When I first discovered Superbit variations of Hollywood-encoded feature films, I felt obligated to bring them under objective scrutiny; what improvement, if any, in DVD picture quality did Superbit-encoded titles bring to the table? And what technical differences were there in the encoding parameters used to create the discs?

I thoroughly enjoyed answering the questions that Superbit raised. In fact, analyzing Superbit-encoded DVD discs shaped the feature set for the comparative analysis features of the new MPressionist Pro HD 3.0. For example, I initially designed the per-pixel frame differencing feature of our new product as a way to compare a source movie with a compressed version. This is highly useful by itself. For instance, you can create two compressed versions (with different bitrate and encoding parameters), and compare each of them to the original, drawing from both objective and subjective criteria for deciding which version to use in your final DVD disc. Once I had this basic functionality up and running, my own desire to compare a Superbit movie and it's equivalent widescreen version, motivated me to add MPEG-to-MPEG movie comparison (complementing MPEG-to-QuickTime comparisons). And once I had MPEG-to-MPEG comparisons working, I discovered that there were edit differences in some of the titles. In other words, SpiderMan Widescreen Edition does not contain exactly the same number of frames as the Superbit Edition; in fact, the cropping on the frame is different as well. The desire to do frame-by-frame comparisons of these different 'cuts' motivated me to add the 'sync-point' matching feature of the new product: when comparing two different cuts, one simply needs to find an exact 'match-point' (identical frames at a cut scene), and from that position forward in the movie, the two versions can be compared. The addition of this feature also allows for comparing compressed segments (ie. MPEG movies created from in and out points of a longer source movie) with source footage.

Technically speaking, Superbit titles are encoded at approximately 1Mbs higher average bitrate than the corresponding widescreen edition. As well, the Superbit titles are basically devoid of fancy motion menus and 'DVD extras'. Two audio tracks, both English, carry complete surround sound programs in Dolby Digital and DTS formats. Alternate language tracks are not included.

Under slow-motion or still-frame scrutiny, the compressed picture is indeed of a higher quality. This increased quality is most evident in features shot on a grainy film stock: in Superbit-encoded titles, the grain of the film is much more visible than in the widescreen versions - suggesting that either the Widescreen versions were filtered before encoding, or that the low-pass characteristics of DCT quantization (employed by MPEG compression) was discarding the high-frequency grain structure least visible to the naked eye.

Even more compelling are the frame-difference comparisons for high-motion regions of these films. High-motion footage poses a greater challenge to video compression, and this is evident in comparing Superbit with non-Superbit titles. Typically, in standard widescreen versions, large frame differences can be observed during high-motion (and to a lesser extent, in highly textured) regions relative to the higher bitrate Superbit title.

Of the pairs of discs that I have compared thus far, Underworld (Superbit Collection) shows the least differences with it's equivalent Widescreen Edition. This is primarily due to the extremely 'soft' quality to the cinematography, rather than other factors. I also compared these versions to the Unrated Extended Cut. Unless you're planning to exercise MPressionist on these discs, my suggestion is to avoid the extended cut, which includes new scenes that, frankly, added nothing to the story and included weak performances by the characters, especially the Kraven character.

Analyzing Superbit-encoded titles also provided me with motivation for the extra quality improvements exposed in new features of MegaPEG Pro HD. Specifically, the new mastering quality setting, which uses extremely time-expensive encoding algorithms and makes only a very, very, very small improvement (over Best quality) to the final output. I decided that if someone wanted Superbit quality for their own independent feature, there ought to be an encoder capable of delivering it - even it it meant running the encoder for afew days. For everyone else, MegaPEG's 'Best' quality will deliver a superb picture in afew hours.

Even if you never decide to compare Superbit and Widescreen DVD discs produced by major motion picture studios, I think you'll find the new comparative analysis features of MPressionist Pro 3.0 to be highly useful in your work. I have. The new HD features, for instance, make it possible to compare the quality of HDV cameras, and the output of HDV encoders. If there is one thing that I have learned in my extensive hours of analyzing MPEG video, it is that all encoders are not created equal.