I was wondering why Barry Braverman did not include more MPEG-2 encoders in his shootout article (“MPEG-2 Encoder Shootout,” April). I would think that the latest encoders from MainConcept and Ligos would have been included.

I have used all the major (and many lesser known) encoders and pushed all to the maximum quality settings while still remaining DVD and MPEG-2 compliant. In encoding eight hours of home video with each encoder, several dozen children and adults in blind tests chose the MainConcept encoder, with the Ligos second, followed by TMPGEnc, then the Cinema Craft, Discreet Cleaner, and Sonic Solutions encoders.

Also, I'm not sure why your judges had problems using the TMPGEnc. It's pretty easy to use, has lots of variables, and is fairly stable and bug-free.
Lenny Campbell

Your MPEG-2 encoder shootout was a huge disappointment because it did not include the excellent MainConcept encoder found in Premiere. Nor did it include TMPGEnc in the blind performance test. But your “shootout” did include obsolete encoders like Discreet Cleaner 6 and that Mac OS 9-only encoder.

Since the MainConcept encoder is bundled with Premiere, it's by far the most popular MPEG-2 encoder ever sold.
Dan Euritt
Ocean Street Video
Carlsbad, Calif.

Barry Braverman responds: The MPEG-2 encoders selected for the shootout were gleaned from conversations with leading professional DVD authors and compression houses, and from my own experience as director of DVD training at Video Symphony and consultant to Hollywood studios and replicators.

Contrary to the impression that may have been conveyed, the Sonic Solutions SD-2000 will run under Windows XP — as well as under the now aged Mac OS 9.

Nevertheless, I agree with readers, especially given the volume and vitriolic tone of some emails I received about the article. The MainConcept encoder should indeed have been included in the shootout, and for this I apologize. My colleague Steve Mullen is scheduled to review the Main Concept encoder in our September issue.

Professional image creators should note that the MainConcept encoder produces exceptionally clean results at relatively low to moderate bit rates. In my own tests, motion estimation may not be its strong suit, however, so some jitter may be expected in some high-motion scenes. Just as in life, you can't have your GOP and eat it, too.

Inevitably, owing to their nature, MPEG-2 encoders are replete with compromises. The ability to handle complex motion necessarily draws bits from somewhere else, and that somewhere else often is resolution, color, or contrast.

Encoders like the Cinema Craft Encoder SP (and the MainConcept to some extent) appear to sacrifice some motion estimation in exchange for the best-looking pictures possible. The CCE-SP class encoders thus may be preferable for feature work where the image quality of each frame is crucial. Conversely, these encoder choices may not be so ideal for certain sports titles, which, owing to their fast or complex action, could generally benefit from a more field-based approach as afforded by the Canopus ProCoder, for example.

Ultimately, today's DVD craftsman must be familiar with a range of encoders in order to choose the best one for a specific job.

As a corporate video producer, I read at least five trade publications a month to keep up with what's new in the business. In baseball terms, I count it as a base hit if I find one article per issue that really relates to what I do for a living.

In that regard, the April issue of Video Systems hit a grand slam. Almost all of the stories imparted some information I can use. From the Major League Baseball story to digital format wars to MPEG-2 encoders, on and on. Even reviews and one-pagers like Miller Time all apply in some way to what many of us video folks do.

While I realize you can't be all things to all people, you guys are getting damn close. Thanks for the great work and keep your stick on the ice.
John Windschitl
Allied Insurance
Des Moines, Iowa