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x264 Standards

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Apr 30th, 2020
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  1. ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿
  2. ³ ÚÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ¿ ³
  3. ÃÄÄÄÄÄÄÄÄÄÄ´ Web Definitions for x264 v1.0 a.k.a. wdx264 ÃÄÄÄÄÄÄÄÄÄ´
  4. ÃÄÄÄÄÄÄÄÄÄÄ´ THE.2016.WEB.AND.WEBRIP.SD.HD.X264.RULESET.v1.0-WDX264 ÃÄÄÄÄÄÄÄÄÄ´
  5. ³ ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ ³
  6. ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´
  7. ³ ³
  8. ³ [ Intro ] ³
  9. ³ In the last 18 months, web based streaming and video on-demand services ³
  10. ³ have increased in popularity. Initially used as a source for missed ³
  11. ³ broadcasts, it has since evolved into an exclusive source for original ³
  12. ³ content. Like most technology, online services are continually evolving ³
  13. ³ the way in which files re provided to end users. As codecs mature, ³
  14. ³ bandwidth increases in speed and decreases in price, equivalent ³
  15. ³ improvements in quality follows at the benefit to the end-users. This ³
  16. ³ increase in quality has the flow-on effect of often being a legitimate ³
  17. ³ logo-free alternative to antiquated MPEG-2 HDTV streams. As companies ³
  18. ³ such as Netflix and Amazon continue to produce popular content at an ³
  19. ³ exponential rate, it became obvious that this new broadcast medium ³
  20. ³ deserved to be recognised with an original ruleset. ³
  21. ³ ³
  22. ³ The purpose of this document is to create a high standard for web-sourced ³
  23. ³ files. It attempts to prevent any improper handling of files, and reduce ³
  24. ³ the potential for adding to the increasing number of ongoing nuke-wars. ³
  25. ³ This ruleset is structured in such a way that everything attempts to be ³
  26. ³ clear and concise, and something everyone must adhere to. ³
  27. ³ ³
  28. ³ Compliance with this document is optional as of its pre date, and ³
  29. ³ mandatory as of 2016-03-21 00:00:00 UTC (1458518400 Unix time). ³
  30. ³ ³
  31. ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´
  32. ³ ³
  33. ³ 1) [ Untouched: WEB.H264 / WEB.x264 ] ³
  34. ³ 1.1) Untouched releases must be considered as anything that has been ³
  35. ³ losslessly downloaded by official (offered) or unofficial (backdoor) ³
  36. ³ methods. ³
  37. ³ 1.1.1) Untouched video streams must use a commercial (e.g. CoreAVC, ³
  38. ³ MainConcept) or GPL-licensed (e.g. x264, x265) H.264/MPEG-4 AVC ³
  39. ³ or H.265/HEVC codec. ³
  40. ³ 1.2) Source video and audio streams must be left as obtained from the ³
  41. ³ source. Transcoding of audio or video streams is not allowed. ³
  42. ³ 1.3) Untouched video streams without x264 headers must be tagged as ³
  43. ³ WEB.H264. Untouched video streams with x264 headers present in the ³
  44. ³ H264 stream must be tagged as WEB.x264. ³
  45. ³ 1.3.1) In situations where HEVC/H265 is used, any untouched sections ³
  46. ³ referring to H264/x264 must be considered as H265/x265. ³
  47. ³ 1.3.1.1) H265 must be used in place of H264. ³
  48. ³ 1.3.1.2) x265 must be used in place of x264. ³
  49. ³ 1.3.2) Until H265/x265 support is improved in mainstream demuxers, ³
  50. ³ untouched video streams which use H265/x265 do not dupe H264/x264 ³
  51. ³ files, and vice-versa. ³
  52. ³ e.g. WEB.H265 does not dupe WEB.H264 ³
  53. ³ WEB.x264 does not dupe WEB.x265. ³
  54. ³ 1.4) Transcoding untouched files must only occur if files do not meet the ³
  55. ³ standards and specifications listed in this section, and must only ³
  56. ³ be a last resort. ³
  57. ³ 1.4.1) Any transcoding of untouched files must follow the transcoding ³
  58. ³ standards, see section 2. ³
  59. ³ 1.4.2) Transcoding must be done from files of the highest resolution and ³
  60. ³ bitrate offered. ³
  61. ³ 1.4.3) Transcoding may occur when correcting a technical flaw. ³
  62. ³ e.g. Cropping black borders, deinterlacing an interlaced source. ³
  63. ³ 1.4.4) In situations where a target resolution is not offered by any ³
  64. ³ lossless source, or the resolution offered by any source does not ³
  65. ³ meet the minimum resolution requirements, transcoding from the ³
  66. ³ highest resolution and bitrate offered is allowed. However, if at ³
  67. ³ least one source can provide the correct resolution, transcoding ³
  68. ³ is not allowed. ³
  69. ³ e.g. If 1080p and 720p can be retrieved from multiple sources, ³
  70. ³ but SD cannot be retrieved from any source, transcoding the ³
  71. ³ 1080p to SD is allowed. ³
  72. ³ 1.4.5) If the untouched file does not contain any technical flaws and ³
  73. ³ meets the minimum standards required, transcoding to create any ³
  74. ³ WEBRip.x264 is not allowed, use INTERNAL. ³
  75. ³ e.g. 1080p.WEB.H264 -> 720p.WEBRip.x264. ³
  76. ³ 1.5) Untouched video streams which do not use an AVC or HEVC codec must be ³
  77. ³ transcoded and follow the transcoding standards, see section 3. ³
  78. ³ 1.6) Standard definition (SD) refers to a resolution with a horizontal ³
  79. ³ minimum of 720 pixels or a resolution which does not exceed the ³
  80. ³ specifications of 720p, see rule 6.2. ³
  81. ³ 1.6.1) If all sources provide standard definition resolutions which fall ³
  82. ³ below the above minimum, transcoding from the highest available ³
  83. ³ resolution is allowed, see rule 1.4.4. ³
  84. ³ 1.6.2) Except in situations where only one source has the file on offer ³
  85. ³ at a specific resolution. If the resolution of the file falls ³
  86. ³ below the above minimum, the file may still be released, but the ³
  87. ³ NFO must state why the resolution does not meet the minimum. ³
  88. ³ 1.7) DRM and any user identifiable information must be removed. ³
  89. ³ 1.8) Dupes based on source are not allowed, use INTERNAL. ³
  90. ³ 1.9) YouTube may only be used as a source if geographical restrictions ³
  91. ³ apply to legitimate content uploaded by the rights holder or on a ³
  92. ³ verified channel. ³
  93. ³ 1.10) Must use the highest available bitrate offered by the source for ³
  94. ³ that resolution. ³
  95. ³ e.g. Releasing a 720p at 4,000 Kbps bitrate, when a 720p at ³
  96. ³ 8,000 Kbps bitrate is offered is not allowed. ³
  97. ³ 1.11) Must be free of technical flaws. Including, but not limited to: DRM, ³
  98. ³ sync issues, interlaced, lack of IVTC, bad AR, missing footage, ³
  99. ³ missing dialogue, unrelated footage or commercials, under or over ³
  100. ³ crop. ³
  101. ³ 1.12) VFR (Variable Frame Rate) methods are allowed only if present in the ³
  102. ³ original source. ³
  103. ³ 1.12.1) If CFR (Constant Frame Rate) can be used when remuxing and does ³
  104. ³ not result in playback issue, CFR must be used. ³
  105. ³ 1.13) Trimming unrelated footage (section 8) is allowed and must be done ³
  106. ³ losslessly via keyframe intervals (GOP). MKVToolnix is the ³
  107. ³ recommended tool. ³
  108. ³ 1.13.1) If unrelated footage cannot be removed via this method, the file ³
  109. ³ must be transcoded and follow the transcoding standards, see ³
  110. ³ section 3. ³
  111. ³ 1.14) Incorrect pixel aspect ratio (PAR) or a non-square sample aspect ³
  112. ³ ratio (SAR) must be fixed using the correct display aspect ratio ³
  113. ³ (DAR) set at a container level (--aspect-ratio). MKVToolnix is the ³
  114. ³ recommended tool. ³
  115. ³ e.g. A video stream with a non-square SAR must specify the correct ³
  116. ³ DAR when muxing. ³
  117. ³ 1.15) Releases with a non-square SAR are not considered technically ³
  118. ³ flawed. ³
  119. ³ 1.15.1) However, a source which provides files with a square SAR will ³
  120. ³ trump an equivalent file with a non-square SAR. It is recommended ³
  121. ³ to use a source which provides files with a square SAR. ³
  122. ³ 1.15.2) In situations where a source initially provides a non-square SAR ³
  123. ³ file and later updates with a square SAR file, the initial ³
  124. ³ release with a non-square SAR is considered of lower quality ³
  125. ³ and a technical flaw. ³
  126. ³ e.g. Release A: 960x720, SAR: 4:3, DAR: 16:9. ³
  127. ³ Release B: 1280x720, SAR: 1:1, DAR: 16:9. ³
  128. ³ Both releases are considered as 720p. ³
  129. ³ If Release A is first: Release A remains unnuked and is a ³
  130. ³ valid release until Release B is released. Release B then ³
  131. ³ propers Release A. ³
  132. ³ If Release B is first: Release A dupes Release B. ³
  133. ³ ³
  134. ³ 2) [ Untouched: Audio ] ³
  135. ³ 2.1) Must use the original audio track offered by the source. ³
  136. ³ 2.2) Non-destructive audio normalisation tools such as ReplayGain may be ³
  137. ³ used, and must be done to the maximum gain. Audio normalisation on ³
  138. ³ lossy tracks is optional. ³
  139. ³ 2.3) Standard definition releases must only contain an audio track with a ³
  140. ³ maximum of 2.0 channels. ³
  141. ³ 2.3.1) Except where the only available audio track on offer contains more ³
  142. ³ than 2.0 channels. The NFO must mention why an audio track with ³
  143. ³ more than 2.0 channels was used. ³
  144. ³ 2.3.2) In situations where a source provides two audio tracks, a 2.0 and ³
  145. ³ 5.1 track, the 2.0 audio track must be used. ³
  146. ³ 2.3.3) If a source provides identical audio tracks using two different ³
  147. ³ codecs, it is at the discretion of the group which track is used. ³
  148. ³ It is recommended to use the smaller file. ³
  149. ³ e.g. A source offers AC3 2.0 and AAC 2.0, the group may choose to ³
  150. ³ remux the AC3 or AAC. ³
  151. ³ 2.4) High Definition releases must use the highest available audio format ³
  152. ³ and quality offered by the source. ³
  153. ³ 2.4.1) In situations where a lesser audio format is offered for larger ³
  154. ³ resolutions in comparison to lower resolutions, groups must use ³
  155. ³ the highest available audio format from all resolutions. ³
  156. ³ e.g. A source provides an AC3 5.1 track for SD resolutions, but ³
  157. ³ an AAC 2.0 track for 720p/1080p. The AC3 5.1 track must be ³
  158. ³ used for 720p/1080p resolutions. ³
  159. ³ 2.4.2) If using the highest available audio format results in a technical ³
  160. ³ flaw (e.g. sync issues or glitches), minor adjustments to the ³
  161. ³ audio track may be applied. If groups are unable to correct any ³
  162. ³ flaws, the original audio track must be used. ³
  163. ³ ³
  164. ³ 3) [ Transcoded: WEBRip.x264 ] ³
  165. ³ 3.1) Transcoded releases should be considered as anything that has been ³
  166. ³ captured or encoded by a group to a lesser format or quality (lossy). ³
  167. ³ 3.2) Transcoded releases must be tagged as WEBRip.x264. ³
  168. ³ 3.3) Dupes based on source are not allowed, use INTERNAL. ³
  169. ³ 3.4) Must be free of technical flaws. Including, but not limited to: DRM, ³
  170. ³ sync issues, interlaced, lack of IVTC, bad AR, missing footage, ³
  171. ³ missing dialogue, unrelated footage or commercials, under or over ³
  172. ³ crop, dupe or dropped frames. ³
  173. ³ 3.5) Upscaling video streams is not allowed. ³
  174. ³ e.g. 2160p from a 1080p stream is not allowed. ³
  175. ³ 3.6) Streams must be captured at the highest available resolution and ³
  176. ³ bitrate offered. ³
  177. ³ 3.6.1) Streams must not have any degradation in quality throughout the ³
  178. ³ capture, and releases with drops to a lower resolution or bitrate ³
  179. ³ is considered a technical flaw. ³
  180. ³ 3.6.2) 1080p and 2160p streams are considered of equal value when ³
  181. ³ capturing, and encodes (SD/720p/1080p) produced from 1080p or ³
  182. ³ 2160p captures are considered identical. It is encouraged, and ³
  183. ³ recommended, to capture from a 2160p stream where possible and ³
  184. ³ resize so as to produce a higher quality encode. ³
  185. ³ 3.6.3) Audio must be captured in the highest format offered by the source ³
  186. ³ stream, not what the capturing device is capable of. This includes ³
  187. ³ channel count and bitrate offered. ³
  188. ³ e.g. If a Netflix show lists a 5.1 track, the resultant capture ³
  189. ³ and release should also contain a 5.1 audio track. ³
  190. ³ 3.7) Captures should be done at the native broadcast framerate of the ³
  191. ³ source. ³
  192. ³ 3.7.1) Captures from devices which are unable to output a native format ³
  193. ³ must be restored to the original framerate. ³
  194. ³ 3.7.2) If captures cannot be completely restored to their native ³
  195. ³ framerate, such as a single dupe frame every 1000 or blended/ghost ³
  196. ³ frames due to mangling from the streaming device, this is ³
  197. ³ considered a technical flaw. ³
  198. ³ 3.8) Captures should be done at the native colour space of the source ³
  199. ³ (e.g. YUV or RGB), and manual corrections should be made to achieve ³
  200. ³ an output near-identical to the source. ³
  201. ³ 3.9) Capture software and hardware which introduces video cropping greater ³
  202. ³ than 2 pixels on any side is not allowed, and is considered a ³
  203. ³ technical flaw. ³
  204. ³ 3.10) Final resolution must maintain the same aspect ratio as the source ³
  205. ³ after cropping and kept at mod 2. ³
  206. ³ 3.10.1) Sources must have all black borders cropped to the widest frame. ³
  207. ³ 3.10.2) The same aspect ratio, as calculated from the source, must be ³
  208. ³ used, see rule 6.17. ³
  209. ³ 3.11) If the video is being transcoded from an untouched source (rule ³
  210. ³ 1.4.4 and 1.4.5), the NFO must state the reason for transcoding. ³
  211. ³ 3.11.1) If a technical flaw is present that is being rectified by ³
  212. ³ transcoding (rule 1.4.5), the flaw must also be included with the ³
  213. ³ reason for transcoding. ³
  214. ³ e.g. A file from 2 lossless providers both have the same ³
  215. ³ interlacing flaw. ³
  216. ³ The flaw: Interlaced video. ³
  217. ³ The reason: No other WEB.H264 provider has a correctly ³
  218. ³ deinterlaced file. ³
  219. ³ ³
  220. ³ 4) [ Transcoded: Codec ] ³
  221. ³ 4.1) x264 8-bit must be used. ³
  222. ³ 4.1.1) Custom builds of x264 are allowed and must be based off the x264 ³
  223. ³ codebase, e.g. x264-tMod, x264-kMod. ³
  224. ³ 4.1.2) Any experimental or alternate codecs (e.g. x265) are not allowed, ³
  225. ³ use INTERNAL. ³
  226. ³ 4.2) x264 revision must be no more than 50 revisions from the latest at ³
  227. ³ pre time. It is recommended to use the latest revision when encoding. ³
  228. ³ Use the official x264 git repo as the only ³
  229. ³ reference: http://git.videolan.org/?p=x264.git;a=summary ³
  230. ³ 4.3) Segmented encoding is not allowed. ³
  231. ³ 4.4) Justification must be listed in the NFO for use of non-standard CRF ³
  232. ³ values. ³
  233. ³ 4.5) Decimal values may be used for CRF values. ³
  234. ³ 4.6) Constant Rate Factor (--crf) must be used by default. ³
  235. ³ 4.6.1) A CRF value of 19 must be used for all SD resolutions. ³
  236. ³ 4.6.1.1) If the resultant video bitrate exceeds 2,000 Kbps, the CRF ³
  237. ³ value must be incremented by 1. ³
  238. ³ 4.6.1.2) If the resultant video bitrate exceeds 1,500 Kbps, the CRF ³
  239. ³ value may be optionally incremented by up to 1.0, e.g. 19.2, ³
  240. ³ 19.6. ³
  241. ³ 4.6.2) A CRF value of 18 must be used for all 720p resolutions. ³
  242. ³ 4.6.2.1) If the resultant video bitrate exceeds 9,000 Kbps, the CRF ³
  243. ³ value must be incremented by 1. ³
  244. ³ 4.6.2.2) If the resultant video bitrate exceeds 8,000 Kbps, the CRF ³
  245. ³ value may be optionally incremented by up to 1.0, e.g. 18.2, ³
  246. ³ 18.6. ³
  247. ³ 4.6.3) A CRF value of 17 must be used for all 1080p resolutions. ³
  248. ³ 4.6.3.1) If the resultant video bitrate exceeds 15,000 Kbps, the CRF ³
  249. ³ value must be incremented by 1. ³
  250. ³ 4.6.3.2) If the resultant video bitrate exceeds 14,000 Kbps, the CRF ³
  251. ³ value may be optionally incremented by up to 1.0, e.g. 17.2, ³
  252. ³ 17.6. ³
  253. ³ 4.6.4) A CRF value of 17 must be used for all 2160p resolutions. ³
  254. ³ 4.7) Use of 2-pass is accepted for all resolutions of 720p and above, ³
  255. ³ however this method should be used only in extreme cases and not as ³
  256. ³ a primary replacement for CRF methods. e.g. If the source contains an ³
  257. ³ excessive amount of grain or black and white scenes. ³
  258. ³ 4.7.1) 2-pass should be a last resort when encoding. Instead, groups are ³
  259. ³ encouraged and recommended to use CRF as the default encoding ³
  260. ³ method. ³
  261. ³ 4.7.2) The NFO must provide sufficient evidence of 2-pass producing a ³
  262. ³ visual improvement, bitrate, or file size advantage over CRF in ³
  263. ³ regards to the source used. ³
  264. ³ 4.7.3) There is no maximum or minimum file size when using 2-pass methods ³
  265. ³ as target bitrates should take precedent over target file sizes. ³
  266. ³ Multiples of 1120MiB (1,174,405,120 bytes) may be used as a ³
  267. ³ general guide for calculating target bitrates. ³
  268. ³ 4.7.4) If groups are unsure of how to calculate an adequate target ³
  269. ³ bitrate applicable for the source, CRF should be used. ³
  270. ³ 4.7.4.1) 720p bitrate must be between 4,000 Kbps and 9,000 Kbps ³
  271. ³ inclusive, and should have a target bitrate of approximately ³
  272. ³ 5,500 Kbps. Minimum bitrate for animation is 2,500 Kbps. ³
  273. ³ 4.7.4.2) 1080p bitrate must be between 9,000 Kbps and 15,000 Kbps ³
  274. ³ inclusive, and should have a target bitrate of approximately ³
  275. ³ 10,500 Kbps. Minimum bitrate for animation is 5,500 Kbps. ³
  276. ³ 4.7.4.3) 2160p bitrate must not exceed 60,000 Kbps. ³
  277. ³ 4.8) Resultant bitrate must not exceed the source bitrate. ³
  278. ³ 4.8.1) When transcoding from an untouched source, it is recommended to ³
  279. ³ use SelectRangeEvery() for a rough estimation on the final CRF ³
  280. ³ value to use. ³
  281. ³ 4.8.2) The following algorithm can also be used to estimate a CRF value ³
  282. ³ if the value originally used results in a bitrate which exceeds ³
  283. ³ the source. ³
  284. ³ ValidCRF = [-6 * (DestinationBitrate - ExcessiveBitrate) / ³
  285. ³ ExcessiveBitrate] + CRFUsed ³
  286. ³ e.g. Source bitrate: 4,500Kbps ³
  287. ³ Target bitrate: ~4,400Kbps ³
  288. ³ Encoded bitrate @ CRF17: 5,900Kbps ³
  289. ³ ValidCRF = (-6 * (4400 - 5900) / 5900) + 17 ³
  290. ³ ValidCRF = 18.52, round up to 19 should result in an average ³
  291. ³ bitrate below the source. ³
  292. ³ 4.9) Settings cannot go below what is specified by --preset slow. ³
  293. ³ e.g. -subme 7 or -me hex is not allowed. ³
  294. ³ 4.10) Deblocking (--deblock) must be used. Values used are left to the ³
  295. ³ discretion of the group. Recommended values: -3:-3 for film, 1:1 ³
  296. ³ for animation. ³
  297. ³ 4.11) Sample Aspect Ratio (--sar) must be square (1:1). ³
  298. ³ 4.12) Keyframe interval (--keyint) must be at least 200, and at most 300. ³
  299. ³ It is recommended to let x264 decide which value to use, but ³
  300. ³ 10*framerate is a good guideline. ³
  301. ³ 4.13) Minimum GOP length (--minkeyint) must be 30 or less. ³
  302. ³ 4.14) Level 3.1 must be used for SD resolutions. ³
  303. ³ 4.15) Level 4.1 must be used for all 720p and 1080p resolutions. ³
  304. ³ 4.16) Level 5.1 must be used for all 2160p resolutions. ³
  305. ³ 4.17) Encoded colourspace (--output-csp) must be 4:2:0. ³
  306. ³ 4.18) Colour matrix (--colormatrix) must be set for all SD resolutions. ³
  307. ³ 4.18.1) 'bt709' must be used for encodes from high definition sources. ³
  308. ³ 4.18.2) Source specification must be used for standard definition ³
  309. ³ sources. ³
  310. ³ 4.18.3) 'undef' must be used if not specified by the source for standard ³
  311. ³ definition sources. ³
  312. ³ 4.19) Colour matrix (--colormatrix) may be optionally set to 'bt709' for ³
  313. ³ all resolutions of 720p and above, but is not required. ³
  314. ³ 4.20) Custom matrices are not allowed. ³
  315. ³ 4.21) Zones (--zones) are not allowed. ³
  316. ³ 4.22) Optional tuning (--tune) parameters allowed are: film, grain, or ³
  317. ³ animation. ³
  318. ³ 4.23) Optional settings recommended for tuning per source, see doom9.org ³
  319. ³ for further information: ³
  320. ³ 4.23.1) For complex video, --preset slower/placebo is encouraged. ³
  321. ³ 4.23.2) --aq-mode 3 --aq-strength x.x ³
  322. ³ e.g. 0.6-0.9 for digital films. ³
  323. ³ 0.5-0.7 for grainy films. ³
  324. ³ 0.9-1.1 for animation. ³
  325. ³ 4.23.3) --psy-rd x.x:0.0 ³
  326. ³ e.g. 0.8-1.2 for films. ³
  327. ³ 0.5-0.8 for animation. ³
  328. ³ 4.23.4) --trellis 2, --no-fast-pskip, --no-mbtree ³
  329. ³ ³
  330. ³ 5) [ Transcoded: Audio ] ³
  331. ³ 5.1) Segmented encoding is not allowed. ³
  332. ³ 5.2) Audio tracks already in a lossy format must not be transcoded, but ³
  333. ³ kept in the original format. ³
  334. ³ 5.3) Stereo must be used for stereo sources, and mono must be used for ³
  335. ³ mono sources. ³
  336. ³ 5.3.1) Any audio track with identical channels is considered a mono ³
  337. ³ source. ³
  338. ³ 5.3.2) Dual mono is not allowed. ³
  339. ³ 5.4) VBR AAC LC (Low Complexity) must be used for SD releases. ³
  340. ³ 5.4.1) Apple/QAAC, FDK-AAC or Nero must be used. ³
  341. ³ 5.4.2) Quality based VBR encoding must be used, targeted or constrained ³
  342. ³ VBR must not be used. Only the following methods are allowed (in ³
  343. ³ order of preference): ³
  344. ³ 5.4.2.1) QAAC: --tvbr 82 --quality 2 ³
  345. ³ 5.4.2.2) FDK-AAC: --bitrate-mode 4 --profile 2 ³
  346. ³ 5.4.2.3) Nero: -q 0.4 ³
  347. ³ 5.4.3) AAC audio must be normalised to the maximum gain. Normalisation ³
  348. ³ must be a complete 2-pass method. No pre-defined values or ³
  349. ³ estimations of maximum gain is allowed. Only the following ³
  350. ³ normalisation methods are allowed (in order of preference): ³
  351. ³ 5.4.3.1) eac3to: -normalize ³
  352. ³ 5.4.3.2) sox: --norm ³
  353. ³ 5.4.3.3) QAAC: --normalize ³
  354. ³ 5.4.4) Any existing normalisation values must be stripped prior to ³
  355. ³ applying normalisation. ³
  356. ³ 5.4.5) FFmpeg, FAAC, and MEncoder are banned. ³
  357. ³ 5.4.6) AC3 is allowed for INTERNAL releases only. ³
  358. ³ 5.4.7) Audio with more than 2 channels must be down-mixed to stereo, ³
  359. ³ with the exception of INTERNAL releases. ³
  360. ³ 5.4.8) Audio must not be resampled. Audio must be kept in the original ³
  361. ³ format as the source. e.g. 48KHz for 48KHz sources. ³
  362. ³ 5.5) AC3, DTS, DTS-ES, E-AC3, MP2, and FLAC are the only allowed formats ³
  363. ³ for resolutions 720p and above. ³
  364. ³ 5.5.1) AC3 bitrate must not be below 640 Kbps, unless the original source ³
  365. ³ audio is already in a low bitrate lossy format. In which case, the ³
  366. ³ original audio must be used and not transcoded. ³
  367. ³ 5.5.2) AC3 640 Kbps, DTS 1536 Kbps, and FLAC must be created from a ³
  368. ³ higher bitrate source. ³
  369. ³ ³
  370. ³ 6) [ Video / Resolution ] ³
  371. ³ 6.1) Standard definition (SD) refers to a maximum horizontal display ³
  372. ³ resolution of 720 pixels. ³
  373. ³ 6.2) 720p refers to a maximum display resolution of 1280x720. ³
  374. ³ 6.3) 1080p refers to a maximum display resolution of 1920x1080. ³
  375. ³ 6.4) 2160p refers to a maximum display resolution of 3840x2160. ³
  376. ³ 6.5) Upscaling is not allowed. ³
  377. ³ 6.6) Resolution must be mod 2. ³
  378. ³ 6.7) English spoken titles with foreign overlays (e.g. locations and ³
  379. ³ on-screen text shown in another language) are not allowed, use ³
  380. ³ INTERNAL. ³
  381. ³ 6.8) Non-English spoken titles with hardcoded English subtitles must be ³
  382. ³ tagged as SUBBED. ³
  383. ³ 6.9) Dupes based on resolution are not allowed. ³
  384. ³ 6.9.1) Except in situations of releases with a different aspect ratio. ³
  385. ³ The relevant tag must be used, and the reason mentioned in the ³
  386. ³ NFO, see rule 19.5.3. ³
  387. ³ 6.9.2) Releases which contain an additional 20 pixels or more worth of ³
  388. ³ video on any side are not considered dupes. These releases must be ³
  389. ³ tagged as WS or OM (open matte) and not PROPER, and the original ³
  390. ³ release must not be nuked. ³
  391. ³ 6.10) Retention or removal of faded edges is left to the discretion of the ³
  392. ³ group. Inclusion of faded edges is not a technical flaw, and cannot ³
  393. ³ be propered. ³
  394. ³ 6.10.1) Faded edges refer to a line of pixels which are of similar ³
  395. ³ appearance to pixels' parallel to the video frame. ³
  396. ³ 6.11) Black borders and anything that is not part of the video must be ³
  397. ³ cropped. ³
  398. ³ 6.11.1) Black borders refer to: black or coloured borders, duplicate ³
  399. ³ lines, dirty lines or pixels. ³
  400. ³ 6.12) Video can be over or under cropped by a maximum of 1px per side. ³
  401. ³ Over or under cropping by more than 1px per side is considered a ³
  402. ³ technical flaw. ³
  403. ³ 6.12.1) Under crop refers to portions of the video frame which is not ³
  404. ³ actual picture. Files which contain black borders greater than ³
  405. ³ 1px on any side is considered a technical flaw. ³
  406. ³ 6.12.2) Releases which include faded edges must consider faded edges as ³
  407. ³ a valid part of the video frame and do not count as black ³
  408. ³ borders. ³
  409. ³ e.g. A release cannot be propered if 1px of faded edges and 1px ³
  410. ³ of black exists. ³
  411. ³ 6.12.3) Situations where video cropping of the same content varies ³
  412. ³ between sources are not considered a technical flaw, and may ³
  413. ³ not be propered. ³
  414. ³ 6.13) In the case of varying aspect ratios throughout the video, cropping ³
  415. ³ must be done to the widest video frame. ³
  416. ³ 6.13.1) Studio logos, intertitles, and credits must be disregarded when ³
  417. ³ determining the widest frame. ³
  418. ³ 6.14) Any sort of visual glitch present in the video stream is considered ³
  419. ³ a technical flaw. ³
  420. ³ 6.14.1) Except in situations where glitches are a result of a live-stream ³
  421. ³ or issues with the broadcast or source and are completely ³
  422. ³ unavoidable. It is recommended, but optional, to mention glitches ³
  423. ³ or gaps in playback in the NFO. ³
  424. ³ 6.14.2) Unavoidable glitches as a result of broadcast, live-stream, or ³
  425. ³ mastering issues may be propered with a glitch-free version. ³
  426. ³ 6.14.3) Visual glitches are defined as, but not limited to: ³
  427. ³ visual/compression artifacts, signal/stream issues, missing ³
  428. ³ frames. ³
  429. ³ 6.15) Resized and transcoded video must be within 0.5% of the original ³
  430. ³ aspect ratio. ³
  431. ³ 6.16) Sample aspect ratio (SAR): ³
  432. ³ SAR = (PixelHeight / PixelWidth) / (DARHeight / DARWidth) ³
  433. ³ 6.17) Display aspect ratio (DAR): ³
  434. ³ DAR = (PixelWidth * DARWidth) / (PixelHeight * DARHeight) ³
  435. ³ 6.18) Display resolution: ³
  436. ³ DisplayWidth = PixelWidth * (SARWidth / SARHeight) ³
  437. ³ 6.19) Aspect ratio (AR) error: ³
  438. ³ Original AR = (SourceWidth - [CropLeft + CropRight]) / ³
  439. ³ (SourceHeight - [CropTop + CropBottom]) ³
  440. ³ Release AR = EncodeWidth / EncodedHeight ³
  441. ³ AR Error % = [(Original AR - Release AR) / Original AR] * 100 ³
  442. ³ 6.20) Target resolution when resizing to maintain mod2 and reduce AR ³
  443. ³ error: ³
  444. ³ TargetHeight = TargetWidth / [(SourceWidth - ³
  445. ³ [CropLeft + CropRight]) / (SourceHeight - ³
  446. ³ [CropTop + CropBottom])] ³
  447. ³ The correct mod 2 value can also be calculated from the ceiling of ³
  448. ³ TargetHeight if the value is odd, and the floor of TargetHeight if ³
  449. ³ the value is even. ³
  450. ³ 6.20.1) Alternatively, the following can be used to confirm the correct ³
  451. ³ resolution is used from the above method by calculating the upper ³
  452. ³ and lower integer limit of TargetHeight: ³
  453. ³ HeightA = floor(TargetHeight + [TargetHeight mod 2]) ³
  454. ³ HeightB = floor(TargetHeight - [TargetHeight mod 2]) ³
  455. ³ The TargetHeight value (HeightA or HeightB) which results in an ³
  456. ³ aspect ratio error which tends to zero must be used. ³
  457. ³ e.g. TargetWidth: 1280. ³
  458. ³ SourceWidth: 1920, SourceHeight: 1080. ³
  459. ³ CropLeft + CropRight = 0, CropTop + CropBottom = 4. ³
  460. ³ TargetHeight = 1280 / ((1920 - 0) / (1080 - 4)) or 717.33. ³
  461. ³ HeightA = floor(717.33 + (717.33 mod 2)) or 718. ³
  462. ³ HeightB = floor(717.33 - (717.33 mod 2)) or 716. ³
  463. ³ TargetWidth x HeightA = 1280x718 with -0.09% AR error. ³
  464. ³ TargetWidth x HeightB = 1280x716 with 0.19% AR error. ³
  465. ³ -0.09% tends closer to zero than 0.19% does (0.09 < 0.19), ³
  466. ³ therefore, HeightA must be used. ³
  467. ³ ³
  468. ³ 7) [ Framerate / Filters ] ³
  469. ³ 7.1) IVTC, deinterlacing, or decimation must be applied as required. ³
  470. ³ 7.2) Only smart deinterlacers, such as Yadif, QTGMC, or TFM, must be used. ³
  471. ³ 7.2.1) FieldDeinterlace must not be used for deinterlacing. ³
  472. ³ 7.3) Only accurate field matching filters, such as TIVTC or Decomb, must ³
  473. ³ be used for inverse telecining (IVTC). ³
  474. ³ 7.3.1) Use of MEncoder, MJPEG tools, libav, libavcodec, or FFmpeg as IVTC ³
  475. ³ filters are not allowed. ³
  476. ³ 7.3.2) Deinterlacing filters must not be applied to telecined sources as ³
  477. ³ a method of inverse telecine. Use of an accurate field matching ³
  478. ³ filter must be used on telecined sources to recreate progressive ³
  479. ³ frames and must be decimated to remove any duplicate frames. ³
  480. ³ e.g. Yadif must not be used on a telecined source with a frame ³
  481. ³ sequence of PPIIP, as Yadif will attempt to deinterlace ³
  482. ³ every frame, including the progressive frames. TFM and ³
  483. ³ TDecimate should be used in this situation. ³
  484. ³ 7.4) Only sharp resizers are allowed. Simple resizers such as bicubic, ³
  485. ³ simple, etc, are not allowed. Only the following resizers are allowed ³
  486. ³ (in order of preference): ³
  487. ³ 7.4.1) Spline36Resize/Spline64Resize. ³
  488. ³ 7.4.2) BlackmanResize. ³
  489. ³ 7.4.3) LanczosResize/Lanczos4Resize. ³
  490. ³ 7.5) Sources which contain footage at varying FPS throughout (hybrid ³
  491. ³ sources) and may or may not require IVTC is left to the discretion ³
  492. ³ of the group. The NFO must list a reason as to the final decision. ³
  493. ³ 7.5.1) It is assumed that the majority of a title contains enough unique ³
  494. ³ frames at 30,000/1,001 fps to warrant a higher framerate. If it ³
  495. ³ can be proven IVTC/decimating does not result in any loss of ³
  496. ³ unique frames, this is considered a technical flaw. ³
  497. ³ e.g. The native format of a Netflix title is 30,000/1,001 fps but ³
  498. ³ contains some footage filmed at 24,000/1,001 fps. Choosing ³
  499. ³ to encode the entire release at 30,000/1,001 fps is valid. ³
  500. ³ 7.6) Native and converted framerates refers to the standard in which the ³
  501. ³ video was produced. ³
  502. ³ 7.6.1) NTSC produced video is native to NTSC. ³
  503. ³ 7.6.2) PAL produced video is native to PAL. ³
  504. ³ 7.6.3) NTSC produced video that is broadcast in PAL is considered as ³
  505. ³ converted video. ³
  506. ³ 7.6.4) PAL produced video that is broadcast in NTSC is considered as ³
  507. ³ converted video. ³
  508. ³ 7.7) Converted video that has significant artifacts (e.g. blended frames) ³
  509. ³ and cannot be reversed to the native format must be tagged as ³
  510. ³ CONVERT. ³
  511. ³ 7.7.1) Converted video which does not have any artifacts does not require ³
  512. ³ the CONVERT tag and must not be nuked for the conversion. ³
  513. ³ 7.8) 50 / 60 fps video may be released at 50 / 60 fps or 25 / 30 fps. ³
  514. ³ True 25 / 30 video released at 50 / 60 fps is not allowed and ³
  515. ³ considered a technical flaw. ³
  516. ³ 7.8.1) In rare situations, 25 / 50 fps sources should be restored to ³
  517. ³ 24 or 30 fps. ³
  518. ³ 7.8.2) In rare situations, 30 / 60 fps sources should be restored to ³
  519. ³ 25 fps. ³
  520. ³ ³
  521. ³ 8) [ Audio ] ³
  522. ³ 8.1) Audio must be in the original format provided. Minor adjustments ³
  523. ³ (channel count, adding or removing frames) in order to prevent issues ³
  524. ³ with playback or sync is allowed. ³
  525. ³ 8.1.1) Valid lossy codecs are: AAC, AC3, DTS, DTS-ES, E-AC3, MP2. ³
  526. ³ 8.1.2) For audio originally packaged in a lossless (LPCM) format, audio ³
  527. ³ must be converted to a lossy format without any down-mixing of ³
  528. ³ surround channels. e.g. AC3 640 Kbps, DTS 1536 Kbps, and FLAC. ³
  529. ³ 8.2) Transcoding lossy audio to another lossy format is not allowed. ³
  530. ³ 8.3) Sync must not drift at all during the entire release. ³
  531. ³ 8.4) Glitches that occur in any audio channel present (e.g. L, R, C, SL, ³
  532. ³ SR, etc.) are considered a technical flaw. ³
  533. ³ 8.4.1) Except in situations where glitches are a result of a live-stream ³
  534. ³ or issues with the broadcast or source and are completely ³
  535. ³ unavoidable. It is recommended, but optional, to mention glitches ³
  536. ³ or gaps in playback in the NFO. ³
  537. ³ 8.4.2) Unavoidable glitches as a result of broadcast, live-stream, or ³
  538. ³ mastering issues may be propered with a glitch-free version. ³
  539. ³ 8.4.3) Glitches are defined as, but not limited to: an audible glitch, ³
  540. ³ missing audio, pops or clicks as a result of encoding, gaps within ³
  541. ³ playback, missing dialogue, muted or muffled audio, echoing. ³
  542. ³ 8.5) A release must only contain a single audio track. ³
  543. ³ 8.5.1) Dual-language audio tracks are allowed for non-English material ³
  544. ³ only. ³
  545. ³ 8.6) If the original language of a title is not English: ³
  546. ³ 8.6.1) An English dubbed track is allowed as a secondary audio track. ³
  547. ³ 8.6.2) Releases containing only a dubbed audio track must be tagged as ³
  548. ³ DUBBED. ³
  549. ³ 8.7) Non-English releases without a secondary English audio track must ³
  550. ³ use a language tag indicating the primary spoken language. ³
  551. ³ 8.8) Dupes based on audio format or multiple audio tracks are not allowed, ³
  552. ³ use INTERNAL. ³
  553. ³ 8.9) Retail audio may be used in placed of audio tracks extracted from ³
  554. ³ the source. Proof of the source disc must be provided, see ³
  555. ³ section 13. ³
  556. ³ ³
  557. ³ 9) [ Credits / Previously On / Unrelated Footage ] ³
  558. ³ 9.1) Credits and 'Previously On' footage must be included and is not ³
  559. ³ optional. ³
  560. ³ 9.2) Any unrelated commercials or paid advertisements, regardless of ³
  561. ³ duration (e.g. 1 faded/half opacity frame or 10 seconds) must be ³
  562. ³ completely removed from the release. ³
  563. ³ 9.3) Content rating cards and viewer warnings separate to the show must ³
  564. ³ be completely removed and it is considered a technical flaw if ³
  565. ³ present. ³
  566. ³ 9.3.1) Except in situations where the content warning is integrated into ³
  567. ³ the opening of the show and cannot be removed, e.g. Cops. ³
  568. ³ ³
  569. ³ 10) [ Container ] ³
  570. ³ 10.1) Container must be Matroska (.mkv). MKVToolnix is the recommended ³
  571. ³ muxer. ³
  572. ³ 10.2) Custom muxing tools are allowed. However, the output must adhere to ³
  573. ³ the latest Matroska specification and must retain identical ³
  574. ³ compatibility with demuxers as files created with MKVToolnix. ³
  575. ³ 10.3) Support for file streaming and playback from RAR is mandatory. ³
  576. ³ 10.4) Matroska header compression must not be enabled. ³
  577. ³ 10.5) Header stripping or modification is not allowed. ³
  578. ³ 10.6) Falsifying or modification of encoding parameters and information ³
  579. ³ is not allowed. ³
  580. ³ ³
  581. ³ 11) [ Subtitles ] ³
  582. ³ 11.1) Subtitles for English spoken titles without foreign dialogue are ³
  583. ³ optional, but encouraged. ³
  584. ³ 11.1.1) Optical character recognition (OCR) must not result in spelling ³
  585. ³ errors or mistakes. ³
  586. ³ e.g. Zero ('0') used in place of an upper-case O ('o'). ³
  587. ³ 11.1.2) Minor errors in grammar or punctuation which do not change the ³
  588. ³ meaning of the sentence are allowed, however, it is recommended ³
  589. ³ all errors be corrected. ³
  590. ³ 11.2) English spoken titles with foreign dialogue must include a separate ³
  591. ³ subtitle track for forced subtitles. ³
  592. ³ 11.2.1) Foreign dialogue subtitle tracks must be set as forced and it is ³
  593. ³ considered a technical flaw if not done correctly. ³
  594. ³ 11.2.2) In situations where the source video stream contains hardcoded ³
  595. ³ subtitles for English spoken titles with foreign dialogue, a ³
  596. ³ separate subtitle track for the forced subtitles is not required. ³
  597. ³ 11.3) Non-English spoken titles without hardcoded subtitles must include ³
  598. ³ an English subtitle track set as default. ³
  599. ³ 11.4) Group watermarks in subtitles are not allowed. ³
  600. ³ 11.5) Dupes based on subtitles are not allowed, use INTERNAL. ³
  601. ³ 11.6) Propers based on the inclusion of optional subtitles is not allowed. ³
  602. ³ 11.7) Fan-made or custom subtitles are not allowed. ³
  603. ³ 11.8) Groups must not burn subtitles in to the video stream. ³
  604. ³ 11.9) External subtitles located in 'Subs' directories are not allowed. ³
  605. ³ 11.10) Must be free of any technical flaws. Including, but not limited ³
  606. ³ to: sync issues, incorrect OCR, invalid default or forced muxing ³
  607. ³ flags. ³
  608. ³ 11.11) Subtitles must be extracted from the original source, or obtained ³
  609. ³ from another source which provides the same video. ³
  610. ³ e.g. A source obtained from iTunes does not contain subtitles, but ³
  611. ³ can be extracted from Netflix. These subtitles can be muxed ³
  612. ³ into the final release. ³
  613. ³ 11.12) Retail subtitles may be used in place of subtitles extracted from ³
  614. ³ the source. Proof of the source disc must be provided, see section ³
  615. ³ 13. ³
  616. ³ 11.13) Adjustments and edits may be made to subtitle tracks. ³
  617. ³ 11.13.1) Edits can refer to: adjusting timecodes, fixing grammar, ³
  618. ³ spelling, or punctuation errors, etc. ³
  619. ³ 11.13.2) A summary of the changes must be listed in the NFO. ³
  620. ³ e.g. Shifted all timecodes by 2 seconds to ensure sync is ³
  621. ³ maintained throughout, or spelling errors fixed ³
  622. ³ throughout, etc. ³
  623. ³ 11.14) Subtitles must be muxed into the final MKV in text based ³
  624. ³ format, i.e. SubRip (.srt) or SubSation Alpha (.ssa/.ass). ³
  625. ³ 11.14.1) Retail subtitles must be muxed in text based (.srt/.ssa/.ass) ³
  626. ³ or PGS (.sup) format. PGS is recommended. ³
  627. ³ 11.14.2) All subtitle tracks must have the character set (--sub-charset) ³
  628. ³ set to a Unicode format or UTF-8 when muxing. ³
  629. ³ 11.14.3) Subtitles must not set as default or forced unless otherwise ³
  630. ³ specified. ³
  631. ³ 11.14.4) The correct ISO 639 language code supported by MKVToolnix must ³
  632. ³ be set for all subtitle tracks. ³
  633. ³ 11.14.4.1) In situations where the language is not supported by ³
  634. ³ MKVToolnix, 'und' must be used. ³
  635. ³ e.g. en for English, de for German, etc. ³
  636. ³ 11.14.5) The correct character encoding ³
  637. ³ ³
  638. ³ 12) [ Packaging ] ³
  639. ³ 12.1) Must be packed with RAR files, broken into a maximum of 99 volumes. ³
  640. ³ 12.2) RAR5/RARv5.0 is not allowed. RAR3/v2.0 or RAR4/v2.9 must be used. ³
  641. ³ 12.2.1) Custom RAR tools are permitted. However, files must adhere to ³
  642. ³ the RAR4/RARv2.9 archive specification and must retain identical ³
  643. ³ compatibility with extractors and demuxers as files created with ³
  644. ³ WinRAR/rar. ³
  645. ³ 12.3) Permitted RAR sizes are: ³
  646. ³ 12.3.1) 15,000,000 bytes or 20,000,000 bytes for SD. Multiples of these ³
  647. ³ values are not allowed. ³
  648. ³ 12.3.2) Positive integer multiples of 50,000,000 bytes for all ³
  649. ³ resolutions. ³
  650. ³ e.g. (50 * 10^6) * n bytes, where n > 0. ³
  651. ³ (50 * 10^6) * 4 bytes, 100,000,000 bytes, ³
  652. ³ 400,000,000 bytes, etc. ³
  653. ³ 12.3.3) Releases must have a minimum of 10 volumes before the next ³
  654. ³ multiple of 50,000,000 bytes is used. ³
  655. ³ e.g. 10 volumes at 50,000,000 bytes can be repackaged to 5 ³
  656. ³ volumes at 100,000,000 bytes. ³
  657. ³ 5 volumes at 100,000,000 bytes cannot be repacked to 4 ³
  658. ³ volumes at 150,000,000 bytes. ³
  659. ³ 12.4) Must have SFV and NFO. ³
  660. ³ 12.5) RAR, SFV, and Sample files must have unique, lower-case filenames ³
  661. ³ with the group tag. ³
  662. ³ 12.5.1) Group tags must be unique to each group, and may be an ³
  663. ³ abbreviated variation of the group name. ³
  664. ³ 12.6) Missing RAR(s) or SFV on all sites is considered a technical flaw. ³
  665. ³ 12.7) Corrupt RAR(s) (errors upon extraction) is considered a technical ³
  666. ³ flaw. ³
  667. ³ 12.8) RAR compression and recovery records are not allowed. ³
  668. ³ 12.9) Encryption or password protection is not allowed. ³
  669. ³ ³
  670. ³ 13) [ Proof ] ³
  671. ³ 13.1) Proof picture(s) must have unique filenames and placed in a separate ³
  672. ³ directory named 'Proof'. ³
  673. ³ 13.1.1) Proof file(s) must be included in every release which requires ³
  674. ³ proof. ³
  675. ³ 13.2) Proof must be in JPEG or PNG format. ³
  676. ³ 13.3) Proof is required for iTunes sourced files only. A screenshot of ³
  677. ³ the download in progress must be provided. ³
  678. ³ 13.3.1) A release which fails to pre with the required proof is ³
  679. ³ considered a technical flaw and can be propered. ³
  680. ³ 13.3.2) Proof fixes must be within 24 hours of original pre. Fixes ³
  681. ³ provided after a proper has been released, or after 24 hours has ³
  682. ³ elapsed from the original pre, will not be accepted. ³
  683. ³ 13.3.3) It is also recommended, in an unobstructed way, to include the ³
  684. ³ group name within the screenshot written in Notepad or a similar ³
  685. ³ text editor. ³
  686. ³ 13.4) Releases which include retail-sourced elements (e.g. retail ³
  687. ³ subtitles) must include source proof. ³
  688. ³ 13.4.1) Proof must be photographs of the printed side of all physical ³
  689. ³ discs used with the group tag clearly visible. ³
  690. ³ 13.4.2) The minimum resolution for photographs is 640x480px. Disc details ³
  691. ³ must be clear and legible. ³
  692. ³ 13.5) Small identifiable or sensitive information may be obscured or ³
  693. ³ redacted. ³
  694. ³ 13.6) User identifiable EXIF data must be stripped. It is recommended all ³
  695. ³ EXIF data be stripped. ³
  696. ³ ³
  697. ³ 14) [ Samples ] ³
  698. ³ 14.1) All releases must include a 50-70 second sample for each release. ³
  699. ³ 14.2) Samples must have unique filenames and placed in a separate ³
  700. ³ directory named 'Sample'. ³
  701. ³ 14.3) Samples must be cut from the final video, not encoded separately. ³
  702. ³ ³
  703. ³ 15) [ NFO ] ³
  704. ³ 15.1) NFO must be present in every release. ³
  705. ³ 15.2) It is recommended, but optional, to include the following ³
  706. ³ information in the NFO: ³
  707. ³ 15.2.1) Release name and group. ³
  708. ³ 15.2.2) Title and release date. ³
  709. ³ 15.2.3) CRF value / bitrate used. ³
  710. ³ 15.2.4) Audio format. ³
  711. ³ 15.2.5) Source. ³
  712. ³ 15.2.6) Relevant IMDB/TVDB/Amazon link. ³
  713. ³ 15.2.7) Total video size or RAR count. ³
  714. ³ 15.3) It is optional, but highly recommended, that the source for ³
  715. ³ untouched files be mentioned in the NFO. ³
  716. ³ ³
  717. ³ 16) [ Tagging ] ³
  718. ³ 16.1) Only the following additional tags are allowed: ³
  719. ³ ALTERNATIVE.CUT, CONVERT, COLORIZED, DC, DIRFIX, DOCU, DUBBED, ³
  720. ³ EXTENDED, FESTIVAL, FINAL, INTERNAL, LIMITED, MULTI, NFOFIX, OM, ³
  721. ³ PPV, PROOFFIX, PROPER, REAL, REMASTERED, READNFO, REPACK, RERIP, ³
  722. ³ SAMPLEFIX, SOURCE.SAMPLE, SUBBED, THEATRICAL, UNCENSORED, UNRATED, ³
  723. ³ UNCUT, and WS. ³
  724. ³ 16.2) Variations of any additional tags are not allowed. ³
  725. ³ e.g. READ.NFO or RNFO is not allowed, READNFO must be used. ³
  726. ³ 16.3) READNFO should be used sparingly. Discretion is recommended. ³
  727. ³ 16.3.1) The READNFO tag must not be used with PROPER, REPACK, or RERIP. ³
  728. ³ The NFO is required to contain a reason, therefore the tag is ³
  729. ³ redundant. ³
  730. ³ 16.4) Tags must only be used once, but the order is left to the discretion ³
  731. ³ of the group. ³
  732. ³ 16.4.1) Except in situations where the REAL tag is required to be stacked ³
  733. ³ to differentiate between multiple invalid releases. ³
  734. ³ e.g. A REAL.REAL.PROPER.REPACK is required for a ³
  735. ³ REAL.PROPER.REPACK and PROPER.REPACK. ³
  736. ³ 16.5) Tags must be grouped together, period-delimited, and must follow the ³
  737. ³ mandatory directory format, see rule 17.4. ³
  738. ³ e.g. EXTENDED.LIMITED, REMASTERED.REPACK, REAL.PROPER. ³
  739. ³ ³
  740. ³ 17) [ Directory Nomenclature ] ³
  741. ³ 17.1) Acceptable characters allowed for directories are: ³
  742. ³ ABCDEFGHIJKLMNOPQRSTUVWXYZ ³
  743. ³ abcdefghijklmnopqrstuvwxyz ³
  744. ³ 0123456789.- ³
  745. ³ 17.2) Single punctuation must be used. Consecutive punctuation is not ³
  746. ³ allowed. ³
  747. ³ e.g. Show----Name.S01E01, Show.Name....S01E01, ³
  748. ³ Show.-.Name.--.S01E01, etc. ³
  749. ³ 17.3) Typos or spelling mistakes in the directory are not allowed. ³
  750. ³ 17.4) Releases must follow the matching directory format: ³
  751. ³ 17.4.1) Movie.YEAR.<TAGS>.[LANGUAGE].<RESOLUTION>.<FORMAT>-GROUP ³
  752. ³ 17.4.2) Weekly.TV.Show.SXXEXX[Episode.Part].[Episode.Title].<TAGS>. ³
  753. ³ [LANGUAGE].<RESOLUTION>.<FORMAT>-GROUP ³
  754. ³ 17.4.3) Miniseries.Show.Name.Part.XX.[Episode.Title].<TAGS>. ³
  755. ³ [LANGUAGE].<RESOLUTION>.<FORMAT>-GROUP ³
  756. ³ 17.4.4) Daily.TV.Show.YYYY.MM.DD.[Guest.Name].<TAGS>. ³
  757. ³ [LANGUAGE].<RESOLUTION>.<FORMAT>-GROUP ³
  758. ³ 17.4.5) Daily.Sport.League.YYYY.MM.DD.Event.<TAGS>. ³
  759. ³ [LANGUAGE].<RESOLUTION>.<FORMAT>-GROUP ³
  760. ³ 17.4.6) Monthly.Competition.YYYY.MM.Event.<TAGS>. ³
  761. ³ [LANGUAGE].<RESOLUTION>.<FORMAT>-GROUP ³
  762. ³ 17.4.7) Yearly.Competition.YYYY.Event.<TAGS>. ³
  763. ³ [LANGUAGE].<RESOLUTION>.<FORMAT>-GROUP ³
  764. ³ 17.5) Named directory arguments formatted inside <> must be included. ³
  765. ³ Optional arguments formatted inside [] may be used in some cases. ³
  766. ³ 17.5.1) Episode part refers to episodes, usually cartoons or animation, ³
  767. ³ which split episodes into stories by different directors. ³
  768. ³ Episodes parts must be alphanumeric (a-z, A-Z, 0-9). ³
  769. ³ e.g. The first episode from Season 2 of SpongeBob SquarePants ³
  770. ³ is split into S02E01A/B, etc. https://goo.gl/CVGXKu ³
  771. ³ 17.5.2) Episode title and guest names are optional. ³
  772. ³ 17.5.3) Guest name(s) used must be in the order in which they appear on ³
  773. ³ the show to avoid any confusion. ³
  774. ³ 17.5.4) Tags refers to all permitted tags only, see section 16. ³
  775. ³ 17.5.5) Non-English releases must include the language tag and must be ³
  776. ³ used to denote the language of the audio track. English releases ³
  777. ³ must not include the language tag. ³
  778. ³ 17.5.5.1) Language tags must be the full name of the language. ³
  779. ³ Abbreviations or language codes are not allowed. ³
  780. ³ e.g. FRENCH, RUSSIAN, GERMAN. ³
  781. ³ 17.5.6) Resolution identifiers are only applicable for releases 720p and ³
  782. ³ above, and must precede the format of the release, see section 6 ³
  783. ³ for resolution specifications. ³
  784. ³ e.g. 720p.WEB.H264, 2160p.WEBRip.x264. ³
  785. ³ 17.5.7) Format refers to whether the release is transcoded (WEBRip.x264) ³
  786. ³ or untouched (WEB.H264/WEB.x264). ³
  787. ³ 17.6) Do not indicate source, ripping, or encoding methods that were used. ³
  788. ³ Use the NFO for any technical details. ³
  789. ³ 17.7) All movie releases must include the production year. ³
  790. ³ 17.8) Movie distribution tags (FESTIVAL, LIMITED) must be used with ³
  791. ³ discretion. Use boxofficemojo.com or IMDB screen details as ³
  792. ³ references. ³
  793. ³ 17.9) Different shows with the same title and format produced in different ³
  794. ³ countries must have the ISO 3166-1 alpha 2 country code in the ³
  795. ³ show name. ³
  796. ³ 17.9.1) Except for UK shows, which should use UK, not GB. ³
  797. ³ 17.9.2) This rule does not apply to an original show, only shows that ³
  798. ³ precede the original with the same premise or format. ³
  799. ³ e.g. The.Office.S01E01 and The.Office.US.S01E01. ³
  800. ³ 17.10) Different shows with the same title produced in the same country ³
  801. ³ which begin in different years must have the year of the first ³
  802. ³ season in the directory. ³
  803. ³ 17.10.1) The year is not required for the show broadcasted first. ³
  804. ³ e.g. Second.Chance.S01E01 and Second.Chance.2016.S01E01. ³
  805. ³ 17.11) Different shows with the same titles produced in the same country ³
  806. ³ which begin in different years must have the ISO-3166-1 alpha 2 ³
  807. ³ country code followed by the year of the first season in the ³
  808. ³ directory. ³
  809. ³ 17.11.1) See rules 17.12 and 17.13 for country code and year ³
  810. ³ explanations. ³
  811. ³ e.g. Wanted.S01E01 (2005), Wanted.AU.S01E01 (2013), ³
  812. ³ Wanted.AU.2016.S01E01 (2016). ³
  813. ³ 17.12) Show names which are hyphenated or include punctuation must follow ³
  814. ³ the format shown in the title sequence or credits of the first ³
  815. ³ episode congruent to the list of acceptable characters. ³
  816. ³ 17.12.1) If no title card exists, the format listed on the official ³
  817. ³ website for the show must be used, followed by what is listed ³
  818. ³ by the streaming service. ³
  819. ³ 17.12.2) Additional titles and names given to an individual season must ³
  820. ³ not be used. ³
  821. ³ e.g. Archer.Vice.S05, Strike.Back.Legacy.S05. ³
  822. ³ 17.13) Directory nomenclature and numbering must remain consistent ³
  823. ³ across the lifetime of an individual show or event. ³
  824. ³ 17.13.1) Shows which contain acronyms or secondary titles must follow the ³
  825. ³ format used by the first release. ³
  826. ³ e.g. Law.and.Order.SVU.S01E01 is the standard format that must ³
  827. ³ be used for all following episodes, ³
  828. ³ Law.and.Order.Special.Victims.Unit.S01E02 is not allowed. ³
  829. ³ Shadowhunters.The.Mortal.Instruments.S01E01 is the ³
  830. ³ standard format, Shadowhunters.S01E02 is not allowed. ³
  831. ³ 17.13.2) Groups cannot change the directory format of a show after a ³
  832. ³ second release or episode with the same format exists. ³
  833. ³ e.g. 2016-01-01: Law.and.Order.SVU.S01E01 sets the format. ³
  834. ³ 2016-01-08: Law.and.Order.SVU.S01E02 continues the format. ³
  835. ³ 2016-01-09: Law.and.Order.Special.Victims.Unit.S01E01. ³
  836. ³ DIRFIX is not valid as the second episode already exists ³
  837. ³ and continues with the previously defined format. ³
  838. ³ 17.13.3) Except in situations where the show has an official change in ³
  839. ³ its name, whereby all official references by the broadcaster or ³
  840. ³ studio is of the new name. This change must be mentioned in the ³
  841. ³ first NFO with the new name with relevant references. ³
  842. ³ e.g. Gold.Rush.Alaska.S01E01 changed to Gold.Rush.S02E01. ³
  843. ³ 17.13.4) Official name changes for a show does not include the renaming ³
  844. ³ of individual seasons. Seasonal name changes must be ignored. ³
  845. ³ e.g. Power.Rangers.S01 and Power.Ranges.S07 must be used. ³
  846. ³ Power.Rangers.Lost.Galaxy.S07 must not be used. ³
  847. ³ Strike.Back.S03, Strike.Back.S05 must be used. ³
  848. ³ Strike.Back.Vengeance.S03, Strike.Back.Legacy.S05 must ³
  849. ³ not be used. ³
  850. ³ 17.13.5) Any deviations or changes require sufficient evidence listed in ³
  851. ³ the NFO as to the reason for change. ³
  852. ³ 17.14) For shows which begin on network television and continue ³
  853. ³ exclusively on a web-based service, the title or numbering of the ³
  854. ³ show shall not change. ³
  855. ³ 17.14.1) Except in situations where the show is not a direct continuation ³
  856. ³ of the previous seasons. ³
  857. ³ 17.14.2) If the show continues without any changes, the title of the show ³
  858. ³ shall not change, but will follow the season and episode ³
  859. ³ numbering as listed on the web-based service which purchased ³
  860. ³ the show. ³
  861. ³ 17.15) User contributed services such as TVRage, TVMaze, or TheTVDB must ³
  862. ³ not be used as a reference when naming and numbering episodes. It ³
  863. ³ may be used as a general guide; however, official guides must be ³
  864. ³ used. ³
  865. ³ 17.15.1) The following order must be used as the primary source for ³
  866. ³ naming and numbering. ³
  867. ³ 17.15.1.1) Official website of the show. ³
  868. ³ 17.15.1.2) Order and format listed by the streaming service. ³
  869. ³ 17.15.1.3) Network guide. ³
  870. ³ ³
  871. ³ 18) [ Fixes ] ³
  872. ³ 18.1) Only the following fixes are allowed: ³
  873. ³ DIRFIX, NFOFIX, PROOFFIX, and SAMPLEFIX. ³
  874. ³ 18.2) Any other form of fix is not allowed. ³
  875. ³ e.g. RARFIX, SFVFIX, SUBFIX, etc. ³
  876. ³ 18.3) All fixes require an NFO and must state which release is being ³
  877. ³ fixed. ³
  878. ³ 18.4) A proper may not be released for an error that can be fixed with ³
  879. ³ the above methods, with the exception of proof fixes, see rule ³
  880. ³ 13.3.2. ³
  881. ³ 18.5) If multiple releases from a single season require a DIRFIX, a single ³
  882. ³ DIRFIX per season is allowed and is recommended. ³
  883. ³ e.g. Show.Name.S01.DIRFIX.WEBRip.x264-GROUP. ³
  884. ³ 18.5.1) If a single DIRFIX is used, all relevant releases and ³
  885. ³ corresponding fixes must be listed in the NFO. ³
  886. ³ ³
  887. ³ 19) [ Dupes ] ³
  888. ³ 19.1) Same second releases, with a maximum acceptable variance of two ³
  889. ³ seconds (+/- 2 seconds) between timestamps reported by a majority ³
  890. ³ of pre bots, are not considered dupes and should not be nuked. ³
  891. ³ 19.1.1) Timestamps must be considered as whole integers and round half ³
  892. ³ towards zero. ³
  893. ³ 19.1.2) The earliest timestamp must be used when considering dupes. ³
  894. ³ e.g. Release A: 1451572201.427158 -> 1451572201 ³
  895. ³ Release B: 1451572203.626645 -> 1451572203 ³
  896. ³ Release C: 1451572204.137665 -> 1451572204 ³
  897. ³ Release B does not dupe Release A: 1451572203 - 1451572201 ³
  898. ³ = 2, i.e. maximum variance allowed. ³
  899. ³ Release C dupes Releases A and B: 1451572204 - 1451572201 ³
  900. ³ = 3, i.e. 3 > 2. ³
  901. ³ 19.1.3) In situations where a release is found to contain a technical ³
  902. ³ flaw, same second dupes which do not exhibit any technical flaws ³
  903. ³ must be considered the final release. Groups may release a DIRFIX ³
  904. ³ to PROPER for their original release, but it is not required. ³
  905. ³ e.g. Release A and Release B are released at the same time. ³
  906. ³ Release A is nuked as containing glitches, Release B then ³
  907. ³ becomes the de facto release and a DIRFIX to PROPER may be ³
  908. ³ released. ³
  909. ³ 19.2) WEBRip.x264 dupes WEB.H264/x264. ³
  910. ³ 19.3) WEB.H264/x264 does not dupe WEBRip.x264. ³
  911. ³ 19.4) WEB.H264/x264 and WEBRip.x264 does not dupe DSR/PDTV. ³
  912. ³ 19.5) WEB.H264/x264 and WEBRip.x264 dupes an equivalent AHDTV/HDTV/Retail ³
  913. ³ release. ³
  914. ³ 19.5.1) SD WEB.H264/x264 and WEBRip.x264 dupes an SD AHDTV/HDTV/Retail ³
  915. ³ release. ³
  916. ³ 19.5.2) 720p, 1080p, 2160p WEB.H264/WEB.x264 and WEBRip.x264 dupes a ³
  917. ³ respective AHDTV/HDTV/Retail release. ³
  918. ³ e.g. 720p.WEB.H264 dupes 720p.HDTV.x264, 1080p.WEBRip.x264 ³
  919. ³ dupes 1080p.AHDTV.x264. ³
  920. ³ 1080p.WEB.H264 does not dupe 720p.BluRay.x264 if ³
  921. ³ 1080p.BluRay.x264 does not exist. ³
  922. ³ 19.5.3) Except in situations where the aspect ratio of a ³
  923. ³ WEB.H264/x264 and WEBRip.x264 release exceeds that of its ³
  924. ³ respective AHDTV/HDTV/Retail release. ³
  925. ³ e.g. A 2.39:1 release will not dupe a 1.78:1 retail provided ³
  926. ³ there is clearly more footage visible on-screen. Proof ³
  927. ³ demonstrating this difference is recommended, but not ³
  928. ³ mandatory. ³
  929. ³ 19.5.4) Except in situations where a WEB.H264/x264 or WEBRip.x264 release ³
  930. ³ is an uncensored or extended edit of its respective ³
  931. ³ AHDTV/HDTV/Retail release. ³
  932. ³ e.g. An uncensored WEB.H264 release does not dupe HDTV.x264, ³
  933. ³ EXTENDED.WEBRip.x264 does not dupe BluRay.x264. ³
  934. ³ 19.6) Releases with hardcoded subtitles (i.e. SUBBED) dupes releases with ³
  935. ³ muxed-in subtitles. ³
  936. ³ 19.7) Releases with muxed-in subtitles do not dupe releases with hardcoded ³
  937. ³ subtitles. ³
  938. ³ 19.8) Native video streams do not dupe converted video streams. ³
  939. ³ 19.9) Converted video streams dupe native video streams. ³
  940. ³ ³
  941. ³ 20) [ Propers / Rerips / Repacks ] ³
  942. ³ 20.1) Detailed reasons must be included in the NFO for all repacks, ³
  943. ³ rerips, and propers. ³
  944. ³ 20.1.1) Proper reasons must be clearly stated in the NFO, including ³
  945. ³ timestamps and specifics in regards to the flaw when appropriate. ³
  946. ³ A sample demonstrating the flaw in the original release is ³
  947. ³ encouraged, but not mandatory. ³
  948. ³ 20.2) Propers are only permitted in the case of a technical flaw in the ³
  949. ³ original release. ³
  950. ³ 20.3) If fixing a technical flaw requires transcoding of the file, it must ³
  951. ³ follow the transcoding rules and tagged as WEBRip.x264. ³
  952. ³ 20.4) Transcoded releases cannot proper any untouched files. ³
  953. ³ e.g. WEBRip.x264 cannot proper WEB.H264. ³
  954. ³ 20.4.1) Unless it is a transcode of a lossless stream correcting the ³
  955. ³ technical flaw, see rule 1.4. ³
  956. ³ 20.4.2) Unless it can be proven that all untouched sources are flawed ³
  957. ³ which cannot be repaired by transcoding, but a WEBRip does not ³
  958. ³ exhibit the same technical flaw(s). ³
  959. ³ e.g. iTunes, Amazon, and Netflix only offer the content. Amazon ³
  960. ³ and iTunes sourced files cannot be repaired by transcoding, ³
  961. ³ however a Netflix WEBRip is fine. ³
  962. ³ 20.5) Untouched files can proper transcoded releases for any valid ³
  963. ³ technical flaw. ³
  964. ³ 20.6) Audio or visual glitches can be propered with a release which does ³
  965. ³ not exhibit the same flaw. ³
  966. ³ 20.6.1) In situations where mastering issues results in visual or audio ³
  967. ³ glitches, a release must not be nuked until a valid proper, ³
  968. ³ repack, or rerip using a glitch-free source or master is ³
  969. ³ released. ³
  970. ³ 20.7) RERIP must be used for ripping or encoding issues. ³
  971. ³ 20.8) REPACK must be used for packing or muxing issues. ³
  972. ³ 20.9) Propers are only valid for releases with timestamps after the ³
  973. ³ official start date of this ruleset. ³
  974. ³ 20.9.1) Groups cannot proper existing releases using rules created as a ³
  975. ³ result of this ruleset. ³
  976. ³ e.g. If the resolution is not mod 2 or x264 revision used is ³
  977. ³ older than 50 revisions at the time of pre, the release ³
  978. ³ cannot be nuked. ³
  979. ³ 20.9.2) With exceptions of a release containing technical flaws which ³
  980. ³ would apply to any ruleset regardless of section. e.g. bad IVTC, ³
  981. ³ sync issues, bad or invalid cropping, etc. ³
  982. ³ ³
  983. ³ 21) [ Internals ] ³
  984. ³ 21.1) Internals are allowed to be released for any reason, including, but ³
  985. ³ not limited to: releases containing technical flaws, use of ³
  986. ³ alternate codecs, containers, or settings for experimental purposes. ³
  987. ³ 21.2) Any severe technical flaws must be mentioned in the NFO. ³
  988. ³ 21.3) Internal releases may only be nuked for technical flaws that are not ³
  989. ³ mentioned in the NFO. ³
  990. ³ 21.3.1) In situations where technical flaws are not mentioned in the NFO, ³
  991. ³ groups may provide an NFOFIX to avoid or reverse a nuke. ³
  992. ³ 21.4) Using DIRFIX.INTERNAL to avoid a nuke is not allowed, and must be ³
  993. ³ nuked fix.for.nuke. ³
  994. ³ ³
  995. ³ 22) [ Ruleset Specifics ] ³
  996. ³ 22.1) This ruleset is to be considered the ONLY official ruleset in ³
  997. ³ regards to WEB and WEBRip releases. It supersedes all previous ³
  998. ³ rules and precedents derived from existing TV and Retail rules in ³
  999. ³ regards to WEB sources. ³
  1000. ³ 22.2) Rules listed under untouched or transcoded labelled sections only ³
  1001. ³ apply to releases of that type and supersede any similar rule ³
  1002. ³ mentioned elsewhere. ³
  1003. ³ e.g. Rule 6.1 defines SD as resolutions with a maximum horizontal ³
  1004. ³ display of 720 pixels, unless the release is considered ³
  1005. ³ untouched, in which case rule 1.6 applies. ³
  1006. ³ 22.3) If there is a question as to the validity of a source used, the ³
  1007. ³ release may be nuked within 24 hours of pre requesting a source ³
  1008. ³ sample and must include the initial suspicion or reason. ³
  1009. ³ e.g. source.sample.requested_suspicion.of.invalid.decimation. ³
  1010. ³ 22.3.1) The group has 24 hours from the first nuke to pre a source ³
  1011. ³ sample that is at least 10 seconds in length. ³
  1012. ³ 22.3.2) Source samples must be packed with RAR files, and use the ³
  1013. ³ SOURCE.SAMPLE tag. ³
  1014. ³ 22.3.3) Providing insufficient proof to disprove any claims, or a ³
  1015. ³ failure to provide any source proof, and the release must remain ³
  1016. ³ nuked and can be propered. ³
  1017. ³ 22.4) The following definition of keywords throughout this ruleset are as ³
  1018. ³ follows: ³
  1019. ³ 22.4.1) Must: the rule is explicit in the definition and is compulsory. ³
  1020. ³ 22.4.2) Should: implies the rule is a suggestion, and is non-compulsory. ³
  1021. ³ 22.4.3) Can or may: implies the rule is optional, and is non-compulsory. ³
  1022. ³ ³
  1023. ³ 23) [ Notes ] ³
  1024. ³ 23.1) Proof is only enforced for iTunes as all other sources require ³
  1025. ³ various unofficial (backdoor) methods of downloading. Creating a ³
  1026. ³ fake GUI showing an active download is not difficult, which could ³
  1027. ³ result in proof being fabricated. As such, it is pointless to ³
  1028. ³ require proof for anything but iTunes, where streams can only be ³
  1029. ³ downloaded by a single method. ³
  1030. ³ 23.1.1) This includes web stores or shops which provide video files via a ³
  1031. ³ regular HTTP download. Policing or moderating these methods would ³
  1032. ³ be implausible for a single ruleset. Providing screenshots of a ³
  1033. ³ download in progress from a website does not prove the file was ³
  1034. ³ obtained from an official source. ³
  1035. ³ 23.2) The burden of proving P2P source material is on the propering group ³
  1036. ³ or nuker. ³
  1037. ³ 23.3) The inclusion of 2-pass in this ruleset should not be misconstrued ³
  1038. ³ as preferring it for every release, CRF must always be considered ³
  1039. ³ the primary method. Instead, it is encouraged for groups to use ³
  1040. ³ 2-pass methods for rare cases when files provided are of extreme ³
  1041. ³ high quality. ³
  1042. ³ 23.3.1) Video which contains an excessive amount of noise may often ³
  1043. ³ result in an unnecessary large bitrate. In such situations, ³
  1044. ³ using a smaller bitrate using 2-pass can result in a file size ³
  1045. ³ improvement with negligible loss in video quality. ³
  1046. ³ ³
  1047. ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´
  1048. ³ ³
  1049. ³ [ Signed ] ³
  1050. ³ ³
  1051. ³ 2HD AEROHOLiCS ALTEREGO AZR AMB3R ANiHLS ANiURL BARGE BATV BiQ C4TV ³
  1052. ³ CHAMPiONS DEADPOOL DEFEATER DEFLATE DRAWER FADE FaiLED FiHTV FQM ³
  1053. ³ GORE HatchetGear iBlade KOENiG KYR Ltu NTROPiC QCF REGRET RiVER RPTV ³
  1054. ³ SH0W SiGeRiS SKGTV spamTV TASTETV TiMELiNE WaLMaRT W4F WNN ZOMBiE ³
  1055. ³ ³
  1056. ³ [ Refused to sign ] ³
  1057. ³ ³
  1058. ³ CBFM ³
  1059. ³ ³
  1060. ÃÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ´
  1061. ³ ³
  1062. ³ [ Revisions ] ³
  1063. ³ 2016-03-16 - ecb63c67 - Final commit and public release of ruleset. ³
  1064. ³ ³
  1065. ÀÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÙ
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