I have been saying this for a few years now. Netflix has finally gotten on the bandwagon.
I worked at RealNetworks for over six years and became their onsite encoding expert for creating H.264 video with AAC audio in an MP4 container using FFmpeg after just three years. Our group was laid off when their Helix Streaming Media Server, which I supported, was discontinued.
I have converted most of my Blu-ray and DVD content, including one HD-DVD, to MP4 files and have found, just as the article says, that not all video is created equal. Why? Movement is expensive. In addition, grain is movement. Please do not get me started on encoding artifacts in the source media. NeatVideo, if you know how to use it, can help with both grain and encoding artifacts without having to resort to sharpening. The use of sharpening is, in my opinion, the refuge of the inept unless the source is so low quality that it looks like a blur. Even then use sparingly only if it is absolutely needed. If you want a challenge run NeatVideo against the movie Fight Club.
As an example, encode for yourself both a high action video and some low action video using x264 using a CRF value of 21 with the veryfast preset and the baseline profile. When you are finished use MediaInfo to look at the bit per pixel density (BPP) of the output video. The action video will have a much higher bitrate and BPP density than the low action video. As such you should target what the video requires.
My procedure for finding a decent bitrate is as follows:
1) Encode the video using the veryfast preset and the baseline profile to grab what the bit per pixel density is at CRF 21.
2) Perform a two pass encode with the medium preset and the high444 profile using the BPP value found in the video. You will see that both the initial CRF encoded video and the two pass video are about the same size and have, obviously, the same BPP density. The output “CRF” value, as reported by FFmpeg, will be about 19.4 due to compression. I have covered this before. Don’t take my word for it, use the Moscow University Video Quality Measurement Tool.
The reason for the medium preset is that mobile devices and other hardware decoders (Roku, Apple TV, etc…) all have limitations on playing H.264 video content that has more than three reference frames. To date I have found no device that cannot handle the high444 profile, which prioritizes the luma (Y’) channel over chrominance (Cb Cr) even though manufacturers state that they only support the main profile with CABAC. The only devices that I have not tested were the old school Blackberry phones.
On a side note, use the information that MediaInfo puts out as well as what FFmpeg puts out to find out what the width, height, and FPS of the source is as well as what the source audio frequency and bitrate are. If you know what you are doing you can detect telecine content in MPEG-PS containers (VOB) so that you do not duplicate frames when encoding. In addition, forcing the frame rate to what the source media says it is will keep the framerate solid. Advanced class is performing automatic crop detection (beware “The Right Stuff” and “Tron Legacy”), and audio normalization if your hearing is poor like mine is.
How will this affect your production workflow? If you decide to implement then not much. All that you need to do is perform a test encode to find the BPP density and then have your MBR content encoded to the same BPP density. If you are converting a series do a test convert of a few episodes and find the right bitrate for you.