| Video Usability Information (VUI) Guide |
| by Christian Heine ( sennindemokrit at gmx dot net ) |
| |
| 1. Sample Aspect Ratio |
| ----------------------- |
| |
| * What is it? |
| The Sample Aspect Ratio (SAR) (sometimes called Pixel Aspect Ratio or just |
| Pel Aspect Ratio) is defined as the ratio of the width of the sample to the |
| height of the sample. While pixels on a computer monitor generally are |
| "square" meaning that their SAR is 1:1, digitized video usually has rather |
| odd SARs. Playback of material with a particular SAR on a system with |
| a different SAR will result in a stretched/squashed image. A correction is |
| necessary that relies on the knowledge of both SARs. |
| |
| * How do I use it? |
| You can derive the SAR of an image from the width, height and the |
| display aspect ratio (DAR) of the image as follows: |
| |
| SAR_x DAR_x * height |
| ----- = -------------- |
| SAR_y DAR_y * width |
| |
| for example: |
| width x height = 704x576, DAR = 4:3 ==> SAR = 2304:2112 or 12:11 |
| |
| Please note that if your material is a digitized analog signal, you should |
| not use this equation to calculate the SAR. Refer to the manual of your |
| digitizing equipment or this link instead. |
| |
| A Quick Guide to Digital Video Resolution and Aspect Ratio Conversions |
| http://www.iki.fi/znark/video/conversion/ |
| |
| * Should I use this option? |
| In one word: yes. Most decoders/ media players nowadays support automatic |
| correction of aspect ratios, and there are just few exceptions. You should |
| even use it, if the SAR of your material is 1:1, as the default of x264 is |
| "SAR not defined". |
| |
| 2. Overscan |
| ------------ |
| |
| * What is it? |
| The term overscan generally refers to all regions of an image that do |
| not contain information but are added to achieve a certain resolution or |
| aspect ratio. A "letterboxed" image therefore has overscan at the top and |
| the bottom. This is not the overscan this option refers to. Neither refers |
| it to the overscan that is added as part of the process of digitizing an |
| analog signal. Instead it refers to the "overscan" process on a display |
| that shows only a part of the image. What that part is depends on the |
| display. |
| |
| * How do I use this option? |
| As I'm not sure about what part of the image is shown when the display uses |
| an overscan process, I can't provide you with rules or examples. The safe |
| assumption would be "overscan=show" as this always shows the whole image. |
| Use "overscan=crop" only if you are sure about the consequences. You may |
| also use the default value ("undefined"). |
| |
| * Should I use this option? |
| Only if you know exactly what you are doing. Don't use it on video streams |
| that have general overscan. Instead try to to crop the borders before |
| encoding and benefit from the higher bitrate/ image quality. |
| |
| Furthermore the H264 specification says that the setting "overscan=show" |
| must be respected, but "overscan=crop" may be ignored. In fact most |
| playback equipment ignores this setting and shows the whole image. |
| |
| 3. Video Format |
| ---------------- |
| |
| * What is it? |
| A purely informative setting, that explains what the type of your analog |
| video was, before you digitized it. |
| |
| * How do I use this option? |
| Just set it to the desired value. ( e.g. NTSC, PAL ) |
| If you transcode from MPEG2, you may find the value for this option in the |
| m2v bitstream. (see ITU-T Rec. H262 / ISO/IEC 13818-2 for details) |
| |
| * Should I use this option? |
| That is entirely up to you. I have no idea how this information would ever |
| be relevant. I consider it to be informative only. |
| |
| 4. Full Range |
| -------------- |
| |
| * What is it? |
| Another relic from digitizing analog video. When digitizing analog video |
| the digital representation of the luma and chroma levels is limited to lie |
| within 16..235 and 16..240 respectively. Playback equipment usually assumes |
| all digitized samples to be within this range. However most DVDs use the |
| full range of 0..255 for luma and chroma samples, possibly resulting in an |
| oversaturation when played back on that equipment. To avoid this a range |
| correction is needed. |
| |
| * How do I use this option? |
| If your source material is a digitized analog video/TV broadcast it is |
| quite possible that it is range limited. If you can make sure that it is |
| range limited you can safely set full range to off. If you are not sure |
| or want to make sure that your material is played back without |
| oversaturation, set if to on. Please note that the default for this option |
| in x264 is off, which is not a safe assumption. |
| |
| * Should I use this option? |
| Yes, but there are few decoders/ media players that distinguish |
| between the two options. |
| |
| 5. Color Primaries, Transfer Characteristics, Matrix Coefficients |
| ------------------------------------------------------------------- |
| |
| * What is it? |
| A videophile setting. The average users won't ever need it. |
| Not all monitor models show all colors the same way. When comparing the |
| same image on two different monitor models you might find that one of them |
| "looks more blue", while the other "looks more green". Bottom line is, each |
| monitor model has a different color profile, which can be used to correct |
| colors in a way, that images look almost the same on all monitors. The same |
| goes for printers and film/ video digitizing equipment. If the color |
| profile of the digitizing equipment is known, it is possible to correct the |
| colors and gamma of the decoded h264 stream in a way that the video stream |
| looks the same, regardless of the digitizing equipment used. |
| |
| * How do I use these options? |
| If you are able to find out which characteristics your digitizing equipment |
| uses, (see the equipment documentation or make reference measurements) |
| then find the most suitable characteristics in the list of available |
| characteristics (see H264 Annex E) and pass it to x264. Otherwise leave it |
| to the default (unspecified). |
| If you transcode from MPEG2, you may find the values for these options in |
| the m2v bitstream. (see ITU-T Rec. H262 / ISO/IEC 13818-2 for details) |
| |
| * Should I use these options? |
| Only if you know exactly what you are doing. The default setting is better |
| than a wrong one. Use of this option is not a bad idea though. |
| Unfortunately I don't know any decoder/ media player that ever even |
| attempted color/gamma/color matrix correction. |
| |
| 6. Chroma Sample Location |
| -------------------------- |
| |
| * What is it? |
| A videophile setting. The average user won't ever notice a difference. |
| Due to a weakness of the eye, it is often economic to reduce the number of |
| chroma samples in a process called subsampling. In particular x264 uses |
| only one chroma sample of each chroma channel every block of 2x2 luma |
| samples. There are a number of possibilities on how this subsampling is |
| done, each resulting in another relative location of the chroma sample |
| towards the luma samples. The Chroma Sample Location matters when the |
| subsampling process is reversed, e.g. the number of chroma samples is |
| increased. This is most likely to happen at color space conversions. If it |
| is not done correctly the chroma values may appear shifted compared to the |
| luma samples by at most 1 pixel, or strangely blurred. |
| |
| * How do I use this option? |
| Because x264 does no subsampling, since it only accepts already subsampled |
| input frames, you have to determine the method yourself. |
| |
| If you transcode from MPEG1 with proper subsampled 4:2:0, and don't do any |
| color space conversion, you should set this option to 1. |
| If you transcode from MPEG2 with proper subsampled 4:2:0, and don't do any |
| color space conversion, you should set this option to 0. |
| If you transcode from MPEG4 with proper subsampled 4:2:0, and don't do any |
| color space conversion, you should set this option to 0. |
| |
| If you do the color space conversion yourself this isn't that easy. If the |
| filter kernel of the subsampling is ( 0.5, 0.5 ) in one direction then the |
| chroma sample location in that direction is between the two luma samples. |
| If your filter kernel is ( 0.25, 0.5, 0.25 ) in one direction then the |
| chroma sample location in that direction is equal to one of the luma |
| samples. H264 Annex E contains images that tell you how to "transform" your |
| Chroma Sample Location into a value of 0 to 5 that you can pass to x264. |
| |
| * Should I use this option? |
| Unless you are a perfectionist, don't bother. Media players ignore this |
| setting, and favor their own (fixed) assumed Chroma Sample Location. |
| |
| |