu to manage the clip’s markers. While you can use markers
with all settings, they actually only affect the output file when the setting uses the
MPEG-1, MPEG-2, or H.264 for HD DVD output file formats. See “Adding Markers to a
Clip” on page 220 for more information.
Â Add/Remove marker: Actual state depends on whether the playhead is positioned on

a marker or not.
Â When not positioned on a marker, says “Add marker.” Choosing “Add marker” places
a new marker on the timeline at the playhead’s current position.
Â When positioned on a marker, says “Remove marker.” Choosing “Remove marker”
deletes the current marker.

Â Edit: Only available when the playhead is positioned on a marker. Choosing Edit
opens a dialog for naming the marker. Naming a marker makes it a chapter marker
that can be used in DVD Studio Pro.
Â Show chapter markers: Controls whether chapter markers (those with names) are
shown in the timeline. A checkmark indicates they are shown.
Â Show compression markers: Controls whether compression markers (those without
names) are shown in the timeline. A checkmark indicates they are shown.
Â Show edit/cut markers: Controls whether markers automatically placed at each edit
point by another application, such as Final Cut Pro, are shown in the timeline. A
checkmark indicates they are shown.
Previewing a Clip
You can preview either a source media file clip or a clip with a setting assigned to it.
Source media files have no settings assigned to them; in the Batch Item pop-up menu,
they appear with a format icon—such as QuickTime—next to their names. (Clips with
settings don’t have any format icons next to their names, just the setting name.) The
kind of clip you choose determines which options you see in the Preview window.
To preview a source media file:

1 Open the Preview window.
Note: You can open your file into the Preview window in one step, by double-clicking
the source media file in the Batch table of the Batch window.
Â Choose a source media file from the Batch Item pop-up menu (identified by its
format icon).
Batch Item
pop-up menu
Â Click the Batch Item selection buttons until the source media file appears in the
pop-up menu
Â Select the source media file in the Batch table of the Batch window.
Only the Source View button is active (and the Output View button is dimmed). This is
because you selected a regular source media file with no setting assigned, so you can
only see the unadulterated clip—without the split screen divider or cropping bars.

3 Choose a Preview screen size from the Preview Scale pop-up menu, or drag the
Preview window handle to a size you like.
This does not affect the display frame size of the actual output media file. That can only
be set from the Geometry pane in the Inspector window.
4 Click the Play button to preview the selected source media file.
Source media files with markers already added, such as files from Final Cut Pro, will
show the markers in the timeline. You can manage the markers if needed. See “Adding
Markers to a Clip” on page 220 for more information.
To preview a clip with an assigned setting:

Note: You can open the clip into the Preview window in one step, by double-clicking
the setting in the Batch table of the Batch window.
Â Choose a setting from the Batch Item pop-up menu (clips with a setting have no
format icon next to their names).
Â Click the Batch Item selection buttons until the clip with a setting appears in the
pop-up menu.
Â Select the clip’s setting in the Batch table of the Batch window.
Both Source and Setting (Output) View buttons are active so you can switch between
these two views. Because you selected a clip with a setting, you can use the split screen
slider and cropping boundary in the Preview screen.
3 Click the Setting view button in the upper-right corner of the Preview window.
4 Choose a Preview screen size from the Preview Scale pop-up menu, or drag the
Preview window handle to a size you like.
This does not affect the display frame size of the actual output media file. That can only
be set from the Geometry pane in the Inspector window.
5 Drag the split screen slider left or right across the top of the screen to move the split
screen divider over more or less of the transcoded portion of the clip.

6 Use the cropping boundary to adjust the display frame size of your output media file.
Batch item pop-up menu Source and Setting

View buttons
Split screen slider
Split screen divider
Cropping dimensions (also

seen in Source Inset fields
in the Geometry pane)
Cropping boundary
and handles
7 Check the results of your cropping by clicking the Source and Setting View buttons.
Note: The more you reduce the clip image by cropping it, the larger the scale factor of
the output image will be (as the framing geometry conforms to the settings of the
output size ratio rather than to the source file settings). This effect is similar to zooming
in on an image, which results in larger pixels and overall image degradation. So make
sure that you don’t crop in so far that the image is enlarged past its original size relative
to the original size of the frame.
Source and Setting

View buttons

8 Select the filter that you want to adjust and make changes as necessary.
Note: The filter you select must have a checkmark next to it in the Filters list.
Otherwise, the filter won’t be applied to the setting.
Setting selection
Selected filter
settings seen in
the Preview
window
9 If you want to make the display frame size of your output media file different from that
of your source media file, open the Geometry pane in the Inspector window and
choose a pre-existing value from the “Frame size” pop-up menu or enter different
output size values in the relevant fields.
Note: MPEG-2 is limited to pre-established display frame sizes based on MPEG-2
specifications. In this instance, all output size items are unavailable.
Cropping dimensions
(also displayed in the
Inspector window
when cropping bars
are dragged)
10 Click the Play button in the Preview window to view the clip.
See “About the Preview Window” on page 210 for more information about these settings.

Transcoding a Portion of the Clip With the Preview Window
You can use the Preview window to set In and Out points to transcode only a portion
of your media file rather than transcoding the whole thing.
To designate a portion of your media file for transcoding:

2 Choose a clip from the Batch Item pop-up menu or click the Batch Item selection
buttons until the clip appears in the pop-up menu.
Â Drag the In point to the appropriate location.
Â Drag the playhead to where you want transcoding to begin and click the
Set In Point button.
Playhead
In point Out point

Â Drag the Out point to the appropriate location.
Â Drag the playhead to where you want transcoding to end and click the
Set Out Point button.
The only segment of the media file that will be transcoded is between the two points
that you set. The rest of the clip will not be transcoded.

Adding Markers to a Clip
MPEG-1 and MPEG-2 GOP patterns automatically insert I-frames on whatever basis the
pattern dictates. The Preview window offers additional MPEG-1 and MPEG-2 flexibility
by allowing you to manually insert compression markers into your source media file
wherever you decide additional I-frames are needed, regardless of your chosen GOP
pattern and size. These are known as forced I-frames, and are useful if you want to mark
a major scene change or some other major change in the source media file so that you
can improve the quality of the MPEG-1 or MPEG-2 file. See “Understanding GOPs and
Frame Types” on page 140 for more information on I-frames.
In addition, adding compression markers to your clip allows you to create chapter
markers that DVD Studio Pro can understand and use. See “Adding DVD Studio Pro
Chapter Markers to a Clip” on page 222 for more information.
These manual settings are also preserved when you transfer a media file directly from
Compressor to another application such as DVD Studio Pro.
Note: I-frames should not be added to anything but MPEG-1 or MPEG-2 output media
files. The MPEG-1 format does not support chapter markers.
To add a compression marker to your clip:

2 Select the “Show Chapter Markers” and “Show Compression Markers” items from the
Marker pop-up menu.
3 Choose a clip from the Batch Item pop-up menu or click the Batch Item selection
button until the clip you want appears in the pop-up menu.
Note: Clips that already contain markers, such as those from Final Cut Pro, will show
those markers in the timeline. You can edit those markers the same as if you had
manually entered them.
4 Make sure that the selected setting is using an MPEG-1 or MPEG-2 output format. (You
cannot force keyframes with the H.264 for HD DVD file format.)

5 Do one of the following to determine where the marker is to be placed:
Â Drag the playhead where you want to add a marker.
Â Enter a timecode value in the playhead timecode field.
6 Do one of the following to add a marker:
Â Click the Marker button and choose “Add marker” from the pop-up menu.
Â Press M.
A blue marker appears in the timeline.
A blue marker appears

under the playhead after
the marker is added.
To remove a marker from your clip:

1 Click either the Move to Previous Marker or Move to Next Marker controls to move the
playhead to the marker you want to remove.
2 Do one of the following to remove the marker:
Â Click the Marker button and choose “Remove marker” from the pop-up menu.
Â Press M.
The compression marker disappears.

Adding DVD Studio Pro Chapter Markers to a Clip
If your selected setting is using an MPEG-1, MPEG-2, or H.264 for HD DVD output
format, you can add chapter markers that DVD Studio Pro will recognize. See “About
MPEG-2 Markers and DVD Studio Pro” on page 144 for more information on markers.
To create a chapter marker from your compression marker:

1 Move the playhead to where you want to add a chapter marker.
2 Click the Marker button and choose Add Marker.
3 Click the Marker button and choose Edit.
The Marker Name dialog opens.
4 Enter a chapter marker name and click OK.
Enter a chapter
marker name.
The marker turns purple. When you export your clip, DVD Studio Pro recognizes the
marker as a chapter marker.
Preview Window Keyboard Shortcuts

Starts fast reverse motion.
J
Starts fast forward motion.

L
Moves clip forward frame by frame.
Moves clip backward frame by frame.
Starts or stops clip playback.

space
Adds or removes marker (only with MPEG-1 and MPEG-2).

M
Sets an In point for the clip.

I
Sets an Out point for the clip.

O

17 Creating and Changing
Destinations 17
Compressor allows you to choose where to save your
transcoded files.
Â About the Destinations Tab (p. 224)
Â About the Destinations Inspector (p. 225)
Â Creating a Destination (p. 226)
Â Warning Triangles (p. 230)
Â Deleting and Duplicating a Destination (p. 231)
Â Creating Destinations for Use With DVD Studio Pro (p. 232)
Without a selected destination, the output file is saved to the same folder as the source
media file. This may be satisfactory for your needs, but if there are various remote
uploading servers, or if you just want a specific type of output file to end up in a
specific location, you must assign that destination.
If you have a volume open on your desktop, it is treated the same as a local destination
and allows you to save output media files directly, without the extra steps needed for
remote destinations, such as specifying the host name and entering the username and
password. When you use the remote option for your destination, you can save to any
folder under the User directory of that remote computer.
Once you have created all your necessary destinations, you won’t have to open the
Destinations tab of the Presets window again, because you can select all destinations
directly from the Batch window once they have been created.
Note: Make sure that your output files have access and appropriate privileges to any
remote destination you assign. An iDisk volume cannot be used as a destination. If
you want to save the output media file to a mounted iDisk volume, first save the file
to another destination, and then drag it to the mounted iDisk volume after it has
been transcoded.
223
About the Destinations Tab
You use the Destinations tab in the Presets window together with the Inspector
window to create, modify, or remove your destination settings and add file identifiers
to your output media filename. The Destinations tab of the Presets window contains
the following items:
Add button Remove button Sample filename line
Duplicate button Default filename

identifiers
Default destination
Filename Template
pop-up menu
Custom destination
Â Destinations table: The Destinations table lists destination names and pathnames.
Â Name: This column displays destination names. There are four default
destinations: Source is the same folder from which the source media file originated;
Desktop is the user’s Desktop folder; User’s Movies Folder is the user’s Movies folder;
Cluster Storage is a cluster’s scratch storage location.
Note: Cluster Storage applies only to certain bundled copies of Compressor 2 that
have distributed processing enabled. The Compressor 2 distributed processing
feature is limited to computers that have either Final Cut Studio or DVD Studio Pro 4
installed.
Note: If you are using the default This Computer setting in the Cluster pop-up menu
in the Compressor Batch window, and you choose Cluster Storage as the destination,
the output file will be copied to the Source location.
Â Description: This column displays the path to the assigned destination folder.
Â Add ( + ): To create a local or remote destination, click this button and choose either
Local or Remote from the pop-up menu. If you choose Local, a file selection dialog
appears in which you can select a destination folder. If you choose Remote, the
Remote dialog appears. Enter FTP information concerning host name, file path, user,
and password for accessing the remote location.
224 Chapter 17 Creating and Changing Destinations

Â Duplicate button: (Remains dimmed until there is at least one destination that you
have added to the table.) Copies exactly whatever destination is selected. Using this
option allows you to create a new destination from a pre-existing destination which
you can then adjust according to your needs, rather than creating a new destination
from scratch.
Â Remove ( – ): (Remains dimmed until there is at least one destination that you have
added to the table.) Removes a selected destination from the Destinations table
immediately. You are not asked for confirmation, so be sure you want to remove the
destination before clicking this button.
About the Destinations Inspector

When you double-click or select a destination in the Destinations tab, the Inspector
window opens. It contains the following items:
Â Name: Use this field to modify the name of the destination preset.
Â Template: Use this pop-up menu to add file identifiers to your output media file. You
can manually edit this field. Selecting any of the following file identifiers adds it to
your output media filename:
Â Date: Date the file was transcoded in the YYYY-MM-DD format
Â Setting Name: Name of the setting used for the transcoding job
Â Source Media Name: Source media filename without its extension
Â Source Media Extension: Extension of the source media file
Â Sample From Defined Template: Displays a sample of what the output filename will
look like with any file identifiers you have added. You cannot edit the Sample line,
but it changes dynamically based on the file identifiers you add or delete.
Â Path: Displays the path to the destination folder.
Chapter 17 Creating and Changing Destinations 225

Creating a Destination
You use the Destinations tab in the Presets window with the Inspector window to
create and assign a destination and to add file identifiers to your output file. If you
want to save your output media files to a remote destination, you need to enter
information into the Remote dialog so that Compressor can successfully access the
remote server.
You can create the following destinations:

Â Local: Any directory on your own computer
Â Open Volume: Any shared volume open on your desktop
Â Remote: A directory in the default location of an FTP server, if you have suitable
access privileges and permissions
Note: By default, the output media file destination is the same folder from which the
source media files originated. You can change the default destination to any other
Destination preset. Choose Compressor > Preferences and use the Default Destination
pop-menu to choose from the list of Destination presets.
To create a local or open volume destination:

1 Open the Destinations tab of the Presets window.
2 Click the Add ( + ) button and choose Local from the pop-up menu.
Choose Local from

the pop-up menu
The Destination Selection dialog appears.

3 Navigate to your chosen destination folder or open mounted volume, then click Open.
A new destination called Untitled Local-1 appears in the Custom folder of the
Destinations table along with the path to the folder you just assigned.
4 Double click the new destination in the Destinations table.
The Inspector window opens, showing relevant information for the new destination.
5 Do either of the following in the Inspector:
Â Modify the name of the new destination in the Name field.
Â Modify the pathname of the new destination by clicking Choose to open the
destination selection dialog and navigating to a new folder.
6 Add file identifiers to your output filename using the pop-up menu in the Template field.
Filename Template
pop-up menu

You can also manually edit this field by doing any of the following:
Â Drag the file identifiers to rearrange their order.
Â Click on either side of the file identifiers to type additional text.
Â Use the Delete key on your keyboard to remove any of the file identifiers.
The Sample From Defined Template field in the Inspector window shows a sample of
the output filename with its chosen file identifiers. The default file identifier
combination is “Source Media Name–Setting Name.”
Note: Avoid customizing your filename templates with anything beginning with a
period ( . ). The resulting file will only be visible via the command line and not visible
using the Mac OS X Finder.
See “About the Destinations Tab” on page 224 for more details about these settings.
To create a remote destination:

1 Open the Destinations tab in the Presets window.
2 Click the Add ( + ) button and choose Remote from the pop-up menu.
The Remote dialog appears. It contains the following fields:
Host Name is required.
File Path is required.
Â Name: Use this field to modify the name of the destination preset.

Â Sample From Defined Template: Displays a sample of what the output filename will
look like with any file identifiers you have added. You cannot edit the Sample line,
but it changes dynamically based on the file identifiers you add or delete.
Â Host Name: (Required) Name of the host server. Compressor assumes that the URL
scheme being used is ftp:, so you don’t need to enter this or any other URL scheme.
Â File Path: (Required) Specifies the path on the host where the output media file will
be stored. For example: Volumes/Movies/OutputMedia. Only enter the path to the
location where the output media file will be stored. You don’t need to include the
filename.
Â User: (Optional) This is only required if the host server has access restrictions
requiring a username and password. If anyone can access the host server, you can
leave this field blank.
Â Password: (Optional) This is only required if the host server has access restrictions
requiring a username and password. If anyone can access the host server, you can
leave this field blank.
3 Enter information in the relevant fields, as necessary.
4 Click OK.
Once you have at least one destination in the Destinations table other than Source, you
can set a new default destination.

To change the default destination:
1 Choose Compressor > Preferences.
2 Use the Default Destination pop-up menu to choose from the list of existing
destination presets.
The destination you choose appears as the default destination when you import a new
source file in the Batch Window.
Warning Triangles
When there is a problem with your destination, a yellow warning triangle appears. You
must resolve this problem before you can successfully transcode. Warning triangles
appear in the Destinations tab in the Presets window if the destination isn’t reachable
or writable, and in the Batch window if:
Â There is already an identical file at that destination.
Â You have two destinations with the same name.
Â The destination isn’t reachable or writable.
The warning appears at whatever level the problem originated (preset, job, or batch),
and propagates upward, so that if the problem occurs at the preset level, you see
warning triangles next to the preset and job.
If you hold the pointer over the warning triangle for a few seconds, a tooltip displays
information about the nature of the problem. As soon as you resolve the problem, the
warning triangle disappears and you can continue to transcode.
Warning triangle in the

Batch window

Deleting and Duplicating a Destination
You can manage destinations by deleting those you no longer need and creating new
ones based on existing destinations.
To delete a destination:
2 In the Destinations table, select the destination you want to remove, then click the
Remove ( – ) button, or press Delete.
Important: There is no confirmation step in this process, so you need to be sure you
want to remove the destination before clicking the button.
Remove button
To duplicate a destination:
2 In the Destinations table, select the destination you want to copy, then click the
Duplicate button.
Duplicate button

A new entry appears in the Destinations table with Copy appended to its name. This
destination is identical in all other ways. Rename the duplicate destination as appropriate.
Creating Destinations for Use With DVD Studio Pro

When you are encoding video and audio files for use in DVD Studio Pro, you can make
importing and using the files within DVD Studio Pro easier by creating a custom
destination for them.
DVD Studio Pro includes the ability to automatically locate and, if applicable, import or
use an audio file when you import or use a video file with the same root name. For
example, if you assign a video file to a menu’s background, DVD Studio Pro looks for an
audio file with the same name and automatically sets it as the menu’s audio.
The default Compressor destinations add the Setting name to the filename. Since
different settings are required to output DVD compatible video and audio files, this
results in the video and audio filenames never being the same—even if they are from
the same source file.
When creating custom destinations in Compressor, you can choose to not include the
preset name file identifier with the output filename.

To remove the setting name from a destination:
1 Double-click the destination.
The Template field in the Inspector window lists the file identifiers assigned to the
destination.
2 If “Setting name” is listed in the Template field, delete it.
Template field

18 Using Droplets
18
Compressor allows you to save one or more settings
or groups of settings into a Droplet. A Droplet is a
standalone preset created by Compressor, packaged
into a drag-and-drop application and saved as an icon.
When you drag source media files to a Droplet icon, they are automatically submitted
for transcoding using the specified embedded settings. The transcoding process
begins, whether or not Compressor is open.
You can drag any number of media files onto a Droplet. You can double-click a Droplet
to open it and see the settings it contains.
Note: Compressor must already be installed on any computer on which you intend
using Droplets.

Â About the Droplet Window (p. 236)
Â Creating a Droplet (p. 238)
Â Checking Droplet Settings and AppleScript Options (p. 239)
Â Using a Droplet to Transcode Source Media Files (p. 240)
235
About the Droplet Window
You can open any Droplet to view its full details. You can also modify some settings
such as the destination for the output media files and the output file identifiers.
Destination field
Template field
Source files table
Setting pop-up
menu
Summary table
Show at Launch box Submit button
The Droplet window contains the following items:

Â Cluster: Use this pop-up menu to choose a cluster of computers on your network
to which you can submit batches for distributed processing. (The Compressor 2
distributed processing feature is limited to computers that have either
Final Cut Studio or DVD Studio Pro 4 installed.) The menu will have only one
available option (This Computer) unless all of the following conditions are met:
Â Your copy of Compressor 2 has distributed processing enabled.
Â There are other available clusters on the network.
Â Destination: This field displays the path to the destination folder for the output
media file. You can modify this by clicking the Choose button to open the
destination selection dialog and navigating to a new folder.
See “About the Destinations Tab” on page 224 for more information on using
file identifiers.
236 Chapter 18 Using Droplets

Â Source files: Contains all jobs in the batch about to be submitted. If the Show at
Launch box is checked, the Droplet window opens after you drag your source media
files to the Droplet icon, and all the source media files appear in the Source Files
table. You can drag one or more source media files into this table, and they will all be
transcoded together when you submit the batch, just like a normal batch submission
from the Batch window.
Â Setting: This read-only pop-up menu displays the full list of settings associated with
each Droplet. You can assign as many settings to a Droplet as you like by making a
Droplet out of a setting group. (See “Creating a Droplet” on page 238 for details.) You
can see the full details of each setting by choosing it from the pop-up menu and
viewing the Summary table at the bottom of the window.
Setting pop-up menu
Â Summary: This table lists every component of the setting selected in the Setting
pop-up menu.
Â Show at Launch: When this checkbox is selected, the Droplet window opens when
you drag source media files to the Droplet icon, before the batch is submitted. This
allows you to verify the settings contained within the Droplet. If the box is not
selected, the batch is submitted as soon as the batch is dragged to the Droplet icon
(as long as there are no errors), and the Droplet window doesn’t open.
Â Submit: Click this button to submit the batch. You only need to do this if the
Show at Launch checkbox is selected; if this box is not selected, the batch is
submitted automatically.
Chapter 18 Using Droplets 237

Creating a Droplet
Droplets are easy to create, and once created, allow you to quickly and easily submit
source media files for transcoding.
To create a Droplet:
2 Select the setting or setting group you want to save as a Droplet and click the Save
Droplet button.
Save Droplet button
The Save dialog appears.
Note: You cannot select multiple settings to add to a Droplet directly from the
Settings table. However, you can place the settings you want to use into a setting
group, select that group, and click Save. In this situation, every source media file is
transcoded by every setting in the Droplet. For example, if you submitted two source
media files to a Droplet containing three settings, Compressor creates six different
output media files. For information about creating groups of settings, see “Creating
Groups of Settings” on page 75.
3 In the Save dialog, enter a name for the Droplet in the “Save as” field, use the Where
pop-up menu to navigate to the Droplet location, then click Save.
You can save your Droplet anywhere on your computer, but it’s most convenient to
save it on your desktop, so you can conveniently drag source media files to it.
You can choose a destination folder other than Source from the Save dialog, but you
can only select destinations that have already been created using the Destinations tab
of the Presets window. If no custom destinations have been created, only four default
Apple destinations appear in the Choose Destination pop-up menu. See “Creating a
Destination” on page 226 for more information about destinations.

To choose an alternate destination for a Droplet:
1 Choose a destination from the Choose Destination pop-up menu.
Note: The Droplet displays a warning triangle if there is a problem with the chosen
destination. If this occurs, change your chosen directory until the warning disappears.
See “Warning Triangles” on page 230 for more information.
2 Click Save.
Your newly created Droplet appears as an icon at whatever location you selected. You
are now ready to use it for transcoding.
Checking Droplet Settings and AppleScript Options

The Show at Launch checkbox at the bottom of the Droplet window determines
whether or not a Droplet window opens when a batch is dragged to a Droplet icon. If it
is selected, the Droplet window opens when you drag a batch to the Droplet icon, and
you can view the Droplet settings.
If this checkbox is not selected, double-click the Droplet icon to open its window and
see the settings.
Show at Launch
checkbox
See “About the Droplet Window” on page 236 for more information about
Droplet settings.
You can see a list of AppleScript dictionary options that can be used with a Droplet by
dragging the Droplet icon over the Script Editor located in /Applications/AppleScript.

Using a Droplet to Transcode Source Media Files
Once you have created a Droplet, you can transcode source media files by dragging
them to the Droplet icon.
To transcode source media files using a Droplet:

1 Drag your selected source media files over the Droplet icon.
The Show at Launch checkbox at the bottom of the Droplet window determines what
happens next:
Â If the Show at Launch checkbox is not selected: The Droplet begins transcoding the
source media files immediately.
Â If the Show at Launch checkbox is selected: The Droplet window opens with the source
media files displayed in the Droplet Source Files table. Proceed to step 2 to submit
your batch.
2 If the Droplet window opens, you can check and modify Droplet settings for such items
as the destination folder and file identifiers. When you’re satisfied with the settings,
click Submit.
Each source media file is processed according to the existing setting or group of
settings contained within the Droplet.
3 Open the Batch Monitor if you want to view the processing status of your source
media files.
See the Batch Monitor User Manual for more information.

If a Droplet window is open, you can drag your source media files directly to the Source
Files table and submit them for transcoding.
To transcode source media files using an open Droplet:

1 Double-click the Droplet icon to open it.
2 Using the Finder, locate the source media files and drag them into the Droplet’s Source
Files table.
3 Modify your Droplet settings as necessary, then click Submit.

Each source media file is processed according to the existing setting or group of
settings contained within the Droplet. For example, if you submitted two source media
files to a Droplet containing three settings, Compressor would create six different
output media files.
4 Open the Batch Monitor if you want to view the processing status of your source
media files.
See the Batch Monitor User Manual for more information.

Appendix
A Customer Support
A
If you run into problems while working with Compressor, there are several resources
you can use to find a solution.
Â Late-Breaking News: A late-breaking news page in the Compressor Help menu provides
last-minute information that didn’t make it into the Compressor User Manual. Be sure to
consult this late-breaking news page as soon as you install or upgrade Compressor.
Â Compressor Support web page: Compressor has its own tech support page at
http://www.apple.com/support/compressor and a related discussion page at
http://discussions.info.apple.com/compressor.
Â AppleCare Knowledge Base: AppleCare Support maintains a database of common
support issues that is updated and expanded to include new issues as they arise. This is
an excellent, free resource for Compressor users. To access the AppleCare Knowledge
Base, go to the AppleCare support page at http://www.apple.com/support.
Â AppleCare Support: There are a variety of support options available to Final Cut Pro
customers. For more information, see the Apple Professional Software Service
& Support Guide that came with your documentation.
243
Calling AppleCare Support
Included in your Compressor package is documentation about the support options
available from Apple. Several levels of support are available, depending on your needs.
Whatever your issue, it’s a good idea to have the following information immediately
available. The more of this information you have ready to give to the support agents,
the faster they will be able to address your issue.
Â The registration number that came with Compressor. This number is different from
the software serial number that is used to activate your copy of Compressor.
Â Which version of Mac OS X you have installed. This information is available by
choosing About This Mac from the Apple menu.
Â The version of Compressor you have installed, including updates if applicable. The
version number can be viewed by choosing Compressor > About Compressor.
Â The model of computer you are using.
Â How much RAM is installed in your computer, and how much is available to
Compressor. You can find out how much RAM is installed by choosing About This
Mac from the Apple menu in the Finder.
Â What other third-party hardware is connected to or installed in the computer, and
who are the manufacturers. Include hard disks, video cards, and so on.
Â Any third-party plug-ins or other software installed along with Compressor.
Creating a Support Profile

In addition to accessing the Compressor User Manual, the Help menu also contains an
item for creating a support profile. There are certain support situations in which
AppleCare may require information about both your computer and how this particular
application is configured. Choosing Help > Create Support Profile creates a file that
contains the necessary information and can be emailed to AppleCare. You would not
normally use this feature unless directed to by an AppleCare representative.
AppleCare Support can be reached online at http://www.apple.com/support/compressor
Useful AppleScripts to Use With Compressor

You can find more information about writing AppleScripts to use with Compressor at
the following Apple website: http://www.apple.com/applescript
244 Appendix A Customer Support

Appendix
B Command-Line Usage
B
Using the Command Line
If you are accustomed to doing your work from Terminal shells, and need or prefer to
run Compressor from the command line with minimal use of application interfaces, this
appendix is for you.
The appendix includes the following topics:

Â “Shell Commands for Configuring Service Nodes and Cluster Controllers” (next)
Â Shell Commands for Submitting Compressor Jobs (p. 246)
Â Shell Commands for Monitoring Batches (p. 248)
Shell Commands for Configuring Service Nodes

and Cluster Controllers
As an alternative to using the Apple Qmaster pane in System Preferences, you can use
the command qmasterprefs, with command-line options for enabling and disabling
service node and cluster controlling services.
In the command-line descriptions below, angle brackets < > indicate a mandatory
argument in a command and brackets [ ] indicate an optional argument.
Synopsis
Below is a synopsis of the command for enabling and disabling cluster controlling
services on a computer. The qmasterprefs command is located in /usr/sbin.
qmasterprefs -cluster <on | off> [-timeout <minutes>] [-servername <name>] [-list] [-help]
Below is a synopsis of the command for enabling and disabling service node
processing on a computer.
qmasterprefs -service “Unix Processing” <on | off> [-instances <n>] [-timeout <minutes>]
[-servername <name>] [-list] [-help]
245
Command options
This table provides information about each of the enabling and disabling service-node
and cluster-controlling services on a computer.
Preference command option Description

[-cluster] <on | off> Turns cluster-controlling services on or off.
[timeout min] [servername name] [quickcluster on | off ]
[unmanagedservices on | off ] [unmanagedmulticapturethreshold
sec] [networkinterface allinterfaces | <bsd name>]
[-service Rendering] <on | off> Turns UNIX Rendering services on or off.
[timeout min] [instances n] [autorestart on | off ] [unmanaged on |
off ]
[-list] Lists the current qmasterprefs settings.
[-help] Displays information about supported options for qmasterprefs.
[-restart] Restarts Apple Qmaster services.
[-service name options] Sets service options.
Preference command option Description
Shell Commands for Submitting Compressor Jobs

You can run the Compressor application from the command line using the Compressor
command, with a number of command-line options for submitting jobs.
Synopsis
Below is a synopsis of the command for submitting a job to a cluster. The Compressor
command is located in /Applications/Compressor.app/Contents/MacOS.
Compressor [-clustername <name>] [-clusterid <user name:password@IP address:port

number>][-command <command type> -options <XML command> [-wd <working
directory>] [-timeout <seconds>] [-show] [-batchname <name>] [-help]
Once the job is submitted successfully, this command displays the batch ID (identifier)
and job ID (identifier) in the shell, and you can monitor the progess of a batch in the
Batch Monitor.
Command options
This table provides information about each of the command options for submitting jobs.
246 Appendix B Command-Line Usage

Submission command option Description
[-clustername <name>] Use to specify the name of the cluster to which you want to send
the job. Using the cluster name, Compressor looks for the cluster
on the network in order to use it.
[-batchname <name>] Use to specify a name for the batch so that you can easily
recognize it in the Batch Monitor.
[-clusterid Optionally, you can use -clusterid to enter the cluster ID and port
<user name:password@IP number instead of using -clustername. (When you enter the cluster
address:port number>] ID and port, less time is required to find the cluster on the
network.)
Or, if you used -clustername and the cluster requires a password,
use -clusterid to specify the user name and password. (You need to
include the IP address: port number as well whenever you use
-clusterid.)
Tip: Use Compressor -show to see a cluster’s IP address and port
number.
[-priority <value>] Specifies the priority level for a job.
[-jobpath <url>] Specifies the location of the source file.
[-settingpath <url>] Specifies the location of the settings for the job.
[-destinationpath <url>] Specifies the destination file URL for the job.
[-info <xml>] Gives detailed information for a batch or a job.
[-timeout <seconds>] Use to specify the number of seconds before Compressor can quit
when looking for a cluster. The default value is 0, which puts no
limit on the timeout and allows Compressor to browse the network
for as long as it needs to find the cluster.
[-show] Shows the ID information for the cluster specified with -clustername
or -clusterid, or for all clusters if no cluster is specified.
[-help] Displays information regarding the required parameters for the
Compressor command.
Appendix B Command-Line Usage 247

Example of Compressor Command XML
The code below is an example of XML code for submitting a Compressor command.
Notice that because it needs to be entered as one command line, every character after
-options that isn’t alphanumeric must be preceded with a backslash (\).
./Compressor -clusterid tcp://127.0.0.1:51737 -batchname myBatch -jobpath /Volumes/

Source/ShortClips/NTSC24p.mov -settingpath /Users/stomper10/Library/Application\
Support/Compressor/PhotoJPEG.setting -destinationpath /Users/machinename/
Movies/myDestinationFilename.mov.
This command has the following elements:

Â Cluster address is tcp://127.0.0.1:51737.
Â Batchname is myBatch.
Â Job path is /Volumes/Source/ShortClips/NTSC24p.mov.
Â Setting path is /Users/stomper10/Library/Application\ Support/Compressor/
PhotoJPEG.setting.
Â Destination path is /Users/machinename/Movies
Shell Commands for Monitoring Batches

You can use the Batch Monitor command, Batch\ Monitor, with a number of command-
line options for monitoring jobs.
Synopsis
Below is a synopsis of the command for monitoring batches. The Batch\ Monitor
command is located in /Applications/Utilities/Batch Monitor.app/Contents/MacOS.
Batch\ Monitor [-clustername <name>] [-clusterid <user name:password@IP address:port

number>] [-jobid <identifier> -batchid <identifier>] [-timeout <seconds>] [-query
<seconds>] [-help]
To cancel a job or batch:

m Batch\ Monitor [-clustername <name>] [-clusterid <IP address> <port number>
<user name> <password>] -kill -jobid <identifier> -batchid <identifier>
248 Appendix B Command-Line Usage

Command options
This table provides information about each of the command options for
monitoring batches.
Monitoring command option Description

[-clustername <name>] Use to specify the name of the cluster to which the job was sent.
[-clusterid Optionally, you can use -clusterid to enter the cluster ID and port
<user name:password@IP number instead of using -clustername.
address:port number>] Or, if you used -clustername and the cluster requires a password,
use -clusterid to specify the user name and password. (You need to
include the IP address: port number as well whenever you use
-clusterid.)
Tip: Use Apple\ Qmaster -show or Compressor -show to see a
cluster’s IP address and port number.
[-jobid <identifier> -batchid Use to specify the job you want to monitor.
<identifier>] When you use the -jobid option, you must also specify the -batchid,
in the form of the name that was given to the batch when it was
submitted. (The batchid and jobid are displayed after a batch is
submitted.)
If you do not use the -jobid option, all the jobs submitted to the
specified cluster are listed.
[-timeout <seconds>] Use to specify the number of seconds before Batch Monitor can
quit when looking for a cluster. The default value is 0, which puts
no limit on the timeout and allows Batch Monitor to browse the
network for as long as it needs to find the cluster.
[-query <seconds>] Use to specify how frequently, in seconds, the job status should be
updated.
[-kill -jobid <identifier> -batchid Cancels the specified job or batch.
<identifier>]
[-help] Displays information about supported options for Batch \ Monitor.
Appendix B Command-Line Usage 249

Index
Index
1-pass encoding 134, 153 QuickTime settings 166
2-pass encoding. See two-pass encoding settings 180–182
2:3:2:3 pull-downs 133 spatial mixing and 102
3:2 pull-down process 133 AIFF Encoder pane 180
3 dB attenuation 99 .aiff extension 43
3G formats 109, 164, 178 Algorithm pop-up menu 191
5.1 surround sound 93, 96, 101–105 Allow Job Segmenting option 43
8-bit audio 170, 176 alpha channels 191
16-bit audio 170, 176 anamorphic video formats 111, 202
16x9 anamorphic formats 111 AppleCare
24P format 133 Knowledge Base 243
90° phase-shift options 99 support profiles 13
480p format 111 Apple Qmaster
576p format 111 alternatives to 245
720p format 111, 130, 202 distributed processing 44, 112
1080i format 130, 202 two pass VBR and 136
Apple Qmaster pane 245
A AppleScripts
AAC (Advanced Audio Coding) codec 153, 182 actions and 27
.ac3 extension 43, 94 activating 48
AC-3 format adding to settings 11, 204, 206–207
See also Dolby Digital Professional format choosing 48
data rates 96 dictionary options 239
encoding 10, 43, 94 executing 205
length of streams 102 files 207
sample rates 102 resources 244
surround sound workflow 101–102 website for 244
access privileges 226 Apple settings 64
actions See also settings
adding AppleScripts 206–207 Apple Store 15
adding email notification 206 Apple websites 14–15
post-transcoding 206–207 Apply 3 dB Attenuation option 99
settings for 27, 48 Apply 90° Phase-Shift option 99
"action safe" areas 201 Apply DC Filter option 99
Actions pane 48, 66, 70, 71, 205–207 Apply Digital Deemphasis option 99
adaptive noise reduction 187 Apply Low-Pass Filter option 99
Add button 56, 63 artifacts in output files 60, 175
Advanced Audio Coding (AAC) codec 153, 182 aspect ratio
AIFF (Audio Interchange File Format) default 132
audio settings 169–170 MPEG-2 options 146
choosing output formats 29 pixel aspect ratio 202
described 180–182 settings 47, 132, 203–204
encoder 12 Aspect Ratio pop-up menu 132
251
audio batch processing 10
8-bit 176 canceling 248
16-bit 176 command line options 246
channel identifier codes 104 creating 31–32
channels 95, 119 date/time information 84
device quality 176 deleting from History table 84
digitizing 102 described 26, 27
Dolby Digital AC-3 format 10, 93, 100 destinations. See destinations
enabling tracks 165 history of. See History drawer
maximum bit rates 137 importing source media files into 31, 58–60
mixing sound 101 jobs. See jobs
MPEG-1 audio only 116 monitoring 248
MPEG-1 settings 119 monitoring with shell commands 248–249
PCM audio 112 names 58, 78, 84
recording sound 101 opening batch files 87
rules for 96, 102 optional tasks for 24
sample rates 102, 119, 176 previewing 210–215
sampling size 176 quitting after submission 35
spatial mixing 106–107 resubmitting 84, 85–86, 89
stereo. See stereo audio saving 86
subwoofers 104 selections 65
surround sound 101–105 settings. See settings
uncompressed 170, 175, 181 source media files in 18, 58
audio CDs 119, 176 submitting 23, 32, 83, 237
audio codecs submitting with shell commands 246–248
See also codecs temporary destinations 81
AAC 153 transcoding different clips in 90–91
AIFF 179–182 viewing status of 33
choosing 170, 181, 182 Batch Item pop-up menu 211
QuickTime 175–176 Batch Monitor
Audio Coding Mode setting 95 batch status 33
Audio Encoder setting 42 command line options 248
Audio Interchange File Format. See AIFF opening 51
Audio pane 156, 159, 161 opening automatically 34
Audio Production Information setting 97 overview 51
audio settings in workflow 23
AIFF 180–182 Batch Monitor button 38, 39
MPEG-2 files 137 Batch Monitor command 248–249
MPEG-4 files 156, 156–161 Batch Name field 58
QuickTime 166, 169–170, 181 Batch selection 70, 71, 211
Audio tab 95–97, 119 Batch table
Auto Launch Batch Monitor option 34 Droplets and 237
automatic compression markers 144 illustrated 39
Automatic option for H.264 output 111 modifying settings in 70, 71
Average Bit Rate slider 137, 148 overview 57
AVI format 164, 178 resubmitting batches and 85
Batch window
B buttons in 56
B-frames 140, 139, 140 destination warnings 230
background colors 190 importing source media files 55–58
band-pass filters 101 overview 39, 55–58
bass management 107 in workflow 18, 31, 38, 58
batches 77–91 bi-directional frames 140
See also Batch Monitor Bit Rate pop-up menu 155
assigning destinations to 32, 81–82 bit rates
average 137, 148
252 Index
constant 137 adding I-frames to 150, 220–221
H.264 output 111 exporting 9
maximum 137, 148 playing 213
MPEG-1 119 previewing 215–218
MPEG-2 134–137 removing I-frames from 221
MPEG-4 155, 156 transcoding from different media files 90–91
QuickTime 169 transcoding portions of 219
variable. See VBR closed GOPs 139, 141, 150
Bit Rate slider 155, 156 cluster controllers
Bit Stream Mode setting 96 configuring with shell commands 245–246
Bitstream tab 97 enabling/disabling 245, 246
BlackWhite Restore filter 189 Cluster pop-up menu 56, 236
Blu-Ray formats 109 clusters
blurring fields 190 choosing for distributed processing 236
Brightness Contrast filter 189 copying options 35
button toolbar 39 selecting 56
selecting storage locations 224
C submitting jobs to 246
.C code 104 cluster segmenting 117
CBR (constant bit rates) 137 codecs
CD audio 170 See also audio codecs; video codecs
CD-ROMs AAC 153
MPEG-1 output and 115 AIFF 179–181, 182
QuickTime content 164 audio 175–176
sample rates 176 choosing 174
center channel 101, 106 described 28
Center Downmix, Surround Downmix setting 97 lossless 175
channels lossy 175
AIFF output 181 overview 174–176
alpha channels 191 QuickTime 166, 172–176
applying filters to 191 TIFF 184
assigning 102 color
assigning with identifier codes 104 color spaces 187
center 101, 106 filters 189
Dolby Digital 95 marker colors 213
full-bandwidth 99 settings 167
LFE 99, 101, 106 text overlays 191
MPEG-1 settings 119 Color Correct Highlights filter 189
MPEG-4 output 156 Color Correct Midtones filter 189
QuickTime settings 170 Color Correct Shadows filter 189
recording sound for 101 color spaces 187
surround 99, 101, 106 command line 245–249
using in Dolby Digital programs 93, 106–107 monitoring batches 248
chapter markers shell commands 245
adding DVD Studio Pro markers to clips 222 submitting jobs 246
defining 142 compatibility of MPEG-2 output 143
described 144 compressed headers 165
displaying 215 compressed source files 60
lack of support in MPEG-1 116 compression
retaining 143, 151 audio 98
visual indicators for 213 uncompressed audio 170, 175, 181
chroma channels 191 compression markers 143, 213, 215, 220
Cinema Tools 133 Compression Preset setting 98
clips Compression Settings dialog 167–169
adding DVD Studio Pro chapter markers to 222 Compression type pop-up menu 167
Compressor
Index 253
features 10–11 Desktop folder 224
getting started with 17–24 Destination field 236
interface 37–54 destinations 223–232
introduction to 7–12 See also settings
memory allocated to 244 assigning 19, 21–22, 32, 57, 68, 81–82
preferences 34–36 assigning pre-existing destinations 68
quitting after batch submission 35 in batches 26
scenarios 9 changing 82
shortcuts 33 changing default 36, 230
terminology 28 compared to settings 61
website 14 creating 30, 226–229
workflows. See workflows deleting 225, 231
.compressor extension 86 described 11, 27
configuration Droplets 238, 239
cluster controllers 245–246 duplicating 225, 231
service nodes 245–246 DVD Studio Pro and 126, 232–233
constant bit rates 137 file identifiers 225
constraining aspect ratio 47 local 224, 226, 226–228
Content is Original setting 97 names 224
copying items open volume 226–228
destinations 225, 231 remote 224, 226, 228–229
settings 63, 74 removing names from 233
Copyright Exists setting 97 temporary 81
cropping boundary 212 TIFF output 184
Cropping fields 201 types of 226
cropping items warnings 230
frame sizes 131 Destinations Inspector window 225
images 47, 200–204, 217 Destinations tab 38, 41, 224–225, 231–232
.Cs code 104 Destinations table 224
customer support 243–244 Dialog Normalization setting 97
digitizing sound 102
D distributed processing
data rates 96, 169 choosing clusters 236
Data Rate setting 96 cluster segmenting 117
dates cluster storage 224
batch submissions 84 described 11
transcodings 225 H.264 output and 110
DAT sample rates 176 job segmenting 43–44, 130, 154, 165, 178, 183
DC filters 99 multi-pass encoding and 112
decoders, stereo playback and 107 scratch storage settings 35
Default Destination pop-up menu 36, 230 two pass VBR and 136–138
Default Setting pop-up menu 35 distributing settings 75
Deinterlace pop-up menu 197 DNS Domain settings 36
Deinterlacing filter 189 Dolby Digital encoder 12, 29, 106
deinterlacing video 186–187, 189 Dolby Digital Professional Encoder pane 94–99
deleting items Dolby Digital Professional format 93, 106–107
batches from History table 84 converting audio to 100
destinations 225, 231 described 10
I-frames 221 Dolby Laboratories website 107
markers 214 Dolby Surround Mode setting 97
names from destinations 233 downconversions 129
settings 63, 74 downloading movies 164, 165
delta frames 168 downmixes 97, 107
Depth pop-up menu 167 drop frame timecode 132
Description field 75 Droplets 235–241
adding file identifiers 236
254 Index
creating 33, 63, 238–239 encoding audio files 100
described 10, 33 even fields 132, 189
destinations 238 Execute AppleScript on output option 205
saving 63, 238 exporting items
settings for 239, 240 chapter markers 144
surround sound settings 105 Final Cut Pro projects 87
transcoding with 240–241 media with I-frames 50
working with 33 QuickTime Export Component plug-ins 178
Droplet window 52, 236–237 extensions
Duplicate button 63, 74 See also names of specific file extensions
duplicating items channel identifiers and 104
destinations 225, 231 Dolby Digital files 94
settings 63, 74 in File Extension field 43
DV sample rates 176 in Summary table 42
DVCPRO HD format 202 Extras tab 143–144, 150, 151
DVD-5 discs 113
DVD option 118 F
DVDs Fast forward and backward buttons 214
bit rates 119 Fast Start option 165
chapter markers 142 field dominance 132, 146
HD-resolution DVDs 128 Field Dominance pop-up menu 132
minutes of video on 134 fields, output
MPEG-1 output and 115 types of 132
MPEG-1 settings 121, 123–126 File Extension field 43
sample rates 119, 176 file extensions. See extensions
SD video on 129 file formats
DVD Studio Pro See also names of specific formats
3:2 pull-downs 133 described 28
chapter markers 222 extensions 43
configuring MPEG-1 123–126 file identifiers 225, 236
destinations for 126, 232–233 files
Dolby encoding options 95 AppleScript 207
meta-data 143, 151 audio 101–102
MPEG-2 format and 10 media. See source media files
DVD-Video format paths 229
DVD Studio Pro and 95 File Selection dialog 207
MPEG-2 video streams and 128 Film Standard Compression setting 98
open GOPs and 142 Filter controls 188
DVD-Video setting 95 filters
adding to settings 192–194
E applying 46, 218
edit/cut markers 213, 215 described 11, 27, 185–187
editing 3:2 pull-downs 133 previewing 186, 218
elementary streams 120, 143 reordering 46
emailing settings 75 settings 46, 73, 188–191
email notification types of 189–191
activating 48, 206 uses for 185–187
described 11, 204 working with 188–194
preference 34 Filter setting 42
Email Notification to option 205 Filters list 188
Enable Low Frequency Effects setting 97 Filters pane 46, 66, 70, 71, 188–194
Encoder pane Filters tab 192
See also names of specific Encoder panes Filters table 73
modifying settings in 70, 71 Final Cut Pro
overview 43, 66 3:2 pull-downs 133
Index 255
chapter markers and 144 GOPs (group of pictures)
interoperability with Compressor 11 adding I-frames to clips 150
quitting Compressor after batches 35 closed 139, 141–142
resubmitting projects 89 MPEG-2 output files 149–150
transcoding projects 87–89 open 139, 141–142
FireWire website 14 overview 140–142
flickering, removal of 189 settings 116, 138–140, 140–142
folders, transcoded files 30 size 131, 139, 141
fonts 191 structure 139, 140–141
forced compression markers 144 GOP Size pop-up menu 139, 149
forced I-frames 140, 142, 150, 220 GOP Structure pop-up menu 139, 149
Format option 170, 181 GOP tab 138–140, 145, 149
formats. See specific formats Group button 63, 75
fps (frames per second) 111 group folders 64, 75
Frame Controls pane group of pictures. See GOPs
modifying settings in 70, 71 groups
overview 45, 196–198 described 28
Frame Controls tab 198 settings 63, 75
frame numbers 184
frame rates H
displaying 129 H.264 Encoder pane 110–112
frame retiming and 45 H.264 format
H.264 output 111 choosing output formats 29
MPEG-1 116, 118 described 12
MPEG-2 132 geometry options unavailable 201
MPEG-4 155 output files 109
NTSC 131 workflow 113
QuickTime 168 HD DVDs
settings 198 formats for 109
TIFF images 183 SD and HD support 113
frames HD video
numbering 184 downconverting 10, 129
resizing 45 DVD-5 discs and 113
retiming 45 frame resizing and 45
types of 140–142 H.264 output 109
frame size high definition source 129
cropping and 131, 200–204 MPEG-2 options 128–129, 130, 134
MPEG-1 116 HDV res format 130
MPEG-2 218 help
output files 47 online 13
scaling and 200, 200–204 support profiles 13
settings 196 high definition video. See HD video
Frame size pop-up menu 201 high-pass filters 99
Frame Sync rate 112 high-priority batches 56
Full Bandwidth Channels settings 99 Hinted Streaming option 165
hinting 154, 157, 159, 161, 165
G hint tracks 154, 165
gamma correction 46, 190 History button 38, 39
Gamma Correction filter 190 History drawer
General settings, Preprocessing tab 99 deleting batches from 84
geometry opening/closing 49
described 11 overview 49, 84
settings 27, 47, 201–204 resubmitting batches 85–86
Geometry pane 47, 66, 70, 71, 201–204 History table 51, 84
Geometry tab 203 host servers 229
256 Index
I H.264 options 110
I-frames MPEG-2 options 130
adding to clips 220–221 MPEG-4 options 154
adding to MPEG-2 files 150 multi-pass encoding and 112
described 140, 144 QuickTime Export Component output 178
forced 142, 150, 220 QuickTime options 165
GOP structures and 139, 140 TIFF options 183
markers for 50 two pass VBR encoding and 136–138
removing from clips 221 Jobs table 83
IBBP option 139, 141
IBBP patterns 131 K
IBP option 139 keyboard shortcuts
identifier codes for channels 104 See also shortcuts
iDisk volumes 30, 223 general controls 53
IMA codec 182 Preview window 54, 222
images Key Frame Every option 168
cropping 200, 200–204, 217 key frame interval (Frame Sync rate) 112
quality of 167, 187 Key frame interval field 155
scaling 200, 200–204 keyframes
stills 27 compression markers 220
TIFF output 183 described 140
image sequences 183 H.264 112
importing items MPEG-4 155
Final Cut Pro projects 87 QuickTime 168
source media files 31, 55–60
In and Out controls 211 L
In and Out markers 211, 213 .L code 104
In and Out points 211, 213, 213–214, 219 leading zeros 184
Include PCM Audio option 112 letterbox filter 190
Inspector button 39 LFE (low frequency effects)
Inspector window channel 99, 101, 106
described 38 enabling 97
modifying settings in 70 interference and 107
overview 42–48, 65–66 limitations 106
installing QuickTime plug-ins 178 .LFE code 104
interlaced video Linear filter option 196
creating 128, 186–187 Live averaging option 197
Internet. See web local destinations 226
interoperability of Compressor and Final Cut Pro 11 looping playback 213
intra frames. See I-frames lossless codecs 175
IP option 139 lossy codecs 175
ISMA profile 155 lower fields 132, 189
Iterations pop-up menu 191 low frequency effects. See LFE
low-pass filters 99
J low-priority batches 56
jobs .Ls code 104
See also batches luminance values 189
in batches 31
command line options 246 M
creating 78–80 .m1a extension 120
described 17, 26, 27 .m2v extension 43, 130
destinations for 81–82 Mac OS version 244
segmenting 43–44 mail servers 204
job segmenting Manual slider 190
Dolby Digital options 94 Marker pop-up menu 214
Index 257
markers choosing output formats 29
automatic compression 144 described 12
chapter markers 116, 142, 143, 144, 151, 213, 215 DVD Studio Pro projects 10
compression markers 143, 213, 215, 220 extras settings 150–151
DVD Studio Pro 222 frame sizes 218
edit/cut markers 213, 215 geometry options unavailable 201
forced compression 144 GOP settings 138–142, 149–150
I-frames 50 HD-based DVDs 128
In and Out markers 213 markers 144
MPEG-2 144 output files 127–142
naming 215 quality settings 134–138, 145, 147–149
types of 213 settings 145
working with 214 as source files 60
matte letterboxing 190 streaming support 128
Maximum Bit Rate slider 137, 148 transcoding workflow 145–151
ME (Motion Estimation) mode 138 video settings 130–147
media files. See source media files MPEG-4 encoder 12
memory allocated to Compressor 244 MPEG-4 Encoder pane 160
menu bar 39 MPEG-4 format
ME settings 137–138, 149 advantages of 153
meta-data 143, 151 audio settings 156, 156–161
minutes of video, on DVDs 134 choosing output formats 29
mixing audio 97, 101, 106–107 described 10, 12
Mode pop-up menu 134, 147 output files 153–162
mono audio channels 156 as source files 60
Motion adaptive option 197 streaming settings 157
Motion compensated option 197 transcoding workflow 158–162
Motion Estimation (ME) mode 138 video settings 155, 158, 160
Motion Estimation pop-up menu 137, 149 MPEG-4 Part 10. See H.264 encoder
motion in sequences 137 MPEG-4 Part 2 Encoder pane 154–157
.mov extension 43, 110, 165 MPEG format as source files 60
movies, described 27 .mpg extension 43
Movies folder 224 multichannel sound 101
moving playhead 214 multi-pass encoding 43–44, 112
.mp4 extension 43, 154 multiplexed streams 120
MPEG-1 Encoder pane 117–119, 122 music 176
MPEG-1 format
adding I-frames to 220–221 N
choosing output formats 29 names in destinations 233
configuring for DVD 123–126 Nearest pixel option 196
configuring for web 122–123 networks, browsing for source files 36
elementary and system streams 120 noise removal 46, 187
Encoder specifications 116 noise removal filter 191
exporting 10 non-drop frame timecode 132
frame rates and sizes 116 non-interlaced video 115
geometry options unavailable 201 NTSC format
introduction to 115–116 cropping in 131
platforms for 115 frame rate 111, 116, 131
sample settings 121 frame size 116
as source files 60 GOP size 139
transcoding workflow 121 H.264 output 111
MPEG-2 Encoder pane 129–142 MPEG-2 output 130
MPEG-2 format pixel aspect ratio 202
adding I-frames to 150, 220–221 numbering still frames 184
authoring settings 143–151
258 Index
O platforms 12
odd fields 132, 189 stereo 107
one pass VBR best encoding 134 transport controls 214
one pass VBR encoding 153 Playback Loop button 213
online help 13 Play button 214, 216
opacity of text 191 playhead 213
open GOPs 139, 141, 150 Playhead timecode field 213
opening batch files 87 plug-ins 178
Open Volume option 226 PNG codec 167
output files Position pop-up menu 190
See also names of specific formats pre-buffered downloading (QuickTime) 164
choosing format 27, 29 predicted frames 140
described 26, 27 Preferences window 34–36
destinations. See destinations Preprocessing tab 98–99
formats, described 28 presets
names 57 See also destinations, Droplets, settings
quality of 209 types of 61
settings. See settings Presets button 39
transcoding 12 Presets table 64–65
types of 109, 177 Presets window
Output pop-up menu 190 creating settings 28
Output view 72 Destinations tab 224–225
Output View button 210 overview 38, 40–48
overexposed clips 190 Settings tab 62–65
overscan areas 201 Preview button 39
previewing items
P clips 215–218
described 11
P-frames 139, 140
filters 186
Packet Maximums Duration field 157
settings 30, 32, 38, 72–73
Packet Maximums Size field 157
source media files 215
PAL format 111
Preview screen area 212
GOP size 139
Preview screen size 210
H.264 output 111
Preview window 209–222
MPEG-2 output 116, 130
adding I-frames to MPEG-2 files 150
pixel aspect ratio 202
controls 210–215
passwords 229
described 30, 38
paths to destinations 225, 229
enlarging Preview screen size 210
Pattern field 139
keyboard shortcuts 54, 222
Pause button 214
opening 50
PCM audio 112
overview 50, 210–215
Peak Mixing Level setting 97
previewing clips 215–218
performance, screen savers and 32, 83
previewing settings 30, 32, 38, 72–73
permissions 226
roles of 209
phantom centers 106
transcoding portions of clips 219
phones
Priority pop-up menu 56
audio quality 170
privileges 223
sample rates 176
progressive video
Photo-JPEG codec 167
motion in 138
Pixel aspect pop-up menu 202
MPEG-1 115
pixel aspect ratio 47, 202
MPEG-2 128
pixel color 191
projects, Final Cut Pro 87
platforms, playback 12
publishing process 11
playback
Purpose buttons 118
looping 213
Index 259
Q Resize filter pop-up menu 196
QDesign Music 2 codec 169, 181 resizing frames. See frame size
QDesign Music codec 182 resolution 129
QDMC codec 182 resubmitting batches 84, 85–86, 89
qmaster prefs command 245 retiming frames 45
Qualcomm PureVoice codec 169, 181, 182 RF Overmodulation Protection option 99
quality Room Type setting 97
job segmenting and 44 .Rs code 104
MPEG-2 files 147–149
previewing output 209 S
QuickTime settings 167 Sample From Defined Template display 225
Quality pop-up menu 156 Sample Rate pop-up menu 156
Quality slider 167 sample rates
Quality tab 134–138, 145 AC-3 streams 102
QuickTime AIFF output 181
encoder 29 DVD format 96
website 14 MPEG-1 settings 119
QuickTime audio codecs MPEG-4 settings 156
adding to presets 173–174 overview 176
choosing 170, 175–176, 182 QuickTime audio 170, 181
settings 166 surround sound 102
QuickTime Encoder pane 164–166 sampling size, sound 176
QuickTime Export Components 12, 179 saturation 190
QuickTime Export Components Encoder pane 178 Save dialog 238
QuickTime Export option 144 Save Droplet button 63, 238
QuickTime Hint Exported Settings dialog 165 saving items
QuickTime movie files batches 86
encoder for 12 Droplets 238
Fast Start movies 164, 165 scale letterboxing 190
.mov extension 110 scaling images 200, 200–204
QuickTime Streaming movies 164 Scan buttons 214
sound settings 166 scratch storage settings
QuickTime output files cluster options 35
creating 164 locations 224
sound settings 169–170, 181 screen savers 32, 83
transcoding workflow 171–174 Script Editor 239
web-based files 164 SD video
QuickTime Sound Settings dialog 180 cropping output 202
QuickTime Streaming Servers 157, 161 downconverting HD video to 10, 129
QuickTime video codecs DVD-5 discs and 113
adding to presets 172 frame size 131
choosing 174–175 setting MPEG-2 options 130
settings 166 sequences, exporting 9
quitting Compressor 35 service nodes
configuring with shell commands 245–246
R enabling/disabling 245–246
.R code 104 Set In Point button 219
RAM 244 Set Out Point button 219
Rate Conversion pop-up 198 .setting extension 75
recording sound 101 settings
reference frames 140 adding to Settings tab 63
remote destinations 226, 228–229 AIFF codecs 182
Remote dialog 228 AppleScripts in 206–207
Remove button 56, 63, 74 aspect ratio 203–204
rendering, transcoding process and 87 assigning 19–20, 31, 57, 78–80
260 Index
assigning destinations. See destinations single-pass encoding 112, 134
assigning to multiple groups 75 single pass VBR encoding 153
assigning to multiple jobs 31 SMTP authentication 204
for audio files 100 Sorenson Video 3 codec 167
compared to destinations 61 sound. See audio
creating 28–29, 31, 68–69 SoundDesigner II format 102
cropping settings 203–204 sound settings. See audio settings
customizing 29 Sound Settings dialog 166, 169–174, 181
default 35 Source inset fields 47, 201
deleting 63, 74 source media files
described 26, 27 adding to batches 18, 58–60
Description value 42, 75 assigning destinations to 19, 21–22, 32, 81–82
destinations. See destinations assigning settings to 19–20, 31, 57, 78–80
distributing 75 audio files 100
Droplets and 31, 105 confirming transcode completion 33
duplicating 63, 74 conversion process 9
emailing 75 described 26, 27
email notification actions 206 in Droplet window 237
file identifiers 225 extensions for 42
filters 192–194 frame rates 129
frame rates 198 high definition 129
frame size 196, 203–204 highly compressed files and 60
geometry 201–204 importing 31, 55–60, 129
groups of 63, 75 length of 102
location of 75 names 57
modifying 70–71 previewing 50, 215–218
MPEG-1 125 resizing 47
MPEG-2 145 resolution 129
names 42, 64, 69 streaming over Internet 164
numbers of in groups 75 transcoding. See transcoding
organizing 64 transferring to processing clusters 35
pre-existing 31, 33, 67 Source view 72
previewing 30, 32, 38, 72–73 Source View button 210
previewing clips and 216–218 spatial mixing 106–107
QuickTime audio codecs 173–174 split screen slider 212
QuickTime Export Components 179 square pixels 202
QuickTime video codecs 172 standard definition video. See SD video
sharing 75 Standard Interface Format (SIF) 115
storing 75 starting timecodes 132
in Summary pane 42 Statistical prediction option 196
surround sound settings 105 Status field in History table 84
TIFF codecs 184 status of submitted batches 33, 51, 84
working with 61–75 Status table 51
Settings tab 28, 38, 40, 62–65 Steaming pane 161
Settings table 40 stereo audio
shared volumes 226 channels 156
sharing presets 75 data rate 96
Sharpen Edge filter 191 downmixing 100
sharpening fields 190 stereo playback 107
shell commands 245–249 stereo plus center 101
shortcuts surround sound and 93
See also keyboard shortcuts stereo plus center 101
transcoding 235–241 stills 27
workflow 33 streaming hints 157, 159, 161, 165
Show at Launch checkbox 237, 239, 240 streaming packets 157
SIF (Standard Interface Format) 115 Streaming pane 157, 159
Index 261
Streaming pop-up menu 165 toolbar buttons 39
streaming video 128, 154, 157 tracks
Submit button 56, 237 enabling audio or video tracks 165
submitting batches 32, 83 hint tracks 154, 165
command line options 246 LFE tracks 107
process 23 transcoded files
resubmitting 84, 85–86 location of 32
resubmitting Final Cut Pro projects 89 storing 32
sub-net settings 36 transcoding
subwoofers 104 in background 11
Summary pane 42, 66 basic workflow 25–33
Summary table 42, 237 batches for. See batches
support profiles 13, 244 choosing output format 29
surround channels 99, 101, 106 Compressor windows and workflow 38
surround sound confirming completion of 33
assigning channels manually 103 described 28
assigning identifier codes 104 destinations 30
data rates 96 different clips from single media file 90–91
described 93 Droplets and 235–241
spatial mixing 106–107 email notifications 204
stereo audio and 93 Final Cut Pro projects 87–89
stereo playback 107 frame controls and 196–198
workflow for 101–105 optional tasks for 24
Surround Source button 55, 56 output formats 12
system streams 120 portions of media files 219
post-transcoding actions 206–207
T post-transcoding options 204–207
Tagged Image File Format. See TIFF preparing Compressor for 28–30
Target System setting 95 previewing settings 30, 32
Template field 225, 236 screensavers and 32, 83
temporary destinations 81 settings 28–29
Terminal shell commands 245–249 typical components of 27
terminology 28 viewing status 33
text, superimposing 191 transport controls 214
TextOverlay filter 191 transport streams 143
third-party plug-ins 244 troubleshooting
TIFF (Tagged Image File Format) artifacts in output files 60
codecs 184 deleting settings 74
described 183 destination warning triangles 230
encoder 12, 29 resources for 243
output files 183–184 two-pass encoding 43–44
settings 183–184 two-pass VBR best encoding 134, 135
TIFF Encoder pane 183–184 two-pass VBR encoding 135, 136–138
.tiff extension 43
timecode U
described 132 uncompressed audio 170, 175, 181
drop frame 132 upper fields 132, 189
In and Out controls 211 usernames 229
MPEG-2 options 132, 147
non-drop frame 132 V
playhead in 213 VBR (variable bit rate)
timeline controls 213 AAC and 153
times of batch submission 84 job segmenting and 44
timing (retiming) 45 MPEG-2 options 112, 134
toolbar 39 one pass 134
262 Index
settings 10, 155 warnings, destination 230
two pass 135–138 watermark filter 192
VCDs WAVE format 102
bit rates 119 web
MPEG-1 output and 115 frame rates and sizes 116
video MPEG-1 output on 116, 121, 122–123
compression. See transcoding resolution for 118
deinterlacing 186–187 streaming media files over 164
enabling tracks 165 Web option 118
interlacing 128, 186–187 websites
minutes of, on DVDs 134 Apple 14
noise 187 AppleCare Support 243, 244
non-interlaced 115 AppleScripts 244
progressive 115, 128, 138 Apple Service and Support 14
streaming 128, 154 Apple Store 15
video CDs. See VCDs Apple websites 14–15
video codecs Compressor 14, 243
See also codecs, names of specific codecs Dolby Laboratories 107
considerations 174 FireWire 14
lossless 175 QuickTime 14
lossy 175 white balance 189
Video Encoder setting 42 wide area networks 36
Video Format pop-up menu 111, 130 workflows
Video Format tab 130–133, 145 3:2 pull-downs 133
Video pane 155, 158, 160 basic transcoding 25–33
video settings Compressor windows and workflow 38
MPEG-2 files 130–133, 146–147 H.264 output 113
MPEG-4 files 155, 158, 160 MPEG-1 121
QuickTime 166 MPEG-2 145–151
Video tab 118 MPEG-4 158–162
voice levels 176 quick-and-easy 18–23
voiceovers 101 QuickTime 171–174
volume, normalizing 97 surround sound encoding 101–102
W X
WANs (wide area networks) 36 XML code 248
Index 263

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CompressorUM Homepage.

qxp 3/17/05 11:51 AM Page 1

To view the user manual, click

The Apple logo is a trademark of Apple Computer, Inc.,

Every effort has been made to ensure that the

Apple Computer, Inc.

Apple, the Apple logo, AppleScript, Apple Store,

AppleCare is a service mark of Apple Computer, Inc.,

Dolby is a registered trademark of Dolby Laboratories.

Other company and product names mentioned herein

Production stills from the film “A Sus Ordenes” provided

Preface 7 An Introduction to Compressor

Chapter 1 17 Getting Started Quickly

Chapter 2 25 The Basic Transcoding Workflow

Chapter 3 37 The Compressor Interface

Chapter 4 55 Importing Source Media Files

Chapter 5 61 Creating, Previewing, and Modifying Settings

Chapter 6 77 Creating Jobs and Submitting Batches

Chapter 7 93 Creating Dolby Digital Professional Output Files

Chapter 8 109 Creating H.264 DVD Output Files

Chapter 9 115 Creating MPEG-1 Output Files

Chapter 11 153 Creating MPEG-4 Output Files

Chapter 12 163 Creating QuickTime Movie Output Files

Chapter 14 185 Adding Filters to a Setting

Chapter 15 195 Adding Frame Controls, Geometry, and Actions to a Setting

Chapter 16 209 Using the Preview Window

Chapter 18 235 Using Droplets

Appendix A 243 Customer Support

Appendix B 245 Command-Line Usage

Other chapters in this user manual cover the following:

8 Preface An Introduction to Compressor

Source media or Compressor

Preface An Introduction to Compressor 9

10 Preface An Introduction to Compressor

Preface An Introduction to Compressor 11

12 Preface An Introduction to Compressor

To access the onscreen help, do one of the following:

Preface An Introduction to Compressor 13

To access the Compressor website, go to:

Apple Service and Support Website

To access the Apple Service and Support webpage, go to:

To access the Compressor support page, go to:

To access the Compressor discussion page, go to:

Other Apple Websites

QuickTime is industry-standard technology for handling video, sound, animation,

14 Preface An Introduction to Compressor

Preface An Introduction to Compressor 15

This chapter contains the following sections:

Step 1: Add source media files to Compressor

Edit batch name here.

Setting pop-up menu

18 Chapter 1 Getting Started Quickly

Open the Settings menu

The chosen setting is

Chapter 1 Getting Started Quickly 19

All source media files

20 Chapter 1 Getting Started Quickly

Use the Destination pop-up

Select the settings to

Chapter 1 Getting Started Quickly 21