This is the basic guide to explain what a CAM, TELECINE, screeners are.
CAM :
A cam is a theater rip usually done with a digital video camera. A mini tripod is sometimes used, but a lot of the time this wont be possible, so the camera make shake. Also seating placement isn’t always idle, and it might be filmed from an angle. If cropped properly, this is hard to tell unless there’s text on the screen, but a lot of times these are left with triangular borders on the top and bottom of the screen. Sound is taken from the onboard microphone of the camera, and especially in comedies, laughter can often be heard during the film. Due to these factors picture and sound quality are usually quite poor, but sometimes we’re lucky, and the theater will be fairly empty and a fairly clear signal will be heard.
TELESYNC (TS) -
A telesync is the same spec as a CAM except it uses an external audio source (most likely an audio jack in the chair for hard of hearing people). A direct audio source does not ensure a good quality audio source, as a lot of background noise can interfere. A lot of the times a telesync is filmed in an empty cinema or from the projection booth with a professional camera, giving a better picture quality. Quality ranges drastically, check the sample before downloading the full release. A high percentage of Telesyncs are CAMs that have been mislabeled.
TELECINE (TC) -
A telecine machine copies the film digitally from the reels. Sound and picture should be very good, but due to the equipment involved and cost telecines are fairly uncommon. Generally the film will be in correct aspect ratio, although 4:3 telecines have existed. A great example is the JURASSIC PARK 3 TC done last year. TC should not be confused with TimeCode , which is a visible counter on screen throughout the film.
SCREENER (SCR) -
A pre VHS tape, sent to rental stores, and various other places for promotional use. A screener is supplied on a VHS tape, and is usually in a 4:3 (full screen) a/r, although letterboxed screeners are sometimes found. The main draw back is a “ticker” (a message that scrolls past at the bottom of the screen, with the copyright and anti-copy telephone number). Also, if the tape contains any serial numbers, or any other markings that could lead to the source of the tape, these will have to be blocked, usually with a black mark over the section. This is sometimes only for a few seconds, but unfortunately on some copies this will last for the entire film, and some can be quite big. Depending on the equipment used, screener quality can range from excellent if done from a MASTER copy, to very poor if done on an old VHS recorder thru poor capture equipment on a copied tape. Most screeners are transferred to VCD, but a few attempts at SVCD have occurred, some looking better than others.
DVD-SCREENER (DVDscr) -
Same premise as a screener, but transferred off a DVD. Usually letterbox , but without the extras that a DVD retail would contain. The ticker is not usually in the black bars, and will disrupt the viewing. If the ripper has any skill, a DVDscr should be very good. Usually transferred to SVCD or DivX/XviD.
DVDRip -
A copy of the final released DVD. If possible this is released PRE retail (for example, Star Wars episode 2) again, should be excellent quality. DVDrips are released in SVCD and DivX/XviD.
VHSRip
Transferred off a retail VHS, mainly skating/sports videos and XXX releases.
TVRip -
TV episode that is either from Network (capped using digital cable/satellite boxes are preferable) or PRE-AIR from satellite feeds sending the program around to networks a few days earlier (do not contain “dogs” but sometimes have flickers etc) Some programs such as WWF Raw Is War contain extra parts, and the “dark matches” and camera/commentary tests are included on the rips. PDTV is capped from a digital TV PCI card, generally giving the best results, and groups tend to release in SVCD for these. VCD/SVCD/DivX/XviD rips are all supported by the TV scene.
WORKPRINT (WP) -
A workprint is a copy of the film that has not been finished. It can be missing scenes, music, and quality can range from excellent to very poor. Some WPs are very different from the final print (Men In Black is missing all the aliens, and has actors in their places) and others can contain extra scenes (Jay and Silent Bob) . WPs can be nice additions to the collection once a good quality final has been obtained.
DivX Re-Enc -
A DivX re-enc is a film that has been taken from its original VCD source, and re-encoded into a small DivX file. Most commonly found on file sharers, these are usually labeled something like Film.Name.Group(1of2) etc. Common groups are SMR and TND. These aren’t really worth downloading, unless you’re that unsure about a film u only want a 200mb copy of it. Generally avoid.
Watermarks -
A lot of films come from Asian Silvers/PDVD (see below) and these are tagged by the people responsible. Usually with a letter/initials or a little logo, generally in one of the corners. Most famous are the “Z” “A” and “Globe” watermarks.
Asian Silvers / PDVD -
These are films put out by eastern bootleggers, and these are usually bought by some groups to put out as their own. Silvers are very cheap and easily available in a lot of countries, and its easy to put out a release, which is why there are so many in the scene at the moment, mainly from smaller groups who don’t last more than a few releases. PDVDs are the same thing pressed onto a DVD. They have removable subtitles, and the quality is usually better than the silvers. These are ripped like a normal DVD, but usually released as VCD.
Formats
VCD -
VCD is an mpeg1 based format, with a constant bitrate of 1150kbit at a resolution of 352×240 (NTCS). VCDs are generally used for lower quality transfers (CAM/TS/TC/Screener(VHS)/TVrip(analogue) in order to make smaller file sizes, and fit as much on a single disc as possible. Both VCDs and SVCDs are timed in minutes, rather than MB, so when looking at an mpeg, it may appear larger than the disc capacity, and in reality u can fit 74min on a CDR74.
SVCD -
SVCD is an mpeg2 based (same as DVD) which allows variable bit-rates of up to 2500kbits at a resolution of 480×480 (NTSC) which is then decompressed into a 4:3 aspect ratio when played back. Due to the variable bit-rate, the length you can fit on a single CDR is not fixed, but generally between 35-60 Mins are the most common. To get a better SVCD encode using variable bit-rates, it is important to use multiple “passes”. this takes a lot longer, but the results are far clearer.
XVCD/XSVCD -
These are basically VCD/SVCD that don’t obey the “rules”. They are both capable of much higher resolutions and bit-rates, but it all depends on the player to whether the disc can be played. X(S)VCD are total non-standards, and are usually for home-ripping by people who don’t intend to release them.
DivX / XviD -
DivX is a format designed for multimedia platforms. It uses two codecs, one low motion, one high motion. most older films were encoded in low motion only, and they have problems with high motion too. A method known as SBC (Smart Bit-rate Control) was developed which switches codecs at the encoding stage, making a much better print. The format is Ana orphic and the bit-rate/resolution are interchangeable. Due to the higher processing power required, and the different codecs for playback, its unlikely we’ll see a DVD player capable of play DivX for quite a while, if at all. There have been players in development which are supposedly capable, but nothing has ever arisen. The majority of PROPER DivX rips (not Re-Encs) are taken from DVDs, and generally up to 2hours in good quality is possible per disc. Various codecs exist, most popular being the original Divx3.11a and the new XviD codecs.
CVD -
CVD is a combination of VCD and SVCD formats, and is generally supported by a majority of DVD players. It supports MPEG2 bit-rates of SVCD, but uses a resolution of 352×480(ntsc) as the horizontal resolution is generally less important. Currently no groups release in CVD.
DVD-R -
Is the recordable DVD solution that seems to be the most popular (out of DVD-RAM, DVD-R and DVD+R). it holds 4.7gb of data per side, and double sided discs are available, so discs can hold nearly 10gb in some cir***stances. SVCD mpeg2 images must be converted before they can be burnt to DVD-R and played successfully. DVD>DVDR copies are possible, but sometimes extras/languages have to be removed to stick within the available 4.7gb.
MiniDVD -
MiniDVD/cDVD is the same format as DVD but on a standard CDR/CDRW. Because of the high resolution/bit-rates, its only possible to fit about 18-21 mins of footage per disc, and the format is only compatible with a few players.
Misc Info
Regional Coding -
This was designed to stop people buying American DVDs and watching them earlier in other countries, or for older films where world distribution is handled by different companies. A lot of players can either be hacked with a chip, or via a remote to disable this.
RCE -
RCE (Regional Coding Enhancement) was designed to overcome “Multiregion” players, but it had a lot of faults and was overcome. Very few titles are RCE encoded now, and it was very unpopular.
Macrovision -
Macrovision is the copy protection employed on most commercial DVDs. Its a system that will display lines and darken the images of copies that are made by sending the VHS signals it can’t understand. Certain DVD players (for example the Dansai 852 from Tescos) have a secret menu where you can disable the macrovision, or a “video stabaliser” costs about 30UKP from Maplin (www.maplin.co.uk)
NTSC/PAL -
NTSC and PAL are the two main standards used across the world. NTSC has a higher frame rate than pal (29fps compared to 25fps) but PAL has an increased resolution, and gives off a generally sharper picture. Playing NTSC discs on PAL systems seems a lot easier than vice-versa, which is good news for the Brits An RGB enabled scart lead will play an NTSC picture in full colour on most modern tv sets, but to record this to a VHS tape, you will need to convert it to PAL50 (not PAL60 as the majority of DVD players do.) This is either achieved by an expensive converter box (in the regions of £200+) an onboard converter (such as the Dansai 852 / certain Daewoos / Samsung 709 ) or using a World Standards VCR which can record in any format.
Release Files
Rdonkeyt -
The movies are all supplied in RAR form, whether its v2 (rar>.rxx) or v3 (part01.rar > partxx.rar) form.
BIN/CUE -
VCD and SVCD films will extract to give a BIN/CUE. Load the .CUE into notepad and make sure the first line contains only a filename, and no path information. Then load the cue into Nero/CDRWin etc and this will burn the VCD/SVCD correctly. TV rips are released as MPEG. DivX files are just the plain DivX - .AVI
NFO -
An NFO file is supplied with each movie to promote the group, and give general iNFOrmation about the release, such as format, source, size, and any notes that may be of use. They are also used to recruit members and acquire hardware for the group.
SFV -
Also supplied for each disc is an SFV file. These are mainly used on site level to check each file has been uploaded correctly, but are also handy for people downloading to check they have all the files, and the CRC is correct. A program such as pdSFV or hkSFV is required to use these files.
Usenet Information
Access -
To get onto newsgroups, you will need a news server. Most ISPs supply one, but this is usually of poor retention (the amount of time the files are on server for) and poor completition (the amount of files that make it there). For the best service, a premium news server should be paid for, and these will often have bandwidth restrictions in place.
Software -
You will need a newsreader to access the files in the binary newsgroups. There are many different readers, and its usually down to personal opinion which is best. Xnews / Forte Agent / BNR 1 / BNR 2 are amongst the popular choices. Outlook has the ability to read newsgroups, but its recommended to not use that.
Format -
Usenet posts are often the same as those listed on VCDQUALiTY (i.e., untouched group releases) but you have to check the filenames and the description to make sure you get what you think you are getting. Generally releases should come down in .RAR sets. Posts will usually take more than one day to be uploaded, and can be spread out as far as a week.
PAR files -
As well as the .rxx files, you will also see files listed as .pxx/.par . These are PARITY files. Parity files are common in usenet posts, as a lot of times, there will be at least one or two damaged files on some servers. A parity file can be used to replace ANY ONE file that is missing from the rar set. The more PAR files you have, the more files you can replace. You will need a program called SMARTPAR for this.
Scene Tags
PROPER -
Due to scene rules, whoever releases the first Telesync has won that race (for example). But if the quality of that release is fairly poor, if another group has another telesync (or the same source in higher quality) then the tag PROPER is added to the folder to avoid being duped. PROPER is the most subjective tag in the scene, and a lot of people will generally argue whether the PROPER is better than the original release. A lot of groups release PROPERS just out of desperation due to losing the race. A reason for the PROPER should always be included in the NFO.
SUBBED -
In the case of a VCD, if a release is subbed, it usually means it has hard encoded subtitles burnt throughout the movie. These are generally in malaysian/chinese/thai etc, and sometimes there are two different languages, which can take up quite a large amount of the screen. SVCD supports switch able subtitles, so some DVDRips are released with switch able subs. This will be mentioned in the NFO file if included.
UNSUBBED -
When a film has had a subbed release in the past, an Unsubbed release may be released
LIMITED -
A limited movie means it has had a limited theater run, generally opening in less than 250 theaters, generally smaller films (such as art house films) are released as limited.
INTERNAL -
An internal release is done for several reasons. Classic DVD groups do a lot of .INTERNAL. releases, as they wont be dupe’d on it. Also lower quality theater rips are done INTERNAL so not to lower the reputation of the group, or due to the amount of rips done already. An INTERNAL release is available as normal on the groups affiliate sites, but they can’t be traded to other sites without request from the site ops. Some INTERNAL releases still trickle down to IRC/Newsgroups, it usually depends on the title and the popularity. Earlier in the year people referred to Centropy going “internal”. This meant the group were only releasing the movies to their members and site ops. This is in a different context to the usual definition.
STV -
Straight To Video. Was never released in theaters, and therefore a lot of sites do not allow these.
ASPECT RATIO TAGS -
These are *WS* for widescreen (letterbox) and *FS* for Fullscreen.
RE -
A recode is a previously released version, usually filtered through TMPGenc to remove subtitles, fix color etc. Whilst they can look better, its not looked upon highly as groups are expected to obtain their own sources.
REPACK -
If a group releases a bad rip, they will release a Repack which will fix the problems.
NUKED -
A film can be nuked for various reasons. Individual sites will nuke for breaking their rules (such as “No Telesyncs”) but if the film has something extremely wrong with it (no soundtrack for 20mins, CD2 is incorrect film/game etc) then a global nuke will occur, and people trading it across sites will lose their credits. Nuked films can still reach other sources such as p2p/usenet, but its a good idea to check why it was nuked first in case. If a group realise there is something wrong, they can request a nuke.
NUKE REASONS :: this is a list of common reasons a film can be nuked for (generally DVDRip)
** BAD A/R ** :: bad aspect ratio, ie people appear too fat/thin
** BAD IVTC ** :: bad inverse telecine. process of converting framerates was incorrect.
** INTERLACED ** :: black lines on movement as the field order is incorrect.
MKV-
The Matroska Multimedia Container is an open standard free Container format, a file format that can hold an unlimited number of video, audio, picture or subtitle tracks inside a single file.[1] It is intended to serve as a universal format for storing common multimedia content, like movies or TV shows. Matroska is similar in conception to other containers like AVI, MP4 or ASF, but is completely open source. Matroska file types are .MKV for video (and audio) and .MKA for audio-only files.
Content in Matroska
Initially the uptake of the format was low. It was initially used almost exclusively for DVD rips of anime, as the container allowed the viewer to choose between the original language track and a dub. In recent years, however, Matroska has seen wider use due to The Scene adopting it as a format of choice for high definition content ripped from HDTV and next generation video discs (HD DVD and Blu-ray). It usually carries H.264 video, one or more AC3/AAC/DTS audio tracks and sometimes one or more subtitle tracks (sometimes coupled with one or more embedded TrueType or OpenType font). Before H.264, most MKV files from the above mentioned scene contained RealVideo (RV9, RV10) encoded video tracks, which at that time was slightly superior to MPEG-4 Part 2[citation needed] (used by the DivX, Xvid and FFVfW codecs), especially for anime material, in combination with MP3 or Vorbis encoded audio streams and soft-subtitles
HD x264-
The intent of the H.264/AVC project was to create a standard capable of providing good video quality at substantially lower bit rates than previous standards (e.g. half or less the bit rate of MPEG-2, H.263, or MPEG-4 Part 2), without increasing the complexity of design so much that it would be impractical or excessively expensive to implement. An additional goal was to provide enough flexibility to allow the standard to be applied to a wide variety of applications on a wide variety of networks and systems, including low and high bit rates, low and high resolution video, broadcast, DVD storage, RTP/IP packet networks, and ITU-T multimedia telephony systems.
The standardization of the first version of H.264/AVC was completed in May of 2003. The JVT then developed extensions to the original standard that are known as the Fidelity Range Extensions (FRExt). These extensions enable higher quality video coding by supporting increased sample bit depth precision and higher-resolution color information, including sampling structures known as YUV 4:2:2 and YUV 4:4:4. Several other features are also included in the Fidelity Range Extensions project, such as adaptive switching between 4Ãâ€â€Â4 and 8Ãâ€â€Â8 integer transforms, encoder-specified perceptual-based quantization weighting matrices, efficient inter-picture lossless coding, and support of additional color spaces. The design work on the Fidelity Range Extensions was completed in July of 2004, and the drafting work on them was completed in September of 2004.
Further recent extensions of the standard have included adding five new profiles intended primarily for professional applications, adding extended-gamut color space support, defining additional aspect ratio indicators, defining two additional types of “supplemental enhancement information” (post-filter hint and tone mapping), and deprecating one of the prior FRExt profiles that industry feedback indicated should have been designed differently.
Scalable Video Coding as specified in Annex G of H.264/AVC allows the construction of bitstreams that contain sub-bitstreams that conform to H.264/AVC. For temporal bitstream scalability, i.e., the presence of a sub-bitstream with a smaller temporal sampling rate than the bitstream, complete access units are removed from the bitstream when deriving the sub-bitstream. In this case, high-level syntax and inter prediction reference pictures in the bitstream are constructed accordingly. For spatial and quality bitstream scalability, i.e. the presence of a sub-bitstream with lower spatial resolution or quality than the bitstream, NAL units are removed from the bitstream when deriving the sub-bitstream. In this case, inter-layer prediction, i.e., the prediction of the higher spatial resolution or quality signal by data of the lower spatial resolution or quality signal, is typically used for efficient coding. The Scalable Video Coding extension was completed in November 2007.
The H.264 name follows the ITU-T naming convention, where the standard is a member of the H.26x line of VCEG video coding standards; the MPEG-4 AVC name relates to the naming convention in ISO/IEC MPEG, where the standard is part 10 of ISO/IEC 14496, which is the suite of standards known as MPEG-4. The standard was developed jointly in a partnership of VCEG and MPEG, after earlier development work in the ITU-T as a VCEG project called H.26L. It is thus common to refer to the standard with names such as H.264/AVC, AVC/H.264, H.264/MPEG-4 AVC, or MPEG-4/H.264 AVC, to emphasize the common heritage. The name H.26L, referring to its ITU-T history, is less common, but still used. Occasionally, it is also referred to as “the JVT codec”, in reference to the Joint Video Team (JVT) organization that developed it. (Such partnership and multiple naming is not uncommonâ€â€ÂÂfor example, the video codec standard known as MPEG-2 also arose from the partnership between MPEG and the ITU-T, where MPEG-2 video is known to the ITU-T community as H.262.[1])
R5 Line-
Region 5 is Russia, as far as the R5 Line tagging on torrents the line means it has direct english line audio.
As far as quality
Note on R5/TC’s
Over the past 6 months the major movie studios have been releasing retail dvds
early in Russia. They do this to stop the widespread use of pirated telecines
(which were once very common). Lately however there has been very few real
telecines, most of the scene telecines you see are actually R5 retails.
R5 retail is rushed out by the studio, they are basically competing with
pirates, so there is little to no cleanup of the film after the telecine
process. So the main difference between telecines put out by the pirates is
that the r5’s are done using pro equipment, professional studios and
professional people. The quality of R5 retail is very similar to dvdscr’s,
no time is usually spent cleaning up dvdscrs either.
The range of quality we now have is like this.
R1/2 retail > DVDSCR > R5 Retail > Telecine > Telesync > Cam.
Vhs scr and wps, come around the ts mark (obviously differs between rls).
FLV Files-
FLV is the format for Flash video files. Supported from version 7, FLV is now the preferred format for delivering video clips via Flash.
Note that FLV files cannot be played back directly by the Flash Player  they must be embedded in an SWF file. Confusingly, the SWF which plays the FLV is usually called a Flash Video Player or Flash Media Player. So you have a player being played by a player!
Flash Video is the name of a file format used to deliver video over the Internet using Adobe Flash Player (formerly known as Macromedia Flash Player) versions 6–10. Until version 9 update 2 of the Flash Player, Flash Video referred to a proprietary file format, having the extension FLV. The most recent public release of Flash Player supports H.264 video and HE-AAC audio. Flash Video content may also be embedded within SWF files. Notable users of the Flash Video format include YouTube, Google Video, Reuters.com, Yahoo! Video, and many television news operations are also using Flash Video on their websites.
Flash Video is viewable on most operating systems, via the widely available Adobe Flash Player and web browser plugin, or one of several third-party programs such as MPlayer, VLC media player, Quicktime, or any player which uses DirectShow filters (such as Media Player Classic, Windows Media Player, and Windows Media Center) when the ffdshow filter is installed.
Commonly, Flash Video files contain video bit streams which are a variant of the H.263 video standard, under the name of Sorenson Spark. Flash Player 8 and newer revisions support the playback of On2 TrueMotion VP6 video bit streams. On2 VP6 can provide a higher visual quality than Sorenson Spark, especially when using lower bit rates. On the other hand it is computationally more complex and therefore will not run as well on certain older system configurations. Flash Player 9 Update 3 includes support for H.264 video standard (also known as MPEG-4 part 10, or AVC) which is even more computationally demanding, but offers significantly better quality/bitrate ratio.
The Flash Video file format supports two versions of a so called ’screenshare’ codec which is an encoding format designed for screencasts.[citation needed] Both these formats are bitmap tile based, can be lossy by reducing color depths and are compressed using zlib. The second version is only playable in Flash Player 8 and newer.[citation needed]
Support for encoding Flash Video files is provided by an encoding tool included with Adobe’s Macromedia Flash Professional 8 product, On2’s Flix encoding tools, Sorenson Squeeze, FFmpeg and other third party tools.[citation needed]
Audio in Flash Video files is usually encoded as MP3.[citation needed] However, Flash Video files recorded from the user’s microphone use the proprietary Nellymoser codec.[citation needed] FLV files also support uncompressed audio or ADPCM format audio.[citation needed] Recent versions of Flash Player 9 support AAC (HE-AAC/AAC SBR, AAC Main Profile, and AAC-LC).[citation needed]
On August 20, 2007, Adobe announced on its blog that with Update 3 of the Flash Player 9 (released), Flash Video will also support the MPEG-4 international standard. [1] Specifically, Flash Player will have support for video compressed in H.264 (MPEG-4 Part 10), audio compressed using AAC (MPEG-4 Part 3), the MP4, M4V, M4A, 3GP and MOV multimedia container formats (MPEG-4 Part 14), 3GPP Timed Text specification (MPEG-4 Part 17) which is a standardized subtitle format and partial parsing support for the ‘ilst’ atom which is the ID3 equivalent iTunes uses to store metadata.[citation needed]
A Flash Player 9 update including a new MP4 H.264 component was released on December 3, 2007
SWF-
SWF (acronym of “Shockwave Flash”,[1] pronounced swif) is a partially open file format[2] for multimedia and especially vector graphics developed by Adobe (formerly Macromedia). Intended to be small enough for publication on the web, SWF files can contain animations or applets of varying degrees of interactivity and function. SWF is also sometimes used for creating animated display graphics and menus for DVD movies, and television commercials.
SWF is currently the dominant format for displaying animated vector graphics on the web, far exceeding the W3C open standard SVG[citation needed], which has met with problems over competing implementations.
On 1 May 2008, Adobe dropped its licensing restrictions on the SWF format specifications, as part of the Open Screen Project. However, Rob Savoye, a member of the Gnash development team, has pointed to some parts of the Flash format which remain closed.
Originally limited to presenting vector based objects and images in a simple sequential manner, the newer versions of the format allow audio, video and many different possible forms of interaction with the end user. Once created, SWF files can be played by the Adobe Flash Player, working either as a browser plugin or as a standalone player. SWF files can also be encapsulated with the player, creating a self-running SWF movie called a “projector”.
The file format was first created by FutureWave, a small company later acquired by Macromedia with one primary objective: to create small files for displaying entertaining animations.[4] The idea was to have a format which could be reused by a player running on any system and which would work with slower network connection.
Plugins to play SWF files in web browsers are available from Adobe for most desktop operating systems, including Microsoft Windows, Apple Mac, and Linux on the x86 architecture. A free software implementation of a SWF player is Gnash, which as of 2007 is undergoing intensive development. Another FOSS implementation is swfdec.
Based on an independent study conducted by Millward Brown, over 99% of web users now have an SWF plugin installed, with around 90% having the latest version of the Flash Player.[5] Sony PlayStation Portable consoles can play limited SWF files in its web browser, beginning firmware version 2.71. Both the Nintendo Wii and the Sony PS3 consoles can run SWF files through their Internet browsers
