video-encoding

vapoursynth

ffms requires from source or newer than 2.40 for dolby vision and hdr10+ metadata
add UserPluginDir=/gnu/git/encoding/vs-nlq/target/debug/ to XDG_CONFIG/vapoursynth/vapoursynth.conf to auto load plugin from directory

#!/usr/bin/env python3
#awsmfun dynamic tonemap function includes chroma shift
import vapoursynth as vs
from vapoursynth import core
import vsutil as vsutil
import awsmfunc
import math

clip = core.ffms2.Source("REMUX.mkv")

pb_opts = awsmfunc.types.placebo.PlaceboTonemapOpts(use_dovi=True, peak_detect=True)
clip = awsmfunc.DynamicTonemap(clip, placebo_opts=pb_opts)

awsmfunc.banddtct(clip, thr=200) # check for banding scores for live action 150-200, 10-75 for anime
awsmfunc.cambidtct(clip) # detect banding scores above 5 - 10 are visual
# remove banding
planes = 1 | 2 | 4 # remove on all planes
threshold = 12.0
radius = 1.0 #16.0
clip = core.placebo.Deband(clip=clip, planes=planes, threshold=threshold, radius=radius)

awsmfunc.dirtdtct(clip, left=0, right=0, top=0, bottom=0, thr=0.01) # check for dirty lines 0.05(strong) - 0.01(weak) threshhold, tolerance=24

clip = core.std.Splice(clips=[clip1, clip2, clip3, clip4, clip5]) # combine clips
clip = core.std.Interleave(clips=[clip, clip_og]) # compare clips

clip = awsmfunc.FillBorders(clip, top=1, bottom=1) # fix uneven crop
clip = awsmfunc.bbmod(clip, top=6, thresh=90, blur=20) # fix dirty lines

# generate DV/hdr10+ (dovi_tool can DV from hdr10+)
measurements = []
clip = awsmfunc.add_hdr_measurement_props(clip, measurements=measurements, compute_hdr10plus=True)
scene_changes = awsmfunc.run_scenechange_detect(clip)
dovi_generate_config = awsmfunc.generate_dovi_config(clip, measurements, scene_changes)
hdr10plus_json = awsmfunc.generate_hdr10plus_json(clip, measurements, scene_changes)
with open("dovi_generate_config.json", "w") as f:
    json.dump(dovi_generate_config, f, indent=4)
with open("hdr10plus_metadata.json", "w") as f:
    json.dump(hdr10plus_json, f, indent=4)

# Add FEL Dovi
bl = clip
bl = vsutil.depth(bl, 16)# load src as 16 bit
bl_w = bl.width
bl_h = bl.height

el = core.ffms2.Source("/gnu/git/encoding/EL.mkv")
el = core.resize.Point(el, width=bl_w, height=bl_h, format=vs.YUV420P10) # load EL layer as 10bit

hdr = core.vsnlq.MapNLQ(bl, el, "/gnu/git/encoding/RPU.bin") # combine and set props
hdr = hdr.std.SetFrameProps(_Matrix=9, _Primaries=9, _Transfer=16)# crop/resize/filtering after this

clip.set_output() # output to vs-preview-rs

# grain cropped scenes before borders are re-added, since they'll have an effect on frame brightness
agm = lambda c: adptvgrnMod(c, strength=.1, seed=134756, luma_scaling=100, show_mask=False)
crp = src.std.Crop(top=280, bottom=278)
crp = awf.fb(crp, bottom=1)
crp = awf.bbmod(crp, top=1, bottom=2, planes=0, blur=999, thresh=42)
y = crp.resize.Point(format=vs.YUV444P16).std.Crop(bottom=1)
y = y.placebo.Shader("SSimDownscaler.glsl", 1920, 800, filter="mitchell", linearize=0)
u = plane(crp, 1).resize.Spline36(960, 400, src_height=crp.height / 2 - .5, src_left=-.25)
v = plane(crp, 2).resize.Spline36(960, 400, src_height=crp.height / 2 - .5, src_left=-.25)
crp = core.std.ShufflePlanes([y, u, v], [0, 0, 0], vs.YUV)
crp = agm(crp)
crp = crp.std.AddBorders(top=140, bottom=140, color=[4096, 32768, 32768])
# placebo resizing for uncropped scenes
y = src.placebo.Shader("SSimDownscaler.glsl", 1920, 1080, filter="mitchell", linearize=0)
u = plane(src, 1).resize.Spline36(960, 540, src_left=-.25)
v = plane(src, 2).resize.Spline36(960, 540, src_left=-.25)
src = core.std.ShufflePlanes([y, u, v], [0, 0, 0], vs.YUV)
src = agm(src)
# brdrdtct results
src = awf.rfs(src, crp, "[0 1273] [9333 25753] [25896 41837] [42000 45612] [46394 48895] [50057 50742] [51100 51413] [51732 53182] [54182 62673] [62851 79573] [80018 85505] [85665 107049] [119204 131393] [131557 135342] [135440 139123] [140904 151362] [151588 152021] [152059 152530] [152582 153271] [153508 153719] [153763 157362] [157713 159916] [159965 160020] [160286 161070] [161166 161327] [162425 162649] [162800 168406] [168602 180094] [180368 180438] [180520 181608] [183458 183979] [186813 188118] [188723 189518] [189775 190543] [190890 191027] [191791 204921] [207774 218954]")

# FrameInfo requires Subtext vapoursynth plugin
src = awf.FrameInfo(src, "Source")

# Random matching frame types for comparisons
print(awsmfunc.RandomFrameNumbers(clip=src, clips=[compare], ftypes_first="B", max_attempts=500, num=3, ftypes="B")) # change ftype to P if failing

# requires EEDI3M plugin and vivtc plugin to decimate dupe frame
import functools

def postprocess(n, f, clip, deinterlaced):
   if f.props['_Combed'] > 0:
      return deinterlaced
   else:
      return clip

input_clip = src
matched_clip = vs.core.vivtc.VFM(input_clip, 1)
deinterlaced_clip = vs.core.eedi3m.EEDI3(matched_clip, field=1)
postprocessed_clip = vs.core.std.FrameEval(matched_clip, functools.partial(postprocess, clip=matched_clip, deinterlaced=deinterlaced_clip), prop_src=matched_clip)
decimated_clip = vs.core.vivtc.VDecimate(postprocessed_clip)
decimated_clip.set_output()


## Vendored function
# XXX bright should be a percentage or something
def Tweak(clip, hue=None, sat=None, bright=None, cont=None, coring=True):
    if clip.format is None:
        raise vs.Error("Tweak: only clips with constant format are accepted.")

    if clip.format.color_family == vs.RGB:
        raise vs.Error("Tweak: RGB clips are not accepted.")

    c = vs.core

    if (hue is not None or sat is not None) and clip.format.color_family != vs.GRAY:
        hue = 0.0 if hue is None else hue
        sat = 1.0 if sat is None else sat

        hue = hue * math.pi / 180.0
        hue_sin = math.sin(hue)
        hue_cos = math.cos(hue)

        gray = 128 << (clip.format.bits_per_sample - 8)

        chroma_min = 0
        chroma_max = (2 ** clip.format.bits_per_sample) - 1
        if coring:
            chroma_min = 16 << (clip.format.bits_per_sample - 8)
            chroma_max = 240 << (clip.format.bits_per_sample - 8)

        expr_u = "x {} - {} * y {} - {} * + {} + {} max {} min".format(gray, hue_cos * sat, gray, hue_sin * sat, gray, chroma_min, chroma_max)
        expr_v = "y {} - {} * x {} - {} * - {} + {} max {} min".format(gray, hue_cos * sat, gray, hue_sin * sat, gray, chroma_min, chroma_max)

        if clip.format.sample_type == vs.FLOAT:
            expr_u = "x {} * y {} * + -0.5 max 0.5 min".format(hue_cos * sat, hue_sin * sat)
            expr_v = "y {} * x {} * - -0.5 max 0.5 min".format(hue_cos * sat, hue_sin * sat)

        src_u = clip.std.ShufflePlanes(planes=1, colorfamily=vs.GRAY)
        src_v = clip.std.ShufflePlanes(planes=2, colorfamily=vs.GRAY)

        dst_u = c.std.Expr(clips=[src_u, src_v], expr=expr_u)
        dst_v = c.std.Expr(clips=[src_u, src_v], expr=expr_v)

        clip = c.std.ShufflePlanes(clips=[clip, dst_u, dst_v], planes=[0, 0, 0], colorfamily=clip.format.color_family)

    if bright is not None or cont is not None:
        bright = 0.0 if bright is None else bright
        cont = 1.0 if cont is None else cont

        if clip.format.sample_type == vs.INTEGER:
            luma_lut = []

            luma_min = 0
            luma_max = (2 ** clip.format.bits_per_sample) - 1
            if coring:
                luma_min = 16 << (clip.format.bits_per_sample - 8)
                luma_max = 235 << (clip.format.bits_per_sample - 8)

            for i in range(2 ** clip.format.bits_per_sample):
                val = int((i - luma_min) * cont + bright + luma_min + 0.5)
                luma_lut.append(min(max(val, luma_min), luma_max))

            clip = clip.std.Lut(planes=0, lut=luma_lut)
        else:
            expression = "x {} * {} + 0.0 max 1.0 min".format(cont, bright)

            clip = clip.std.Expr(expr=[expression, "", ""])

    return clip

scripts

#!/usr/bin/env bash
COUNTER=1
while [  $COUNTER -lt 31 ]; do
    mkvextract $1 tracks ${COUNTER}:"subtitle${COUNTER}.sup" # extract sup from mkv
    let COUNTER=COUNTER+1
done


#!/usr/bin/env bash
dir_input=$@;
for file in $dir_input/*.mp4; do
    mkvmerge -o "${file%.*}.mkv" "$file" # remux mp4 into mkv
    echo "file is $file and made ${file%.*}.mkv"
done

#!/usr/bin/env bash

# uses info to name files
#
# dir name gives:
# 1. series
# 2. source
# 3. season
#
# Mediainfo will give
# 1. video
# 2. audio
# 3. resolution
# 
# file name gives
# 1. episode name
# 2. episode number?
dir_input=$@;
dir_name=$(dirname $dir_input/.)

# get captial S and numbers
season=$(echo $dir_input |grep -Eo "S[0-9][0-9]+")
# use resolution p for source location
source=$(echo $dir_input |grep -Po "[0-9]p\..*?\..*?\." | grep -Po "\..*?\..*?\.")
# get first letter to the start of season number
series=$(echo $dir_name |grep -Po "^.*?\.S[0-9][0-9]+"|grep -Eio "[a-z].*\." )

echo "Season is $season source is $source series is $series"
for file in $dir_input/*.mkv; do
    #echo "thing is $file"
    epnum=$(basename "$file" | grep -Po "\-.*?\-" | tr -d '-' | tr -d ' '); #="E00"; get episode name from download name?
    # string before last hypen
    epname=$(basename "$file" | grep -Eo ".*-" | grep -Eio ".*[a-z]")
    echo "epname is $epname"
    # media info parse
    reso=$(mediainfo "$file" | grep -i "height" |tr -d ' ' | grep -Eo "[0-9]+")
    echo "res $reso"
    audio=$(mediainfo "$file" | grep -i "format  "| grep -Evi "avc|matroska|UTF-8"| awk '{print $3}')
    echo "audio $audio"
    chans=$(mediainfo "$file" | grep -i  "channels" | grep -Eo "[0-9]") # switch on 6+ for 5.1
    echo "chan $chans"
    video=$(mediainfo "$file" | grep -Ei "writing.*x264" | grep -o "x264")
    echo "vid $video"
    name="${series}${season}${epnum}.${epname}.${reso}p${source}${audio}${chans}.0.x264-GROUP.mkv"
    #mv "$file" "$dir_input/$name"
    echo "file $file name is: $name"
done

#!/usr/bin/env bash
# encode 8 bit SDR with x265
CRF="${1}"
# 10 bit encode 1080p SDR BluRay (no HDR and chromaloc 0)
vspipe -c y4m ./vs/encode.vpy - | x265 --y4m - --preset slow --level-idc 5.1 --high-tier --input-depth 8 --output-depth 8 --rd 4 --ref 6 --psy-rd 2 --psy-rdoq 1 --no-rect --no-amp --aq-mode 4 --no-hevc-aq --aq-strength 0.9 --ctu 64 --ipratio 1.3 --pbratio 1.2 --no-cutree --rc-lookahead 40 --subme 5 --me 3 --merange 57 --bframes 16 --qcomp 0.6 --colorprim bt709 --colormatrix bt709 --transfer bt709 --range limited --vbv-bufsize 160000 --vbv-maxrate 160000 --no-hdr10-opt --repeat-headers --hrd --aud --deblock -3:-3 --no-sao --selective-sao 0 --strong-intra-smoothing --rskip 0 --crf $CRF --limit-modes --limit-refs 1 --limit-tu 4 --max-merge 5 --tu-intra-depth 4 --tu-inter-depth 4 --b-intra --weightb --no-pmode --no-frame-dup --y4m --output Testing.hevc
mkvmerge -o "${CRF}.mkv" Testing.hevc
# 10 bit encode UHD BluRay with x265 (HDR and chromaloc 2)
vspipe -c y4m ./vs/simple.vpy - | x265 --y4m - --preset slow --level-idc 5.1 --high-tier --input-depth 10 --output-depth 10 --rd 4 --ref 6 --psy-rd 2 --psy-rdoq 1 --no-rect --no-amp --aq-mode 4 --no-hevc-aq --aq-strength 0.9 --ctu 64 --ipratio 1.3 --pbratio 1.2 --no-cutree --rc-lookahead 40 --subme 5 --me 3 --merange 57 --bframes 16 --qcomp 0.6 --master-display "G(13250,34500)B(7500,3000)R(34000,16000)WP(15635,16450)L(40000000,50)" --colorprim bt2020 --colormatrix bt2020nc --transfer smpte2084 --range limited --max-cll "3797,385" --vbv-bufsize 160000 --vbv-maxrate 160000 --hdr10 --hdr10-opt --repeat-headers --hrd --aud --deblock -3:-3 --no-sao --selective-sao 0 --strong-intra-smoothing --rskip 0 --crf $CRF --limit-modes --limit-refs 1 --limit-tu 4 --max-merge 5 --tu-intra-depth 4 --tu-inter-depth 4 --b-intra --weightb --no-pmode --chromaloc 2 --no-frame-dup --y4m --output Testing.hevc
# add --dolby-vision-profile 8.1 --dolby-vision-rpu /gnu/git/encoding/RPU_modified.bin for dolby vision (after NLQ/DoviBaker mapping for FEL when applicable)

notes

Dovi spreasheet info for grade/master check https://docs.google.com/spreadsheets/u/0/d/1jBIGF8XTVi9VmDBZ8a5hEyongYMCDlUiLHU9n1f_S74/htmlview#
Some bluray players limit the number of subs to 64
Handbrake can tonemap HDR to SDR when the color filter is set to BT709
- mobile compat: use mp4, profile high 3.1, 720p, AAC 2.0 stereo, under 4GB for FAT32 (~3Kbps - 6Kbps)
score with VMAF, CAMBI(banding), SSIM, PSNR
- VMAF>SSIM>PSNR
- DSSIM
  - patch makefile pkg-config with opencv4
YUV
- Chroma (Y)
  - changes the color difference range between
- red-blue difference (U/V)
  - shift color without changing brightness
Y'CbCr
- Y' is the luma/brightness
  - Y is chroma
- Cb/Cr are red-blue difference

AACS v2

intel sgx broken by spectre attack leaking key used for ecdh and signing phony quotes
- https://media.ccc.de/v/37c3-12296-full_aacsess_exposing_and_exploiting_aacsv2_uhd_drm_for_your_viewing_pleasure
- sgx discontinued in 11 gen +
- sgx.fail site has examples
UHD discs

AACS v1 KEY

09 F9 11 02 9D 74 E3 5B D8 41 56 C5 63 56 88 C0

DeCSS

HDCP key

HDCP MASTER KEY (MIRROR THIS TEXT!)

This is a forty times forty element matrix of fifty-six bit
hexadecimal numbers.

To generate a source key, take a forty-bit number that (in
binary) consists of twenty ones and twenty zeroes; this is
the source KSV.  Add together those twenty rows of the matrix
that correspond to the ones in the KSV (with the lowest bit
in the KSV corresponding to the first row), taking all elements
modulo two to the power of fifty-six; this is the source
private key.

To generate a sink key, do the same, but with the transposed
matrix.


6692d179032205 b4116a96425a7f ecc2ef51af1740 959d3b6d07bce4 fa9f2af29814d9
82592e77a204a8 146a6970e3c4a1 f43a81dc36eff7 568b44f60c79f5 bb606d7fe87dd6
1b91b9b73c68f9 f31c6aeef81de6 9a9cc14469a037 a480bc978970a6 997f729d0a1a39
b3b9accda43860 f9d45a5bf64a1d 180a1013ba5023 42b73df2d33112 851f2c4d21b05e
2901308bbd685c 9fde452d3328f5 4cc518f97414a8 8fca1f7e2a0a14 dc8bdbb12e2378
672f11cedf36c5 f45a2a00da1c1d 5a3e82c124129a 084a707eadd972 cb45c81b64808d
07ebd2779e3e71 9663e2beeee6e5 25078568d83de8 28027d5c0c4e65 ec3f0fc32c7e63
1d6b501ae0f003 f5a8fcecb28092 854349337aa99e 9c669367e08bf1 d9c23474e09f70

3c901d46bada9a 40981ffcfa376f a4b686ca8fb039 63f2ce16b91863 1bade89cc52ca2
4552921af8efd2 fe8ac96a02a6f9 9248b8894b23bd 17535dbff93d56 94bdc32a095df2
cd247c6d30286e d2212f9d8ce80a dc55bdc2a6962c bcabf9b5fcbe6f c2cfc78f5fdafa
80e32223b9feab f1fa23f5b0bf0d ab6bf4b5b698ae d960315753d36f 424701e5a944ed
10f61245ebe788 f57a17fc53a314 00e22e88911d9e 76575e18c7956e c1ef4eee022e38
f5459f177591d9 08748f861098ef 287d2c63bd809e e6a28a6f5d000c 7ae5964a663c1b
0f15f7167f56c6 d6c05b2bbe8800 544a49be026410 d9f3f08602517f 74878dc02827f7
d72ef3ea24b7c8 717c7afc0b55a5 0be2a582516d08 202ded173a5428 9b71e35e45943f

9e7cd2c8789c99 1b590a91f1cffd 903dca7c36d298 52ad58ddcc1861 56dd3acba0d9c5
c76254c1be9ed1 06ecb6ae8ff373 cfcc1afcbc80a4 30eba7ac19308c d6e20ae760c986
c0d1e59db1075f 8933d5d8284b92 9280d9a3faa716 8386984f92bfd6 be56cd7c4bfa59
16593d2aa598a6 d62534326a40ee 0c1f1919936667 acbaf0eefdd395 36dbfdbf9e1439
0bd7c7e683d280 54759e16cfd9ea cac9029104bd51 436d1dca1371d3 ca2f808654cdb2
7d6923e47f97b5 70e256b741910c 7dd466ed5fff2e 26bec4a28e8cc4 5754ea7219d4eb
75270aa4d3cc8d e0ae1d1897b7f4 4fe5663e8cb342 05a80e4a1a950d 66b4eb6ed4c99e
3d7e9d469c6165 81677af04a2e15 ada4be60bc348d dfdfbbad739248 98ad5986f3ca1f

971d02ada31b46 2adab96f7b15da 9855f01b9b7b94 6cef0f65663fbf eb328e8a3c6c5d
e29f0f0b1ef2bf e4a30b29047d31 52250e7ae3a4ac fe3efc3b8c2df1 8c997d15d6078b
49da8b4611ff9f b1e061bc9be995 31fd68c4ad6dc6 fd8974f0c506dd 90421c1cd2b26c
53eec84c91ed17 5159ba3711173b 25e318ddceea6a 98a14125755955 2bb97fd341cea2
3f8404769a0a8e bce5c7a45fb5d4 9608307b43f785 2a98e5856afe75 b4dbead4815cac
d1118af62c964a 3142667a5b0d14 6c6f90933acd3d 6b14a0052e2be4 1b1811fda0f554
12300aa7f10405 1919ca0bff56ea d3e2f3aad5250c 4aeeea5101d2ec 377fc499c07057
6cb1a90cdb7b11 3c839d47a4b814 25c5ac14b5ec28 4ef18646d5b9c2 95a98cc51ebd3b

310e98028e24de 092ffc76b79f44 0740a1ca2d4737 b9f38966257c99 a75afc7454abe4
a6dd815be8ccbf ec2cac2df0c675 41f7636aa4080f 30e87b712520fd d5dfdc6d3266ac
ee28f5479f836f 0bf8ee2112173f 43ae802fa8d52d 4e0dffd36c1eac 3cbda974bb7585
fb60a4700470e3 d9f6b6083ef13d 4a5840f02d0130 6c20ef5e35e2bf dad2f85c745b5b
61c5ddc65d3fc9 7f6ec395d4ae22 2b8906fb3996e2 e4110f59eb92ac 1cb212b44128bb
545afda80a4fd1 b1ffea547eab6b fac3d9166afce8 3fe35fe17586f2 9d082667026a4c
17ffaf1cb50145 24f27b316acfff b6bb758ec4ad60 995e8726359ef7 c44952cb424035
5ec53461dbd248 40a1586f04aee7 49ea3fa4474e52 c13e8f52c51562 30a1a70162cfb8

ccbada27b91c33 33661064d05759 3388bb6315b036 0380a6b43851fb 0228dadb44ad3d
b732565bc37841 993c0d383cfaae 0bea49476758ac accc69dbfcde8b f416ab0474f022
2b7dbcc3002502 20dc4e67289e50 0068424fde9515 64806d59eb0c18 9cf08fb2abc362
8d0ee78a6cace9 b6781bd504d105 af65fab8ee6252 64a8f8dd8e2d14 cb9d3354e06b5b
53082840d3c011 8e080bedab3c4c e30d722a455843 24955a20397c17 82495c1c5114e8
656e71c31d813d 1f0a6d291823a1 6327f9534353fa b89529c2f034fb 70e9b12205c7b3
a06c87969407a2 520bfa2fe80f90 da1efc3d345c65 313936ec023811 a8cc87128be2fa
4cd0e8645ee141 be7975519e2b63 9543d23113c2a8 3d87b0da033f22 df0464c704e9d4

7e1a30947e867e 014ae464b37935 5c4babf689fa4e c4aec0cb01cc35 328c0e4a0230e4
fdacb93b419594 26deefc8a553e6 6e75a2d790cb55 2c4554518f7396 94b77184cb145d
95f883f620a8bb edff42866a2783 7b4ee6304b711d ed56e077a4b9fb c4e60e687ff6c3
0cbf144b8f64d5 023dd10a35eddd beaa3323e999c6 d2e016b31c38c4 8d2917a888f799
18c3abd28e736b 8d38e69b4966cc 624db0143dd2e7 5e2fa510f632b7 ee6e64d45b139a
a1c6d852e74be7 429843b9e6bb7e db9ab07c8dc267 9efa092299f071 dcca9e0e61e960
94406fac95f1d8 d19122f3f88782 1b11a662e9c83f d161fd6fb7f032 89f7d984da9d48
a3583fea45fe58 885e2c4839e254 47e87235f713b1 f4732e05b71aee ae026d063f4349

0a481d2db197af abfce1039d4ac0 4a6b89d2d1aeac 0842eb7178cc53 b82ce2835f1937
3b4002ca21d6b6 e64a78a78abb27 8bd6142ad04526 e035dacb23624a 4cf80110135771
7a52fafc92745e efa28a290ea782 735617cd8b0221 b095e9f4b286a5 021e9ba0727645
3e58e9ec16ed1c d7732bb5ba99a6 374bde43fa89a9 cb83e5ef2e4d04 1da4f73566d134
e01da194625c25 d62018764d7473 64643721313d24 5a01badd970941 481c9578781414
a4d3faa92d1fef bd4b247d37862a 5332a7ca3c2ca6 393ee51989d5a9 01a6e564040d37
390c472ee27892 f0217fe009e9b4 5d3f04da415b35 612ecd5b8e4eac 757e27d2169f2d
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Sources

Bluray - Chapter names (get from dvd edit with mkvtoolsnix. sync by using infotool to change keyframe timings), compare bitrates of sources, cinavia protection(transcode audio or use dvds). BT.709 colorspace 8 bit, m2ts

UHD Bluray - some are mastered in 2K. Chapter names(get from dvd), audio (sometimes bluray has more channels, higher bitrate, better spectrals, or more bit depth 24 vs 16), Tone mapping subtitles from bluray(% white). BT.2020 colorspace 10 bit, .m2ts, dolby vision,SMPTE ST 2084 transfer,Mastering display luminance ~1000.0000 cd/m2 For HDR to SDR tonemap screens for colors, gamut compression BT.2407, bit depth reduction to 8bits, change container from H.265 to H.264 Dolby Vision is 12 bit with high dynamic range and metadata. FEL can enhance grain/details. MEL otherwise. HDR10+ is 10 bit with high dynamic range HDR is 10 bit and static

DVD - PAL vs NTSC (23.976/29.970 vs 24 fps), deinterlace/detelecine, BT.601 colorspace 8bit, vobs. –colormatrix smpte170m –colorprim smpte170m –transfer smpte170m (for NTSC). –colormatrix bt470bg –colorprim bt470bg –transfer bt470bg (for PAL). _Matrix frame property in vs.

WEB-DL - deinterlace/detelecine for dupe frames(lossless rip with hdcp splitter), .ts

Audio options: AAC for directors (usually 2.0 channel) Lossy AC3 (DolbyDigital and E-AC3 support more channels/bitrate) for <= 720p, uses dialnorm tho that lowers db range compared to DTS. DD+ with dolby encoding engine and https://github.com/pcroland/deew (windows version for truehd encoding) Lossless DTS for 1080p (DTS passthrough) TrueHD - can convert to flac for compat (AC3 stream inside for compat), encode with 'Dolby Encoding Engine' DTS-HD.MA - (DTS core inside for compat) transcoded with 'DTS HD Encoder Suite' from .wavs, sampling rate 48 or 96 or 192 kHz extract core with eac3to or ffmpeg -i DTS-HD_MA.dts -bsf:a dca_core -c:a copy TS-Core.dts Downmix and transcode to opus at 80Kbs ffmpeg -i ./FILE.AC3 -c:a libopus -ac 2 -b:a 80K output.opus PCM - Bluray Opus - RFC extension to add ambisonic("sweetspot" for speakers) spatial sounds instead of objects like atmos. Both use fixed position listener.

ffmpeg

vmaf score for comparing video streams
Remove Captions ffmpeg -i input.mkv -codec copy -bsf:v "filter_units=remove_types=6" output.mkv

HEVC/AVC

x265

x265 –crf 18 –preset slower –profile main10 –output-depth 10 –rc-lookahead 60 –ctu 32 –frame-threads 1 –no-sao –deblock -2:-2 –qcomp 0.65 –aq-mode 3 –ref 6 –bframes 16 –merange 38 x265 –y4m - –preset slow –level-idc 5.1 –high-tier –input-depth 10 –output-depth 10 –rd 4 –ref 5 –psy-rd 2 –psy-rdoq 1 –no-rect –no-amp –aq-mode 4 –no-hevc-aq –aq-strength 0.9 –ctu 64 –ipratio 1.3 –pbratio 1.2 –no-cutree –rc-lookahead 40 –subme 5 –me 3 –merange 57 –bframes 12 –qcomp 0.6 –master-display "G(8500,39850)B(6550,2300)R(35400,14600)WP(15635,16450)L(10000000,20)" –colorprim bt2020 –colormatrix bt2020nc –transfer smpte2084 –range limited –max-cll "729,159" –vbv-bufsize 160000 –vbv-maxrate 160000 –hdr10 –hdr10-opt –repeat-headers –hrd –aud –deblock -2:-2 –no-sao –selective-sao 0 –strong-intra-smoothing –rskip 0 –crf 15 –limit-modes –limit-refs 1 –limit-tu 4 –max-merge 4 –tu-intra-depth 4 –tu-inter-depth 4 –b-intra –weightb –no-pmode –chromaloc 2 –no-frame-dup –dolby-vision-profile 8.1 –dolby-vision-rpu "RPU_modified.bin" –y4m –output Testing.hevc – 2> Testing.log changes to above args: –ref 6 –max-merge 5 –psy-rdoq 2 –ipratio 1.4 –pbratio 1.3 –aq-mode 3 –aq-strength 0.85 –qcomp 0.65 –deblock -3:-3 aq-mode 2 aq-strength 1

aq-mode 4 or 3 for SDR (blocking in dark scenes), aq-mode 2 for HDR

crf 14 - 18 for quality, crf 19-22 for speed

mapping with –colorprim bt2020 –colormatrix bt2020nc –transfer smpte-st-2084 –max-cll

HDR10+ metadata can be added as json argument –dhdr10-info "metadata.json" Dolby Vision profile 8.1 should be as it has hdr fallback encode hdr10+ then mux in DV (as it should have frame offset information?)

main10 for nvidia gpu decoding

Chroma subsampling: –hdr10-opt is for 4:2:0 HDR –no-hdr10-opt are for 4:4:4 HDR and SDR

–master-display "G(8500,39850)B(6550,2300)R(35400,14600)WP(15635,16450)L(10000000,20)" is for BT.2020 –master-display "G(13250,34500)B(7500,3000)R(34000,16000)WP(15635,16450)L(10000000,1)" is for Display P3 The L values above use Mastering display luminance ex: min: 0.0001 cd/m2, max: 1000 cd/m2 => L(10000000,1) min:0.0050 cd/m2, max: 4000 cd/m2 => L(40000000,50)

–max-cll "0,0" of Maximum Content Light Level, Maximum Frame-Average Light Level

Extract EL layer ffmpeg -i "Remux.mkv" -c:v copy -vbsf hevc_mp4toannexb -f hevc - | dovi_tool demux --el-only - extract the RPU dovi_tool -m 0 extract-rpu EL.hevc for EL or ffmpeg -i input.mkv -c:v copy -bsf:v hevc_mp4toannexb -f hevc - | dovi_tool extract-rpu - -o RPU.bin for profile 8 crop dolby dovi_tool editor RPU.bin -j edits.json

{
"mode": 2,
  "active_area": {
      "crop": true,
      "presets": [
          {
              "id": 0,
              "left": 0,
              "right": 0,
              "top": 0,
              "bottom": 0
          }
      ],
      "edits": {
          "all": 0
      }
  }
}

L5 metadata offset black bars are 132 top and bottom for 1080p. 2x for 4k. 0 when cropped/non Imax. dovi_tool plot RPU.bin -t "Dolby_Vision_L1_el" -o L1_el.png

AVC

x264

Ref

Once you have cropped your source in AvsPmod or whatever other script editor you are using, take the equation 8388608 / (width after cropping x height after cropping), Take the result and round it down to the nearest whole number. This is the number you are to use for the –ref setting.

If you use a number larger than what the formula yields for a 720p or 1080p encode, it will still play but will only look slightly better and will not play on standalone devices. (roku etc) If you are encoding to a Standard Definition resolution (i.e. smaller than 720p), you may skip the math and simply use 16 as your ref number. Keep in mind that by design, you cannot use a number larger than 16 here.

B-frames

B-frames have a fair amount of control over the compressibility (size) of your encode. More bframes = longer encoding time but also smaller file sizes. But you cannot exactly force more bframes into an encode if x264 decides it doesn't need them… well, not without using b-bias and catastrophically breaking things. Anyway, the ideal number of b-frames needed for an encode can be determined in a single test encode. And by 'single' I mean you'll need to use the avisynth filter SelectRangeEvery() to grab a few thousand frames to test using –bframes 16. x264 will spit out a log file when the test encode is done. Somewhere in this log will be a line that looks like this:

x264 [info]: consecutive B-frames: 0.5% 1.1% 3.6% 24.0% 14.4% 43.3% 4.0% 3.4% 1.1% 1.4% 0.5% 0.9% 0.3% 0.3% 0.2% 0.9% 0.1%

There are 17 values listed. Each one represents a specific number of b-frames, from 0 to 16. Each value shows the percentage of total frames that were able to make use of that number of consecutive b-frames. From these numbers I usually select the largest one = 1.0% but have made exceptions for 0.9% values.

CRF and 2-Pass

Whether you choose to encode crf or 2-pass, this setting will have the most significant impact on your encode's overall quality. With 2-pass, you choose a bitrate. With crf you choose a quality level in the form of a numerical rate factor. The bitrate/quality will vary throughout the extent of whatever you are encoding, but will average out to whatever your input for this value was.

CRF and 2-pass use the exact same algorithm and therefore there is literally no advantage to using one over the other. If a crf 20 encode gives you an average bitrate of 6000 kbps, a 2-pass encode @ 6000 kbps will yield the exact same quality. Additionally, the log from the first pass of a 2-pass encode will give you the equivalent rate factor one would use for a crf encode.

Again, there is NO advantage to either method. Many people prefer 2-pass due to not fully understanding how to use the next setting I'll go over. Others will do test encodes with both crf and 2-pass to achieve ideal quality. My preference happens to be crf, but only because I feel that bitrate/filesize should be irrelevant and picture quality should never be compromised. Then again, everything I've ever encoded is like 400 GB…

Reasonable bitrates for 2-pass/crf will vary depending on your source and a few other settings. I can't say much on bitrate, but crf should nearly always be between 16 and 23.

QComp

While crf and 2-pass affect the overall quality of the encode, qcomp affects how crf and 2-pass are applied. Next to crf/2-pass it is the most important x264 parameter for affecting the quality of your final encode. qcomp will always be a number between 0.0 and 1.0. At 0.0, your crf number or 2-pass bitrate will yield a constant bitrate throughout the entire encode. At 1.0, the encode's bitrate variance is completely uncapped and so will flail around like a crack-addicted preschooler.

The default is 0.6 but for live-action should be bumped to 0.7, or 0.75 for sources with a lot of grain/noise. For lower quality sources with little or no grain, low-quality animation or dark movies without much grain you can try around 0.55 or 0.5. Essentially the viable qcomp range for any source will be (roughly) 0.45 - 0.75.

This is a setting where testing multiple values is definitely worth it.

ME and MERange

ME (Motion Estimation) and MERange (Motion Eestimation Range) help x264 predict motion across frames and compress at a higher level of quality based on the information these two parameters allow it to gather. The higher the quality of the motion estimation algorithm and the higher the motion estimation range, the greater the quality yielded. BUT this also means increased encoding time. Also, as expected, you'll begin to see diminishing returns with respect to quality as you increase these two parameters.

For our purposes however, these two parameters are dead simple. If your computer has an older/slower processor, use –me umh –merange 24. These were determined to be the best tradeoff between quality and encoding time, and umh is highly capable of yielding the kind of quality you should be striving for. However, for those of you with faster hardware that want a bit more quality: –me tesa –merange 16 is the final word here.

AQ-Mode

aq-mode affects how the next setting we'll discuss, aq-strength, is applied. There are three options available to you. –aq-mode 2 was supposed to replace mode 1, but is one of those things that appears to have been optimized at least slightly for anime tentacle porn. Mode 2 should work better on lower quality sources or those that have very little grain. For everything else, you'll want to use –aq-mode 1. It's not perfect but as of right now there is no better alternative. It works well enough. Please note that –aq-mode 0 disables aq-strength entirely and should never be used.

AQ-Strength

In any given frame, x264 gives priority (more bitrate) to higher-quality macroblocks. aq-strength determines the magnitude of that priority. 1.00 is the default. Anything above 1.00 will, increasingly, give more and more priority to lower-quality macroblocks. Lower than 1.00 will give more priority to higher-quality macroblocks. Generally everything you encode should have an aq-strength between 0.50 and 1.30.

Higher quality sources and sources with more grain/noise will benefit from lower aq-strength values. Lower quality sources, non-HD sources, etc should benefit more from higher values.

MBTree

While most of what x264 does handles compression within a given frame, mbtree looks to compress information across frames. Yet another x264 parameter dreamt up to improve compression, mbtree is a solid idea that actually performs quite poorly on most higher quality live-action sources.

This parameter is enabled by default but can be turned off with –no-mbtree. MBTree should be turned off for any source with even a modest amount of grain/noise. It will help on lower-quality sources, many DVDs, anything shot on a digital camera (The Social Network, District 9, etc), but due to the somewhat random nature of video grain, will significantly increase an encode's bitrate if the source was grainy/noisy.

RC-Lookahead is another x264 setting that directly affects how many frames mbtree takes into consideration during an encode. This is important as mbtree is known for performing badly in scene fades (fading to or from black). To mitigate this, I recommend using –rc-lookahead 250 on literally every encode you do that uses mbtree. The only downside to this is that if your computer has 2 GB of memory or less, it will be somewhat unusable during the encoding process.

It should be noted that qcomp affects how mbtree is applied, but not in a way that your usage of mbtree should affect your decisions with qcomp in any way whatsoever.

Psy-RDO and Psy-Trellis

These two settings are controlled by a single parameter, in the format –psy-rd x.xx:y.yy. Psy-RDO is x.xx and Psy-Trellis is y.yy Psy-RDO should be used on any source that isnt completely devoid of grain. Psy-Trellis is an unwieldy bastard that can either save a reasonable amount of bitrate or destroy picture quality.

Technically, psy-rdo lowers picture quality on a mathematical level. But it also applies a layer of noise to the encode in a way that increases the perceived complexity of the video. Given that noise/grain in any given source is somewhat random to begin with, this is actually a good thing. It increases the visually perceived quality level while allowing the overall bitrate/filesize to be decreased.

Psy-rdo also assumes that grain was applied evenly throughout each frame in the source. Psy-trellis does not, and is useful if you have a source where parts of a frame are grainier than others. If you can look through a source and see that grain is blanketed evenly throughout each frame, it is probably better to keep psy-trellis disabled. Otherwise, you should test psy-trellis.

Psy-RDO is mostly just about grain matching. For most live-action, generally a value between 0.90 and 1.30 will suffice. For most animation, 0.50 to 0.90 is a good testing range. Once you have found your source's ideal psy-rdo value, you can test psy-trellis. I recommend running 6 test encodes with psy trellis: 0.05, 0.10, 0.15, 0.20, 0.25 and 0.30. The 6 test encodes should be a few thousand frames long, again using SelectRangeEvery(), and should be compared against a test encode with psy-trellis disabled. If one of the encodes with psy-trellis enabled looks the best, leave that psy-trellis value but do a few tests with slight changes to psy-rdo.

Deblock

Deblock smooths out the blockiness that can occur in a lower-quality source or occasionally in a lower-quality x264 encode. Deblock consists of two numbers. The first number is the strength of the deblocking filter, and the second is the threshold at which the filter decides whether something is a block or detail that needs to be preserved. Generally you should use –deblock -3,-3 for everything that isnt a terrible quality source. You can go below -3,-3 (as low as -6,-6) if you want, but I wouldn't recommend that unless you're a huge fan of placebos or your televsion is by far the most expensive thing you own.

SSIM

Adding –ssim to your x264 parameters can be useful for test encodes. It will give you data on ssim/db which will give you a fairly accurate numerical representation of fidelity with respect to your source. This number becomes more useful when comparing multiple test encodes, and much less useful if the encode(s) used psy-rdo in any way. Please take note that when trying to reach visual transparency, db is a better choice over ssim simply for the fact that it follows a linear scale as it approaches 100% transparency, while ssim follows a logarithmic scale which by design devalues visual improvement increasingly as you approach transparency.

–vf aka video filter, is an early attempt at replacing core avisynth filters with filters built-in to x264. Avisynth is a critical part of video encoding but also a significant bottleneck in terms of encoding time and is the only real hurdle keeping x264 encoding from being viable on non-windows platforms. For practical purposes I will only discuss how using –vf will improve encoding time:

–vf crop:{left},{top},{right},{bottom}/resize:{width},{height},0:0,method=spline

…will allow you to crop and/or resize your source video without the need for using an AviSynth script. Do not use this parameter in your test encodes, only for the full encode. For the full movie encode, you will copy any cropping and resizing numbers from the .avs test script to this parameter. Crop should always be before resize. Anything outside of brackets should be left the same. The / is for separating the crop and resize filters. If you do not need to resize the source video, omit the / and everything after it.

Minor Settings

The following settings, for now, probably don't merit an in-depth explanation as they should remain the same for everything you encode:

–b-pyramid normal

–no-dct-decimate

–analyse all / –partitions all These two parameters are interchangeable. Many sites/guides still refer to this parameter when mentioning L4.1 (standalone device) compatibility. And while it is technically part of the L4.1 standard, no standalone device actually adheres to this portion of it. In other words, you can safely use –analyse/partitions all on every encode and still not break standalone device playback in any way.

–direct auto

–b-adapt 2

–trellis 2

–no-fast-pskip

–subme 11

–no-weightb May help quality retention on CGI material. Otherwise, don't use this parameter.

AV1

SVT-AV1

fork https://github.com/gianni-rosato/svt-av1-psy/
- adds tune=3, sharpness and dolby-vision-rpu
- defaults Quant matrix, tune=2, film-grain-denoise=0
- ./Bin/Release/SvtAv1EncApp --preset 4 --aq-mode=2 --film-grain=0 --passes 2 --rc 0 --crf 18 --fgs-table=./table -b dest_filename -i src_filename
benchmarks https://wiki.x266.mov/blog/svt-av1-deep-dive
set film-grain=0 to disable grain synthesis
set film-grain-denoise=0 to pass the raw non denoised video stream to the encoder
Degrain/Denoise with vapoursynth(https://github.com/Jaded-Encoding-Thaumaturgy/vs-denoise) and diff with https://github.com/rust-av/grav1synth
- encode the denoised output with fgs-table set to the path of the grain diff
tune=2 seems better on benchmarks; tune=0 seems to keep more fine detail.
preset=4 benchmarks close to max while being much faster
aq-mode=2
irefresh-type=1 for grainy input
Quant matrix enable-qm=1 qm-min=0
scm=1 hurts performance but improves efficency
crf SvtAv1EncApp --passes 2 --rc 0 --crf 18 -b dest_filename -i src_filename
supports hdr enable-hdr
ex. Video : 1080p AV1 10bit @ 3153kbps | Constant Quality: 17 | Grain Synthesis: 16 / Audio : English Opus 5.1 @ 374kbps / Enc Args : -e aom -v "–cpu-used=4 –end-usage=q –cq-level=21 –bit-depth=10 –threads=2 –tune=ssim –tune-content=psy –lag-in-frames=48 –denoise-noise-level=22 –deltaq-mode=6 –disable-kf –kf-max-dist=9999 –enable-cdef=0 –enable-qm=1 –qm-min=2 –qm-max=8"

ripping

tools

AnyDVDHD (redfox) free trail
- anystream
dvdfab
- streamfab
handbrake bframes=16:aq-mode=3:aq-strength=0.65:me=tesa:merange=16:no-mbtree=1:subme=11:qcomp=0.6:psy-rd=1.05:deblock=-3:-3
brasero(w/libcss) iso copy

youtube-dl --write-auto-sub --merge-output-format mkv --cookies ~/Downloads/cookies.txt -f 'bestvideo[height<=720]+bestaudio/best[height<=720]' "https://somsuchurl/${vid}" # --all-subs --convert-subs=srt

rescene

use srrdb for reference files
srr.py FILE.srr
srs.py FILE.srs FILE.mkv

m2ts samples

tsmuxer ~2.6.12 https://www.videohelp.com/software/tsMuxeR/old-versions
First start by looking for the date this movie was released by the scene, don’t use any tsmuxer version newer than this date.
Mount the ISO and load the main movie m2ts into tsmuxer, select the output as M2TS muxing and set a filename for the output. On the Split & Cut tab select split by duration every 60 sec and hit Start Muxing. This will create multiple m2ts files, each 60 seconds long - don’t wait for it to finish, click cancel after it outputs atleast 10 files. Look at the byte size of each 60 second m2ts file, and see if one of them has the same byte size, if so then check the crc32.
If you have the same bytes size but different crc32, go back to tsmuxer and on the blu-ray tab enter 524280 into the 45 khz clock field, this just tells tsmuxer to set the start mux time to 0:00:11.6506666666 which is the standard for retail BD disks. Look for the resulting m2ts file again with same byte size and the crc32 should match this time.
If the above doesn’t work, start again with default settings, load the main movie m2ts and select M2TS muxing, then on the Split & Cut tab select Enable cutting, try initially with Start = 0:05:00.000 and End = 0:06:00.000, check the byte size against whats in srrdb.com 1, if no match then try again with Start = 0:06:00.000 and End = 0:07:00.000, or any other 60 second block in the first 10 min of the movie. Extend the End time by a few seconds if the byte size is a little short.
Try different versions of tsmuxer, you should eventually get the correct sample file with same crc32.
Samples are usually taken from within the first 10 min of the movie.

tv

Secret life of zoo

S01E01-S01E06 is same Secret life of zoo animal planet vs amazon

S02E01-S02E06 is same

S02E07 is S03E07 S02E08 is S03E01 S02E09 is S03E02 S02E10 is S03E03 S02E11 is S03E04 S02E12 is S03E05 S03E01 is S03E06

S03E02 is S04E01 S03E03 is S04E02 S03E04 is S03E03 S03E05 is S04E04 S03E06 is S04E05 S04E17 is S04E06 S03E07 is S04E07 S03E08 is S04E08 S03E09 is S04E09 S03E10 is S04E10

S03E11 is S05E01 S03E12 is S05E02 S03E13 is S05E03 S03E14 is S05E04 S03E15 is S05E05 S03E16 is S05E06

S04E01 is S06E01 S04E02 is S06E02 S04E14 is S06E03 MISSING S06E04 https://www.channel4.com/programmes/the-secret-life-of-the-zoo/on-demand/68011-004 S04E03 is S06E05 S04E04 is S06E06 S04E05 is S06E07 S04E16 is S06E08

S04E06 is S07E01 S04E07 is S07E02 S04E08 is S07E03 S04E09 is S07E04 S04E10 is S07E05 S04E11 is S07E06 S04E12 is S07E07

S04E15 is S08E01 S05E01 is S08E02 S05E02 is S08E03 S05E03 is S08E04 S05E04 is S08E05 S05E05 is S08E06

MISSING S08E07 SPECIAL?

S05E06 is S09E01

S04E13 is SPECIAL