90° +6
FULL TIME! All over and it ends 3-3 in a superb game at Old Trafford! United made hard work of it, having to come back from 3-1 down but the point means they are into the last 16!

90° +4
Semberas is OFF! A second yellow after a tangle with Obertan and more misery for CSKA!

90° +3
This is very, very luck for United. Valencia has a dig, it's going miles wide until it takes a massive deflection, wrongfoots Akinfeev and heads into the back of the net! Would you believe it! What drama at Old Trafford!

90° +2
GOAL! UNBELIEVABLE! VALENCIA MAKES IT 3-3!!!!

85°
CSKA are penalised for handball out wide on the right. The free kick is whipped in and Scholes rises highest to head home! United have five minutes to find another!!

85°
Substitution Tomas Necid Nika Piliev

84°
Goal Paul Scholes

84°
GOAL! HERE WE GO! SCHOLES MAKES IT 3-2!!

59°
Substitution Fabio Da Silva Patrice Evra

58°
Substitution Nani Wayne Rooney

58°
Here comes the change. Nani is off, Roney is on.

56°
Fletcher finds Neville down the right, he crosses, Macheda can't quite get a touch on it and Akinfeev claims.

54°
Yellow Card Evgeni Aldonin

53°
Aldonin goes in the book for a rather rash challenge on Scholes. Rooney is stripped and ready ...

50°
Old Trafford seems stunned by that decision! The United bench look unimpressed and Rooney and Evra are warming up! Phew - it's all happening in Manchester! What next?

49°
PENALTY! No wait a minute Fletcher is booked for diving! The Scot looks to have his legs taken away from him but the referee doesn't agree! United are furious!!

48°
Sir Alex Ferguson will be furious at this goal. A free kick is drifted to the far post where an unmarked Berezutsky stoops to head past Van der Sar!

47°
GOAL! WOULD YOU BELIEVE IT! CSKA LEAD 3-1!!

47°
Goal Vasiliy Berezutskiy

46°
We're off again! No changes for either side at the break is United get this second half underway.

45° +1
HALF-TIME! CSKA lead 2-1 at the break! Can they hold on for a famous victory or can United seal another comeback? Join me after the break to find out.

45°
Chance for Macheda! Neville finds Macheda, who turns and shoots low. It's a decent effort but Akinfeev it equal to itand gets down well to block. Seconds latr, Scholes has a pop but again the stopper blocks!

43°
Minutes from the break now and still CSKA lead. No doubt if the scoreline remains the same in the second half we may just see a certain Wayne Rooney.

40°
Dzagoev tries to find Krasic but he's just put too much on the ball which allows van der Sar to save. Another warning to the home side though, that's for sure.

38°
Corner to United down the right. Valencia takes it, Brown heads just wide and Nani and Shchennikov wrestle each other to the ground. Goal kick to CSKA.

35°
Visitors are still pressing. Krasic flights a free kick into the box but it's just overhit. The English champions have work to do here.

32°
Krasic is the man who restores CSKA's lead! A super through ball finds him, onside, and he goes past van der Sar. The goalkeeper just gets a nick on the ball but Krasic simply spins around and smashes it into an empty net!

31°
GOAL!!! IT'S ANOTHER! CSKA BACK IN FRONT!2-1

31°
Goal Milos Krasic

30°
Valencia and Nani tee up Owen who turns and sweeps the ball low into the far corner for the qualiser!

29°
GOAL! WE'RE LEVEL! Michael Owen makes it 1-1!!

29°
Goal Michael Owen

26°
This is some goal by the youngster! He beats Brown, bears down on goal. Looks to have taken it too far before burying a shot into the top corner from a really angle! Super stuff!!

25°
GOAL! WHAT A STRIKE! It's Dzagoev who makes it 1-0 to CSKA!!

25°
Goal Alan Dzagoev

24°
Yellow Card Tomas Necid

24°
Great chance for Macheda! Super stuff from the youngster. He picks up possession on the edge of the box turns and bends a hot which is inches away! So close!

21°
Semberas has another try from fully 25 yards. Again it's high, wide and not very handsome and earns inevitable wolf whistles from the crowd.

18°
Another chance for Owen! Again the ball is worked to the striker int he box but again he can't quite get on the end of it. He'd better hope Fabio Capello isn't watching.

15°
Quarter of an hour gone at a rather muted Old Trafford it has to be said. CSKA looked bright in the opening minutes but since then United have taken control.

12°
FLETCHER!! Great shot by the Scot who absolutely hammers the ball. It looks destined for the back of the net but is millimetres away and somehow CSKA escape! What a chance!

9°
The home side are slowly warming to the task. Michael Owen is set up nicely after some good work by Valencia. The winger picks him out in the box but he competely scuffs his shot and the Russians breathe a sigh of relief.

%systemroot%\inf

C:\Program Files\Movie Maker

C:\Program Files\Movie Maker\Shared

C:\Program Files\Movie Maker\Shared\Profiles

Arsenal manager Arsene Wenger has been told he can expect an apology from Premier League referees chief Keith Hackett following his dismissal in the closing seconds of Saturday's 2-1 defeat to Manchester United.

League Managers Association chief executive Richard Bevan has spoken to Hackett about the Old Trafford incident which saw Wenger sent to the stands by referee Mike Dean on the advice of fourth official Lee Probert.

And he has been told that Wenger will receive an apology from the Premier Game Match Officials Board which appoints officials to top-flight games in England.

The Gunners boss caught Probert's attention when he kicked an empty water bottle down the touchline following a disallowed goal for Arsenal.

There was then confusion as Wenger seemed unaware of where he was supposed to go - moving first to the back of Arsenal dugout then starting to walk down the touchline as the whistle was blown.

On the decision to penalise Wenger, Bevan said: ''Although correct in 'law', it was completely out of context in the game and it was followed by the nonsense which followed over where Arsene Wenger should sit.''

He added: ''I've spoken to Keith Hackett and he fully recognises the situation was an error and an apology will follow to Arsene Wenger.

''Lee Probert totally failed to manage the situation and created a needless pressure point taking the focus away from the pitch in a big event with only a minute to go.''

8st 1oz, no food just pills in his stomach, bald, bruised, his ribs broken by CPR, 4 needle wounds near his heart...


THE horrifying state of pop superstar Michael Jackson in his final days can be revealed by The Sun today.

Harrowing leaked autopsy details show the singer was a virtual skeleton — barely eating and with only pills in his stomach at the time he died.

His hips, thighs and shoulders were riddled with needle wounds — believed to be the result of injections of narcotic painkillers, given three times a day for years.
And a mass of surgery scars were thought to be the legacy of at least 13 cosmetic operations.

Experts found the distressing evidence of Jacko’s physical decline while investigating his startling death in Los Angeles last week.

The examination showed the 5ft 10in star — once famed for his on-stage athleticism — had:

PLUNGED to a “severely emaciated” 8st 1oz. It is understood anorexic Jackson had been eating just one meagre meal a day.

Pathologists found his stomach empty aside from partially-dissolved pills he took before the painkiller injection which stopped his heart. Samples were sent for toxicology tests.
LOST virtually all his hair. The pop pin-up was wearing a wig when he died and pathologists said little more than “peach fuzz” covered his scalp.
A scarred section of skin above his left ear was entirely bald — apparently the result of a 1984 accident when his hair caught fire as he filmed an ad for Pepsi.
SUFFERED several broken ribs as frantic rescuers pumped his chest after he collapsed in cardiac arrest. Four injection sites were found above or near to Jacko’s heart.
All appeared to result from attempts to pump adrenaline directly into the organ in a failed bit to restart it.

Three of the injections had penetrated the heart wall — causing damage — but a fourth missed and hit one of the 50-year-old star’s ribs.

The autopsy also found unexplained BRUISING on Jackson’s knees and on the fronts of both shins. And there were CUTS on his back, indicating a recent fall.

The King of Pop’s once handsome face bore a network of plastic surgery scars, while the bridge to his nose had vanished and its right side had partially collapsed.

As inquiries into the tragedy last night focused on the star’s personal physician Dr Conrad Murray, a source close to the Jackson entourage said: “Michael’s family and fans will be horrified when they realise the appalling state he was in.

“He was skin and bone, his hair had fallen out and had been eating nothing but pills when he died. Injection marks all over his body and the disfigurement caused by years of plastic surgery show he’d been in terminal decline for years.

“His doctors and the hangers-on stood by as he self-destructed. Somebody is going to have to pay.”

Cardiologist Dr Murray was thought to have given Jackson the final injection of painkiller Demerol.

He is facing serious questions about his resuscitation attempts, which began when he started CPR as Jacko lay unconscious on a bed. Basic first aid guidance says patients must be face-up on a hard surface before compressions.

Experts yesterday expressed amazement that a trained cardiologist could have made such an error, potentially wasting vital minutes.

Additional damage was believed to have been caused by oxygen masks and tubing inserted during resuscitation attempts. But in an ironic twist, the probe found Jacko was recovering well from skin cancer — with an op to shave cells from his chest a total success.

A second autopsy demanded by the Jackson family was carried out at a secret location on Saturday after the first ruled out foul play.

Family friend Rev Jesse Jackson said the family were deeply suspicious about what caused his death.

Dr Murray was hired just 11 days ago by AEG Live — the firm masterminding Jacko’s 50-date residency at London’s O2 Arena, which was due to start next month.

Sources claimed the family were preparing a multi-million-dollar lawsuit against the cardiologist.

Detectives were unable to find the doctor at Jackson’s home and his car was taken away for analysis as police sought him for questioning. He surfaced late on Friday and was quizzed over the weekend.

The Sun told on Saturday how Jacko had developed stage fright for the first time and was terrified of performing the comeback gigs.

Aides claimed the ailing star even believed he would be KILLED if he pulled out on health grounds. We also revealed he was taking a potentially toxic cocktail of drugs.
Sources last night said prescriptions for drugs for patients other than Jacko were found at his home. Those patients were due to be quizzed

Sources

BLU-RAY rips
has a display resolution of 2 different types.
720P and 1080P and most of them use an .mkv container.

720P are 1280X720 but most of them are 1280X544 or 1280X688
Audio can be in Dolby Digital 2.0,5.1 and DTS 5.1,6.1,DTS-ES 7.1
size can be anywhere between 4.37GB up to 9GB

1080P are 1920x1080 and there about 1920x800 or 1920x1040
Audio can be in Dolby Digital,5.1 and DTS 5.1,6.1,DTS-ES 7.1
size can be anywhere between 8GB up to 14GB or more.

about the blu-rays some of you might say

why some blu ray mkv videos have the dimensions of 1280X544 or 1280X688, etc. but are still in 720p?

Shouldn't they be in 1280X720?

They are at that resolution because the black bars have been cropped off. Unless your are dealing with anime chances are that the videos will have black bars and depending on the encoder he/she can opt to either keep the black bars or crop them off.


Matroska, MKA, MKV, MKS
A new video and audio container format similiar to AVI but with several new features like support for OGG audio, Variable Framerate Video.
Matroska File Formats:
.mkv : Generally video files, as well those containing audio ( movies ) or video only
.mka : audio only files, can contain any supported audio compresion format, such as MP2, MP3, Vorbis, AAC, AC3, DTS, PCM and soon MPC ( musepack )
.mks : a so called 'elementary' matroska stream containing any subtitles stream

HDTV-Rip is a method of copying video that involves recording television shows or movies broadcast in high definition quality, often with 5.1 surround sound. The recording can either be done directly through a PC video capture device, or via a networked digital video recorder box. Either during or after recording, the video may be compressed using a variety of codecs, such as MPEG-4. An HDTV-Rip, however, does not need to be HD in its final format. It just needs to be captured from an HD source.

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.

R3
Region 3 is from Southeast Asia and East Asia (including Hong Kong)
The quality of R3 retail is very similar to dvdscr's.they must use a TS or a cam English audio rip because there high quality audio would only be in a Region 3 language.

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.

R5 is a warez release, made with a telecine machine from an analog source. Unlike a TC, the digitization is performed by the studio itself with very professional (and expensive) equipment and usually from the original source. The purpose of it is to create a high quality digital copy (usually for a later DVD release). But unlike a DVD, an R5 is released before the digital post-processing is finished. The quality of the rips can differ, but an R5 can be almost indistinguishable from a DVDRip since many movies are published on DVD with minimal editing.

The name R5 refers to DVD Region 5, which includes the former Soviet Union, the Indian subcontinent, and much of Africa. In an effort to compete with movie piracy in these areas, the movie industry chose to create a new format for DVD releases that could be produced more quickly and less expensively than traditional DVD releases. R5 releases differ from normal releases in that they lack both the image post-processing and special features that are common on DVD releases. This allows the film to be released for sale at the same time that DVD Screeners are released. Since DVD Screeners are the chief source of high-quality pre-DVD release pirated movies (in comparison to cam or telesync, mostly), this allows the movie studios to beat the pirates to market. Bootlegged copies of these releases are often distributed on the Internet.

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.

PPVRip
Recently we have seen a few of these PPVRip’s come out by P2P Release Groups. The source of a PPVRip is a Television Screen which is basically recorded to a PVR or DVD Recorder. A PPVRip looks exactly the same as a VHS-Screener as they both have the VHS/TV Full Screen resolution and the same principles apply when recording from a full screen source. The actual source of a PPVRip is a Hotel room TV which uses the room’s movies as the source.

What Does PPV Stand For?
PPVRips are Pay-Per-View videos which have been recorded from Hotel rooms. PPVRip is a Pay-Per-View video source.

Where Do PPVRip’s Come From?
PPVRips are said to have come from Pay-Per-View sources, but what is interesting is that all these releases are brand new movies which have not yet been released to Screener or DVD but are available to view by Hotel customers.

Which Hotel’s have these movies? Which country are they being shown in? How are they available before any other source?
These are common questions for which we have no answers yet. This is a brand new source and there is not much information regarding how these movies are commercially available. The PPVRip’s that are currently available on the internet are brand new releases, which have only recently left the theater and are the first source available for each of the releases.

It seems these movies are a promotional VHS-Screener source, but do not have any time codes or studio watermarks like normal Screener releases, this is the main difference between these two types of releases.
We hope to have some more information on PPVRip’s as time goes on, the first of these was only released 2 days ago and there has been a scouple of PPVRip’s since by STG group, who seems to be the only group with a PPV source at the moment.

PPVRip’s Available:
There is currently only a couple of these releases floating around at the moment, and we think they are all from the same supplier/hotel.

Fired.Up.2009.PPVRip.XviD-STG
Miss.March.2009.PPVRip.XviD-STG

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.

nHD
This either means “NhaNc3d HD” or “near HD” – probably the former. It is an abbreviation used by the non-scene release group “NhaNc3″, who operate over P2P. Their arguent is that their nHD releases are optimized to allow playback on lower-end processors.

Here’s an example; “Spiderman.3.2007.720p.nHD.x264.NhaNc3″.

Pre-

Pre, or “Pretime” (in this context) is the time taken between a group releasing something, and it becoming available on a torrent site or NewsGroup, or wherever. Different sources have different pretimes.

It could also refer to the time a release was created, and is useful for instance in deciding which of two releases was first, and hence which to nuke as a dupe.

Formats

x264 / H264
H264 / x264 is the next-generation video compression format. H264 / x264 is also known as MPEG-4 AVC. Developed for use in high definition systems such as HDTV, Blu-ray and HD-DVD as well as low resolution portable devices such as Sony PSP, Apple iPod, iPhones and Smartphones. H264 offers better quality at lower file sizes than both MPEG-2 and MPEG-4 ASP (DivX / XviD).
H.264 is the original commercial version of this format which is used by the studios and commercial manufacturers. x264 is the freeware version developed by open source coders to mirror the format and is used by many underground encoders and rippers as the format when encoding or converting into this format.
Most commercial or download movies in the H264 / x264 format are in either MKV or MP4 files, these are the most popular containers at the moment for this popular high quality/low file size format as the are compatible with the standards created by the manufacturers of many brands (Apple Quicktime, Blu-Ray, HD DVD, AVCHD).
H.264 is also sometimes referred to as MP4, this is technically incorrect. MP4 is a container format much like AVI or MKV and it can be used to “house” many different types of compression codecs, not just H.264. It is true though that MP4 is a very popular choice for the H.264 format. MP4 should not be confused with MPEG-4 video either.

VCD
VCD is an mpeg1 based format, with a constant bitrate of 1150kbit at a resolution of 352x240 (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 480x480 (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 352x480(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 circumstances. 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.

BD5/BD9 are types of BluRay Rip
BD9 and BD5 are lower capacity variants of the Blu-ray Disc that contain Blu-ray Disc compatible video and audio streams contained on a conventional DVD (650 nm wavelength / red laser) optical disc. Such discs offer the use of the same advanced compression technologies available to Blu-ray Discs (including H.264/MPEG-4 AVC, VC-1 and MPEG-2) while using lower cost legacy media. BD9 uses a standard 8152MB DVD9 dual-layer disc while BD5 uses a standard 4482MB DVD5 single-layer disc.

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.

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

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 Smile 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

RARset
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.

RECODE -
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.

**OOS** ::out of sync

DUPE -
Dupe is quite simply, if something exists already, then theres no reason for it to exist again without proper reason.

Non-Scene
This means that the release in question is not from “the scene” – it was not released by a genuine scene releaser but by either a one-off user, or other organised group of people. Official scene releases obey the Scene Rules.

Scene releasers distribute their releases via TopSites, not Peer-to-peer or Usenet NewsGroups. Non-scene releasers include individuals like aXXo, and tend to release directly over BitTorrent. In the end, a lot of actual scene releases end up on BitTorrent, thanks to people leaking them onto public sites. The scene members largely object to this behaviour.

AC3-
AC-3 is Dolby Digital (also “DD”) audio codec which can contain up to 6 channels of sound.

AC-3 imagniatively stands for “Audio Coding 3″. The “AC3″ name (without the hyphen) is often used to refer to any audio encoding which can be used for DVD encoding to match Dolby Digital’s specification, but is not specifically licensed by Dolby.

DTS-
DTS (also known as Digital Theater System(s), owned by DTS, Inc. (NASDAQ: DTSI), is a multi-channel digital surround sound format used for both commercial/theatrical and consumer grade applications. It is used for in-movie sound both on film and on DVD, on CD and during the last few years of the Laserdisc format's existence, several releases had DTS soundtracks.

1080i
1080i is the shorthand name for a category of video modes. The number 1080 stands for 1080 lines of vertical resolution, while the letter i stands for interlaced or non-progressive scan. 1080i is considered to be an HDTV video mode. The term usually assumes a widescreen aspect ratio of 16:9, implying a horizontal resolution of 1920 pixels and a frame resolution of 1920 × 1080 or about 2.07 million pixels, and a field resolution of 1920 × 1080 / 2 (because it's interlaced) or about 1.04 million pixels. The field rate (not the frame rate) in hertz can be either implied by the context or specified after the letter i. The two field rates in common use are 50 and 60 Hz, with the former (1080i50) generally being used in traditional PAL and SECAM countries (Europe, Australia, much of Asia, Africa), the latter (1080i60) in traditional NTSC countries (e.g. United States, Canada and Japan). Both variants can be transported by both major digital television formats, ATSC and DVB.
http://en.wikipedia.org/wiki/1080i

1080p
1080p is the shorthand name for a category of video modes. The number 1080 represents 1,080 lines of vertical resolution[1], while the letter p stands for progressive scan or non-interlaced. 1080p is considered an HDTV video mode. The term usually assumes a widescreen aspect ratio of 16:9, implying a horizontal (display) resolution of 1920 dots across and a frame resolution of 1920 × 1080 or over two million pixels. The frame rate in hertz can be either implied by the context or specified after the letter p (such as 1080p30, meaning 30 frames per second).
http://en.wikipedia.org/wiki/1080p

16:9
Aspect ratio most commonly known as widescreen or letterbox. It is wider than the standard 4:3 aspect ratio. 16:9 supporters state that the wider picture corresponds much better to the human visual field than the almost square 4:3.

2:2 pulldown
The process of transferring 24-frame-per-second film to video by repeating each film frame as two video fields. When 24-fps film is converted via 2:2 pulldown to 25-fps 625/50 PAL video, the film runs 4 percent faster than normal.

2:3 pulldown
The process of converting 24-frame-per-second film to video by repeating one film frame as three fields, then the next film frame as two fields

3:2 pulldown
An uncommon variation of 2-3 pulldown, where the first film frame is repeated for 3 fields instead of two. Most people mean 2:3 pulldown when they say 3:2 pulldown.

3GP
The mpeg4 based video format used in mobile terminals, like cell phones.

3ivX
3ivx is an MPEG-4 toolkit that supports MPEG-4 Video, MPEG-4 Audio and the MP4 File Format.
http://www.3ivx.com/technology/index.html

42
A Mac program that goes directly from DVD to various video formats including VCD, SVCD, and Divx.

480p
480p is the shorthand name for a video mode. The p stands for progressive scan, i.e. non-interlaced, while the 480 denotes a vertical resolution of 480 lines, usually with a horizontal resolution of 854 pixels and a 16:9 aspect ratio on high-definition television (HDTV), or 640 pixels and 4:3 aspect ratio on standard-definition television (SDTV).

4:1:1
4:1:1 Sampling
A ratio used to describe the sampling frequency of a digitized signal. The ratio describes luminance as being sampled 4 times at 3.37 MHz, while color is sampled 1 time at 3.37 MHz in each of it's separate parts. DV, DVCAM and DVCPRO25 use 4:1:1 color sampling. Formulated as: Y (luminance) is sampled at 13.5 MHz (or 3.37 x 4), R-Y (color) is sampled at 3.37 MHz (or 3.37 x 1), B-Y (color) is sampled at 3.37 MHz (or 3.37 x 1) equals 4:1:1.

4:2:2, 4:4:4, 4:4:4:4
Put simply 4:4:4 and 4:2:2 terms are descriptions of the sample formats used in digital video. In the early 80's tests were done to determine the sample formats and rates for digital video. The eventual sample structure used for SDI video ended up being 4 times the base sample rate chosen.
The first 4 in the 4:2:2 term is for luminance or the black and white information, and this is where most of the picture detail is. Early tests in television human vision discovered a greater sensitivity to black and white information, while the color is filled in with less detailed areas of the human eye. This means you can reduce the color information and your eye cannot really tell. This is what the 2:2 part of 4:2:2 is for. It means the red and blue channels of the video signal are half the bandwidth of the luminance information. Green is not sent, as you can calculate green from red, blue and luminance information.
This color bandwidth reduction has been used for years in broadcast color television, and in fact the color bandwidth of 4:2:2 is much higher than composite video. This all adds up to 4:2:2 being compatible with black and white or composite television, as the color and luminance information is sent separately, while only 2/3 of the data rate is required for about the same visual quality video.
4:4:4 video is similar, but this time all the color information is sent. RGB computer graphics are really 4:4:4. The 4:4:4:4 format adds a key channel.

4:3
Traditional nearly square aspect ratio used for most current analog television screens and IMAX movie theater screens. This aspect ratio will slowly be phased out in favor of the wider, more panoramic and movie-like 16:9 ratio. Video displays using a 4-by-3 ratio display images 4 units wide (horizontal measure) by 3 units tall (vertical measure).

The 4:3 ratio performs fine for television programming, which was designed for it, but it creates problems with movie material originally designed for theater release. The movies are created with a wider, more rectangular aspect ratio (16:9 or wider) in order to create a larger viewing surface and bring the viewer more into the film. On a traditional 4-by-3 aspect ratio display, these movies must be letterboxed or cut down in size (pan & scan).

5.1 Audio
In contrast to the Stereo sound system and conventional Surround Systems, this sound system offers five separate full band audio signals: Left, middle, right, rear left, rear right. An additional subwoofer (LFE) channel is also provided.

525/60
The scanning system of 525 lines per frame and 60 interlaced fields (30 frames) per second. Used by the NTSC television standard.

625/50
The scanning system of 625 lines per frame and 50 interlaced fields (25 frames) per second. Used by PAL and SECAM television standards.

720p
720p is the shorthand name for a category of HDTV video modes. The number 720 stands for 720 lines of vertical display resolution, while the letter p stands for progressive scan or non-interlaced.