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  1. ┌──────────────────────────────────────────────────────────────────────────────┐
  2. │ THE.2020.WEB.AND.WEBRIP.SD.HD.X264.UHD.X265.RULESET.v2.0-WDX │
  3. │ │
  4. │ High Definition x264/H264 and Ultra High Definition x265/H265 WEB and WEBRip │
  5. │ Standards │
  6. │ Version 2.0 - 2020-05-13 │
  7. ├──────────────────────────────────────────────────────────────────────────────┤
  8. │ │
  9. │ [ Intro ] │
  10. │ The landscape of the WEB scene has changed in the last four years. │
  11. │ Subsequently, the ability to defeat DRM has become ubiquitous. │
  12. │ What were once rules written around the assumption that capturing and │
  13. │ transcoding would be more commonplace than lossless downloading have │
  14. │ naturally become increasingly out of date. │
  15. │ │
  16. │ HDTV is still slowly, but surely, being replaced by WEB. Not just in │
  17. │ quality, but with more and more providers transitioning to streaming at │
  18. │ airtime, and some even putting entire seasons up days/weeks before airtime. │
  19. │ │
  20. │ Transcoding only for crop has become a burden, and only serves to damage the │
  21. │ section. │
  22. │ Internals have been abused with rampant technical flaws, lesser quality and │
  23. │ identical files. │
  24. │ While UHD and HDR streams were but an afterthought four years ago, they have │
  25. │ now become a daily occurrence with groups left unsure of how to release │
  26. │ them. │
  27. │ │
  28. │ Worst of all, with an almost endless array of web sources available │
  29. │ simultaneously, groups continuously pick the first to appear, which, more │
  30. │ often than not, is the worst possible quality. │
  31. │ │
  32. │ This update will address all these issues and more, by taking one large leap │
  33. │ forward and no steps back. │
  34. │ │
  35. │ Compliance with this document is optional as of its pre date, and mandatory │
  36. │ as of 2020-05-20 00:00:00 UTC (1589932800 Unix time). │
  37. │ │
  38. ├──────────────────────────────────────────────────────────────────────────────┤
  39. │ │
  40. │ [ Recommended ] │
  41. │ It is recommended to view the unformatted version of this ruleset bundled │
  42. │ within this release. │
  43. │ │
  44. ├──────────────────────────────────────────────────────────────────────────────┤
  45. │ │
  46. │ [ Ruleset Structure ] │
  47. │ Rules listed under untouched or transcoded labelled sections only apply to │
  48. │ releases of that type and supersede any similar rule mentioned elsewhere. │
  49. │ e.g. Rule 8.1 defines SD as resolutions with a maximum horizontal display of │
  50. │ 720 pixels, unless the release is considered untouched, in which case rule │
  51. │ 1.6 applies. │
  52. │ │
  53. │ 1) [ Untouched: WEB.H264 / WEB.H265 ] │
  54. │ 1.1) Untouched releases must be considered as anything that has been │
  55. │ losslessly downloaded by official (offered) or unofficial │
  56. │ (backdoor) methods. │
  57. │ 1.1.1) Untouched video streams must be in the H.264/MPEG-4 AVC or │
  58. │ H.265/HEVC codec. See exception in 1.5.1. │
  59. │ 1.2) Source video and audio streams must be left as obtained from the │
  60. │ source. │
  61. │ 1.3) Untouched video streams with, and without, x264/x265 headers must │
  62. │ be tagged as WEB.H264 and WEB.H265 respectively. │
  63. │ 1.3.1) HEVC/H265 may only be used when the source does not offer a │
  64. │ H264 stream in situations it is used any untouched sections │
  65. │ referring to H264/x264 must be considered as H265/x265. │
  66. │ 1.4) Transcoding untouched files must only occur if files do not meet │
  67. │ the standards and specifications listed in this section, and must │
  68. │ only be a last resort. │
  69. │ 1.4.1) Any transcoding of untouched files must follow the │
  70. │ transcoding standards - see sections marked as 'Transcoded'. │
  71. │ 1.4.2) Transcoding must be done from files of the highest resolution │
  72. │ and bitrate offered. │
  73. │ 1.4.2.1) 720p/1080p and 1080p/2160p streams are considered of │
  74. │ equal value, unless DRM protection levels of │
  75. │ 1080p/2160p are laxed to 720p levels. │
  76. │ e.g. 2160p is protected at the same laxed level as │
  77. │ 720p. │
  78. │ e.g. 1080p is protected at the same laxed level │
  79. │ as 720p. │
  80. │ 1.4.3) Transcoding may occur when correcting a technical flaw. │
  81. │ e.g. Decimating a source with duplicates every 5th frame. │
  82. │ 1.4.4) In situations where a target resolution is not offered by any │
  83. │ lossless source, or the resolution offered by any source does │
  84. │ not meet the minimum resolution requirements, transcoding │
  85. │ from the highest resolution and bitrate offered is allowed. │
  86. │ However, if at least one source can provide the correct │
  87. │ resolution, transcoding is not allowed. │
  88. │ e.g. If 1080p and 720p can be retrieved from multiple │
  89. │ sources, but SD cannot be retrieved from any source, │
  90. │ transcoding the 1080p to SD is allowed. │
  91. │ 1.4.5) If the untouched file does not contain any technical flaws │
  92. │ and meets the minimum standards required, transcoding to │
  93. │ create any WEBRip is not allowed. │
  94. │ e.g. 1080p.WEB.H264 -> 720p.WEBRip.x264. │
  95. │ 1.4.5.1) When transcoding video for a valid reason, audio must │
  96. │ not be transcoded unless necessary and be included as │
  97. │ is and vice versa. │
  98. │ e.g. Video contains dupes and must be decimated, │
  99. │ audio is fine. Video must be re-encoded but the │
  100. │ audio must be included as is. │
  101. │ 1.4.5.1.1) Except for SD audio which must either be an │
  102. │ untouched track respecting rule 2.2 or a │
  103. │ transcoded track from the highest quality audio │
  104. │ track respecting rule 5.6.2. │
  105. │ 1.5) Untouched video streams which do not use an AVC or HEVC codec must │
  106. │ be transcoded and follow the transcoding standards, see section 3. │
  107. │ 1.5.1) Except in very rare cases VP9/AV1 may be used, only when the │
  108. │ source does not offer a H264/H265 stream. │
  109. │ 1.5.1.1) Any untouched sections referring to H264/x264 must be │
  110. │ considered as VP9 or AV1. │
  111. │ 1.5.1.2) Transcoding from either of these codecs, except when │
  112. │ correcting technical flaws, is not allowed. │
  113. │ 1.6) Standard definition (SD) refers to a resolution with a horizontal │
  114. │ minimum of 720 pixels, or a resolution which does not exceed the │
  115. │ specifications of 720p, see rule 8.2. │
  116. │ 1.6.1) If all sources provide standard definition resolutions which │
  117. │ fall below the above minimum, transcoding from the highest │
  118. │ available resolution is allowed, see rule 1.4.4. │
  119. │ 1.6.2) Except in situations where only one source has the file on │
  120. │ offer at a specific resolution. If the resolution of the file │
  121. │ falls below the above minimum, the file may still be │
  122. │ released. However, the NFO must state why the resolution does │
  123. │ not meet the minimum. │
  124. │ 1.7) In rare cases, a resolution exceeding the specifications outlined │
  125. │ in rules 1.6, 8.2, 8.3 and 8.4 is allowed when the only available │
  126. │ stream offered for the target resolution exceeds limitations due to │
  127. │ a reasonable circumstance. │
  128. │ e.g. Streaming provider offers 720p only at 1392x660 due │
  129. │ maintaining AR while offering a cropped stream. │
  130. │ 1.7.1) The NFO must state why the resolution exceeds the maximum. │
  131. │ 1.8) Must use the highest available bitrate offered by the source for │
  132. │ that resolution. │
  133. │ e.g. Releasing a 720p at 4,000 Kbps bitrate, when a 720p at │
  134. │ 8,000 Kbps bitrate is offered is not allowed. │
  135. │ 1.9) Retaining black borders (i.e. needs cropping) is not a technical │
  136. │ flaw. Transcoding only to perform cropping is not allowed. │
  137. │ 1.9.1) Container level cropping is not allowed. │
  138. │ 1.9.2) When transcoding to fix another valid technical flaw (e.g. │
  139. │ decimating duplicates), cropping must be applied if │
  140. │ necessary. │
  141. │ 1.10) VFR (Variable Frame Rate) methods are allowed only if present in │
  142. │ the original source. │
  143. │ 1.10.1) If CFR (Constant Frame Rate) can be used when remuxing and │
  144. │ does not result in playback issue, CFR must be used. │
  145. │ 1.10.1.1) FPS values stored in the video bitstream must be │
  146. │ corrected when remuxing. MKVToolnix with '--fix- │
  147. │ bitstream-timing-information' enabled is the │
  148. │ recommended method. │
  149. │ 1.11) Trimming unrelated footage (see rule 7.7) must be done losslessly │
  150. │ via keyframe intervals (GOP). MKVToolnix is the recommended tool. │
  151. │ 1.11.1) If unrelated footage cannot be removed via this method, │
  152. │ transcoding a maximum of one GOP per cut point is allowed │
  153. │ and the release must still be tagged WEB. VideoRedo is the │
  154. │ recommended tool. │
  155. │ 1.12) Incorrect pixel aspect ratio (PAR), or a non-square sample aspect │
  156. │ ratio (SAR), must be fixed using the correct display aspect ratio │
  157. │ (DAR) set at a container level (--aspect-ratio). MKVToolnix is the │
  158. │ recommended tool. │
  159. │ e.g. A video stream with a non-square SAR must specify the │
  160. │ correct DAR when muxing. │
  161. │ 1.13) Releases with a non-square SAR are not considered technically │
  162. │ flawed. │
  163. │ 1.13.1) However, a source which provides files with a square SAR │
  164. │ will trump an equivalent file with a non-square SAR. It is │
  165. │ recommended to use a source which provides files with a │
  166. │ square SAR. │
  167. │ 1.13.2) In situations where a source initially provides a non-square │
  168. │ SAR file and later updates with a square SAR file, the │
  169. │ initial release with a non-square SAR is considered of lower │
  170. │ quality and a technical flaw. │
  171. │ e.g. Release A: 960x720, SAR: 4:3, DAR: 16:9. │
  172. │ Release B: 1280x720, SAR: 1:1, DAR: 16:9. │
  173. │ Both releases are considered as 720p. │
  174. │ If Release A is first: Release A remains unnuked and is │
  175. │ a valid release until Release B is released. Release B │
  176. │ then propers Release A. │
  177. │ If Release B is first: Release A dupes Release B. │
  178. │ │
  179. │ 2) [ Untouched: Audio ] │
  180. │ 2.1) Must use the original audio track offered by the source. │
  181. │ 2.2) Standard definition releases must only contain an audio track with │
  182. │ a maximum of 2.0 channels. │
  183. │ 2.2.1) Except where the only available audio track on offer contains │
  184. │ more than 2.0 channels. The NFO must mention why an audio │
  185. │ track with more than 2.0 channels was used. │
  186. │ 2.2.2) In situations where a source provides two audio tracks, a 2.0 │
  187. │ and 5.1 track, the 2.0 audio track must be used. │
  188. │ 2.2.3) If a source provides identical channel audio tracks using two │
  189. │ different codecs, it is at the discretion of the group which │
  190. │ track is used. It is recommended to use the smaller file. │
  191. │ e.g. A source offers AC3 2.0 and AAC 2.0, the group may │
  192. │ choose to remux the AC3 or AAC. │
  193. │ 2.3) High Definition releases must use the highest available audio │
  194. │ format and quality offered by the source. │
  195. │ 2.3.1) Highest quality must determined by all characteristics of an │
  196. │ audio track in this order: positional metadata (e.g. Atmos), │
  197. │ channel count, codec and bitrate. │
  198. │ e.g. 576 Kbps, 5.1 E-AC3 w/ Atmos > 640 Kbps, 5.1 AC3 > │
  199. │ 2.0 E-AC3. │
  200. │ e.g. 385 Kbps, 5.1 AC3 > 128 Kbps, 5.1 E-AC3 │
  201. │ e.g. 445 Kbps 5.1 AAC > 384 Kbps, 5.1 E-AC3 │
  202. │ 2.3.2) In situations where a lesser audio format is offered for │
  203. │ larger resolutions in comparison to lower resolutions, groups │
  204. │ must use the highest available audio format from all │
  205. │ resolutions. │
  206. │ e.g. A source provides an AC3 5.1 track for SD │
  207. │ resolutions, but an AAC 2.0 track for 720p/1080p. The AC3 │
  208. │ 5.1 track must be used for 720p/1080p resolutions. │
  209. │ 2.3.3) If using the highest available audio format results in a │
  210. │ technical flaw (e.g. sync issues or glitches), minor │
  211. │ adjustments to the audio track may be applied. If groups are │
  212. │ unable to correct any flaws, the original audio track must be │
  213. │ used. │
  214. │ │
  215. │ 3) [ Transcoded: WEBRip.x264 / WEBRip.x265 ] │
  216. │ 3.1) Transcoded releases should be considered as anything that has been │
  217. │ captured or encoded by a group to a lesser format or quality │
  218. │ (lossy). │
  219. │ 3.2) Transcoded releases must be tagged as WEBRip.x264/x265. │
  220. │ 3.3) Streams must be captured at the highest available resolution and │
  221. │ bitrate offered. │
  222. │ e.g. Source offers 2160p, 1080p and 720p streams. Using │
  223. │ anything but the 2160p stream is not allowed. │
  224. │ 3.3.1) Streams must not have any degradation in quality throughout │
  225. │ the capture, and releases with drops to a lower resolution or │
  226. │ bitrate is considered a technical flaw. │
  227. │ 3.3.2) Audio must be captured in the highest format offered by the │
  228. │ source stream, not what the capturing device is capable of. │
  229. │ This includes channel count and bitrate offered. │
  230. │ e.g. If a Netflix show lists a 5.1 track, the resultant │
  231. │ capture and release should also contain a 5.1 audio │
  232. │ track. │
  233. │ 3.4) Captures should be done at the native broadcast framerate of the │
  234. │ source. │
  235. │ 3.4.1) Captures from devices which are unable to output a native │
  236. │ format must be restored to the original framerate. │
  237. │ 3.4.2) If captures cannot be completely restored to their native │
  238. │ framerate, it is considered a technical flaw. │
  239. │ e.g. A single dupe frame every 1000 or blended/ghost │
  240. │ frames due to mangling from the streaming device. │
  241. │ 3.5) Captures should be done at the native colour space of the source │
  242. │ (e.g. YUV or RGB), and manual corrections should be made to achieve │
  243. │ an output near-identical to the source. │
  244. │ 3.6) Capture software and hardware which introduces video cropping │
  245. │ greater than 2 pixels on any side is not allowed, and is considered │
  246. │ a technical flaw. │
  247. │ 3.7) Final resolution must maintain the same aspect ratio as the source │
  248. │ after cropping and kept at mod 2. │
  249. │ 3.7.1) Sources must have all black borders cropped to the widest │
  250. │ frame. │
  251. │ 3.7.2) The same aspect ratio as calculated from the source must be │
  252. │ used, see rule 8.12. │
  253. │ 3.8) If the video is being transcoded from an untouched source (rule │
  254. │ 1.4.4 and 1.4.5), the NFO must state the reason for transcoding. │
  255. │ 3.8.1) If a technical flaw is present that is being rectified by │
  256. │ transcoding (rule 1.4.3), the flaw must also be included with │
  257. │ the reason for transcoding. │
  258. │ e.g. A file from 2 lossless providers both have the same │
  259. │ interlacing flaw. │
  260. │ The flaw: Interlaced video. │
  261. │ The reason: No other WEB.H264 provider has a correctly │
  262. │ deinterlaced file. │
  263. │ │
  264. │ 4) [ Transcoded: Video Codec ] │
  265. │ 4.1) Video must be: │
  266. │ 4.1.1) H.265/MPEG-H HEVC encoded with x265 10-bit for SD/720p/1080p │
  267. │ HDR and 2160p SDR/HDR content. │
  268. │ 4.1.2) H.264/MPEG-4 AVC encoded with x264 8-bit for SD, 720p and │
  269. │ 1080p SDR content. │
  270. │ 4.1.3) Custom builds of x264/x265 are allowed and must be based off │
  271. │ the current x264/x265 codebase. e.g. tMod, kMod. │
  272. │ 4.2) x264/x265 headers must remain intact and must not be modified or │
  273. │ removed. │
  274. │ 4.3) x264/x265 must be kept up to date, with a maximum allowance, or │
  275. │ grace period, of 60 days before groups are required to update to │
  276. │ the latest revision. │
  277. │ 4.3.1) The official x264 git repository is the only reference for │
  278. │ determining the current revision: │
  279. │ https://code.videolan.org/videolan/x264/tree/stable │
  280. │ 4.3.2) The official x265 git repository is the only reference for │
  281. │ determining the current revision: │
  282. │ https://bitbucket.org/multicoreware/x265/wiki/Home │
  283. │ 4.3.2.1) Until such a time as MulticoreWare implement official │
  284. │ revisional building, 3rd party builds (e.g. self- │
  285. │ compiles, http://msystem.waw.pl/x265 or │
  286. │ https://builds.x265.eu) can be used and must be kept up │
  287. │ to date respecting 4.3. │
  288. │ 4.3.3) The 60 day grace period must only be applied at pre time, not │
  289. │ the tagged encoded date. │
  290. │ 4.3.4) The grace period is only applicable to the revision preceding │
  291. │ the latest update and does not reset active grace periods of │
  292. │ preceding revisions. │
  293. │ e.g. 2016-01-01: Revision A is used. │
  294. │ 2016-01-02: Revision B is committed, 60-day grace period │
  295. │ begins for revision A. │
  296. │ 2016-01-05: Revision C is committed, 60-day grace period │
  297. │ begins for revision B. │
  298. │ 2016-03-02: Revision A is no longer allowed, Revision B │
  299. │ or C may be used. │
  300. │ 2016-03-05: Revision B is no longer allowed, Revision C │
  301. │ must be used. │
  302. │ 4.4) Segmented encoding is not allowed. │
  303. │ 4.5) Constant Rate Factor (--crf) must be used. │
  304. │ 4.5.1) Decimal values may be used. │
  305. │ 4.5.2) Starting with an initial value of 16 or 14 (for especially │
  306. │ compressible sources) for 2160p, 17 for 720p/1080p and 19 for │
  307. │ SD is recommended. │
  308. │ 4.6) While the encoded video stream bitrate exceeds x percent (where x │
  309. │ is defined below) of the y (where y is defined below) resolution │
  310. │ source video stream bitrate, the CRF value must be incremented by 1 │
  311. │ or 0.1, until it does not. │
  312. │ 4.6.1) 2160p │
  313. │ 4.6.1.1) 20% for SD. │
  314. │ 4.6.1.2) 40% for 720p. │
  315. │ 4.6.1.3) 60% for 1080p. │
  316. │ 4.6.1.4) 98% for 2160p. │
  317. │ 4.6.2) 1080p │
  318. │ 4.6.2.1) 40% for SD. │
  319. │ 4.6.2.2) 70% for 720p. │
  320. │ 4.6.2.3) 98% for 1080p. │
  321. │ 4.6.3) 720p │
  322. │ 4.6.3.1) 60% for SD. │
  323. │ 4.6.3.2) 98% for 720p. │
  324. │ 4.6.4) SD │
  325. │ 4.6.4.1) 98% for SD. │
  326. │ 4.6.5) When the source codec is HEVC is being transcoded to AVC, 40% │
  327. │ of the source bitrate must be added to the video stream │
  328. │ bitrate, to account for HEVC's 40-50% improvement over AVC. │
  329. │ e.g. Transcoding 2160p SDR with a bitrate of 15,000 Kbps │
  330. │ to WEBRiP.1080p SDR - in this case, 40% of 15,000 Kbps is │
  331. │ 6,000. The bitrate used for calculations is now 21,000 │
  332. │ Kbps. │
  333. │ 4.7) Use of 2-pass is accepted for all resolutions. However, this method │
  334. │ should be used only in extreme cases and not as a primary │
  335. │ replacement for CRF methods. e.g. If the source contains an │
  336. │ excessive amount of grain or black and white scenes. │
  337. │ 4.7.1) The NFO must provide sufficient detailed evidence of 2-pass │
  338. │ producing a visual improvement, bitrate or file size │
  339. │ advantage over CRF in regards to the source used. │
  340. │ e.g. Source has heavy grain throughout, which required │
  341. │ the use of 2-pass to remain transparent at a reasonable │
  342. │ bitrate. Included in the proof directory is test encodes │
  343. │ of some troublesome areas at CRF and 2-pass showing a │
  344. │ substantial improvement in quality at a more reasonable │
  345. │ bitrate. CRF needs 6.5GB to stay transparent 2-pass only │
  346. │ needed 4GB is detailed evidence. │
  347. │ e.g. The source was grainy so 2-pass was used is NOT │
  348. │ detailed evidence. │
  349. │ 4.7.2) Exceeding CRF 24 on any resolution is a good indication to │
  350. │ consider the use of 2-pass. │
  351. │ 4.7.3) 2-pass encodes must follow the percentage values in 4.6, it │
  352. │ is recommended to target the maximum value allotted and work │
  353. │ down. │
  354. │ 4.8) Exceeding the percentage values in 4.6 is allowed, but very │
  355. │ detailed justification must be included in the NFO. │
  356. │ e.g. 720p encoded at CRF 13 resulting in an encode 80% of the │
  357. │ source, this value was picked as the sourced content had a lot │
  358. │ of strobing effects (e.g. 1m10s-15m30s) and confetti scenes │
  359. │ (e.g. 20m55s-50m60s) which compressed poorly and required a │
  360. │ higher bitrate to maintain transparency. Proof directory │
  361. │ contains samples of these troublesome scenes at 30% and 50% │
  362. │ showing a substantial picture improvement. │
  363. │ 4.9) Using unreasonably high CRF values or low target bitrates with │
  364. │ 2-pass for the source content is considered a technical flaw. │
  365. │ e.g. Producing a 1080p encode at 40% of the source bitrate, │
  366. │ offering no justification in the NFO and having poor │
  367. │ transparency to the source IS a technical flaw. │
  368. │ e.g. Producing a 1080p encode at 20% of the source bitrate │
  369. │ (This may occur on animation content to avoid a bloated │
  370. │ encode), offering justification in the NFO and having good │
  371. │ transparency to the source is NOT a technical flaw. │
  372. │ 4.10) Encoded video bitrate must not exceed the source video bitrate. │
  373. │ 4.10.1) Video bitrate refers only to the bitrate for the video │
  374. │ stream, and not the overall muxed bitrate of all streams │
  375. │ within the container or the bitrate of a captured file. │
  376. │ 4.10.1.1) Original video stream bitrate can be determined by │
  377. │ observing network traffic during playback, or │
  378. │ examining manifests/metadata of the encrypted video │
  379. │ when capturing. │
  380. │ 4.10.2) The following algorithm can also be used to estimate a CRF │
  381. │ value if the value originally used results in a bitrate │
  382. │ which exceeds the source's. │
  383. │ ValidCRF = [-6 * (DestinationBitrate - ExcessiveBitrate) / │
  384. │ ExcessiveBitrate] + CRFUsed │
  385. │ e.g. Source bitrate: 4,500Kbps │
  386. │ Target bitrate: ~3,400Kbps │
  387. │ Encoded bitrate @ CRF17: 5,900Kbps │
  388. │ ValidCRF = (-6 * (3400 - 5900) / 5900) + 17 │
  389. │ 4.11) Settings cannot go below what is specified for preset (--preset) │
  390. │ 'slower' for x264 or 'slow' for x265 by the revision used. │
  391. │ 4.12) Level (x264: --level, x265: --level-idc) must be: │
  392. │ 4.12.1) '3.1' for SD │
  393. │ 4.12.2) '4.1' for 720p │
  394. │ 4.12.3) '4.1' for 1080p, '4.2' for 1080p above 30fps │
  395. │ 4.12.4) '5.1' for 2160p, '5.2' for 2160p above 30fps. │
  396. │ 4.13) Custom matrices are not allowed. │
  397. │ 4.14) Zones (--zones) may be used, but should be used sparingly with a │
  398. │ high degree of caution, the NFO must provide sufficient detailed │
  399. │ evidence for each zone used. │
  400. │ e.g. Used a zone at CRF 13 between frames 1634-5343 due to │
  401. │ confetti spam and heavy motion resulting in very poor │
  402. │ compressibility. Proof directory contains two samples of this │
  403. │ scene with and without the use of the zone showing a drastic │
  404. │ improvement in quality while still keeping a reasonable file │
  405. │ size. │
  406. │ 4.15) GPU offloading or any other forms of acceleration (e.g. --opencl, │
  407. │ nvenc) is not allowed. │
  408. │ 4.16) Optional tuning (--tune) parameters allowed are: 'film', 'grain', │
  409. │ or 'animation'. │
  410. │ 4.17) Optional settings recommended for tuning per source, see │
  411. │ forum.doom9.org for further information: │
  412. │ 4.17.1) For complex video, --preset veryslow is encouraged. │
  413. │ 4.17.2) --aq-mode 3 --aq-strength x.x │
  414. │ 0.5-0.7 for grainy films. │
  415. │ 0.6-0.9 for digital films. │
  416. │ 0.9-1.1 for animation. │
  417. │ 4.17.3) --psy-rd x.x:0.0 │
  418. │ 0.8-1.2 for films. │
  419. │ 0.5-0.8 for animation. │
  420. │ 4.17.4) --deblock x:x │
  421. │ -3:-3 for films. │
  422. │ 1:1 for animation. │
  423. │ 4.18) Sample Aspect Ratio (--sar) must be '1:1' (square). │
  424. │ 4.19) Disabling deblocking (--no-deblock) is not allowed. │
  425. │ 4.20) Frame rate must be passed to x264/x265 such that the keyframe │
  426. │ interval (--keyint) and minimum GOP length (--min-keyint) can be │
  427. │ correctly set by the encoder. Changing these values is not │
  428. │ allowed. │
  429. │ 4.21) Color space must be 4:2:0. │
  430. │ 4.22) Color matrix (--colormatrix) may be optionally set to 'bt709' for │
  431. │ HD SDR content, but is not required. │
  432. │ 4.22.1) However color matrix must be set for all all SD SDR │
  433. │ resolutions. │
  434. │ 4.22.1.1) 'bt709' must be used for encodes from high definition │
  435. │ sources. │
  436. │ 4.22.1.2) Source specification must be used for standard │
  437. │ definition sources. │
  438. │ 4.22.1.3) 'undef' must be used if not specified by the source │
  439. │ for standard definition sources. │
  440. │ 4.23) x265 specifics: │
  441. │ 4.23.1) Range (--range), color primaries (--colorprim), transfer │
  442. │ (--transfer), color matrix (--colormatrix) and chroma sample │
  443. │ location (--chromaloc) must be set to the same value as the │
  444. │ source, or omitted if the source value is undefined. │
  445. │ 4.23.2) Ultra-HD Bluray support (--uhd-bd) is not allowed. │
  446. │ 4.23.3) High tier (--high-tier), repeat headers (--repeat-headers), │
  447. │ access unit delimiter (--aud) and HRD signalling (--hrd) │
  448. │ must be enabled. │
  449. │ 4.23.4) HDR releases must be encoded with: │
  450. │ 4.23.4.1) HDR10 signalling (--hdr10) and HDR10 optimization │
  451. │ (--hdr10-opt) enabled. │
  452. │ 4.23.4.2) Master Display (--master-display) and Max CL (--max- │
  453. │ cll) set to the same value as the source, or omitted │
  454. │ if the source value is undefined. │
  455. │ 4.23.4.2.1) Master Display and Max CL values must be taken │
  456. │ from the whole concatenated source, not a │
  457. │ partial source. e.g. the first m2ts file. │
  458. │ 4.24) Any form of tone-mapping (e.g. HDR to SDR, DV to SDR, HDR10Plus to │
  459. │ SDR) is not allowed. │
  460. │ 4.25) Suggested command line: │
  461. │ 4.25.1) x264 --preset slower --level ## --crf ## │
  462. │ 4.25.1.1) Optional tweaks: --no-mbtree --no-fast-pskip --no-dct- │
  463. │ decimate │
  464. │ 4.25.2) x265 --high-tier --repeat-headers --aud --hrd --preset slow │
  465. │ --level-idc ## --crf ## --range ## --colorprim ## --transfer │
  466. │ ## --colormatrix ## --chromaloc ## │
  467. │ 4.25.2.1) If HDR append: --hdr10 --hdr10-opt --master-display ## │
  468. │ --max-cll ## │
  469. │ 4.25.2.2) Optional tweaks: --no-cutree --no-open-gop --no-sao │
  470. │ --pmode --aq-mode 4 │
  471. │ │
  472. │ 5) [ Transcoded: Audio ] │
  473. │ 5.1) Segmented encoding is not allowed. │
  474. │ 5.2) Audio must not be resampled and must be kept in the original format │
  475. │ of the source. │
  476. │ e.g. 48 kHz for 48 kHz sources, 24 bit for 24 bit sources. │
  477. │ 5.2.1) Except when resampling due to codec limitations. │
  478. │ e.g. Source is TrueHD 192 KHz being transcoded to AC3 for │
  479. │ a 720p release, AC3 is limited to 48 KHz. Resampling is │
  480. │ accepted. │
  481. │ 5.3) Audio must not have gain levels (normalization) adjusted and must │
  482. │ be kept at the same levels as the source. │
  483. │ 5.4) Audio must not have channels altered or removed and must be kept at │
  484. │ the same channel count and layout as the source. │
  485. │ e.g. dual mono stays dual mono, mono stays mono, stereo stays │
  486. │ stereo, 5.1 stays 5.1 │
  487. │ 5.5) Lossy tracks include, but are not limited to: DTS-HD HR, E-AC3, │
  488. │ DTS-ES, DTS, AC3, AAC, MP2. │
  489. │ 5.6) Audio tracks must be: │
  490. │ 5.6.1) For 720p and above: │
  491. │ 5.6.1.1) Audio tracks already in a lossy format must not be │
  492. │ transcoded, but kept in the original format. │
  493. │ 5.6.1.2) In cases when no lossy format is available or │
  494. │ transcoding audio to correct technical flaws in the │
  495. │ audio track, AC3 or E-AC3 must be used. │
  496. │ 5.6.1.3) AC3 or E-AC3 bitrate must target 640 Kbps without │
  497. │ upscaling bitrate. Only the following methods are │
  498. │ allowed (in order of preference): │
  499. │ 5.6.1.3.1) Dolby Media Encoder │
  500. │ 5.6.1.3.2) eac3to: -640 │
  501. │ 5.6.1.3.3) FFmpeg: -b:a 640k │
  502. │ 5.6.1.4) When transcoding, positional audio metadata (e.g. │
  503. │ DTS:X, TrueHD Atmos) and channels above 5.1 (e.g. 7.1) │
  504. │ can be retained at the discretion of the group. │
  505. │ 5.6.2) VBR AAC LC (Low Complexity) for SD and commentary audio. │
  506. │ 5.6.2.1) Apple/QAAC, FDK-AAC or Nero must be used. │
  507. │ 5.6.2.2) Audio with more than two channels must be down-mixed to │
  508. │ stereo. Only the following methods are allowed (in │
  509. │ order of preference): │
  510. │ 5.6.2.2.1) eac3to: -downStereo │
  511. │ 5.6.2.2.2) FFMpeg: -ac 2 │
  512. │ 5.6.2.3) Quality based VBR encoding must be used; targeted or │
  513. │ constrained VBR must not be used. Only the following │
  514. │ methods are allowed (in order of preference): │
  515. │ 5.6.2.3.1) QAAC: --tvbr 82 --quality 2 │
  516. │ 5.6.2.3.2) FDK-AAC: --bitrate-mode 4 --profile 2 │
  517. │ 5.6.2.3.3) Nero: -q 0.4 │
  518. │ 5.6.3) FLAC must be used for lossless mono and lossless stereo │
  519. │ tracks, as well as multi-channel LPCM tracks. For all HD │
  520. │ resolutions from a retail source. │
  521. │ 5.6.3.1) The best compression (level 8, --compression-level-8) │
  522. │ must be used. │
  523. │ 5.6.3.2) Replay-gain values (--replay-gain) must not be applied. │
  524. │ │
  525. │ 6) [ Transcoded: Filters ] │
  526. │ 6.1) Inverse telecine (IVTC), de-interlacing, or decimation must be │
  527. │ applied as required. │
  528. │ 6.2) Only the following smart deinterlacers can be used: QTGMC (with │
  529. │ preset slow or better) or Nnedi3. │
  530. │ 6.3) Only the following accurate field matching filters may be used: │
  531. │ TIVTC or Decomb. │
  532. │ 6.4) Only the following sharp resizers can be used: Spline36Resize, │
  533. │ Spline64Resize or BlackmanResize. │
  534. │ 6.5) Only frame accurate input source plugins can be used such as: │
  535. │ DGIndex, DGDecNV or LSMASHSource. Use of frame inaccurate input │
  536. │ source filters (e.g. DirectShowSource) is not allowed. │
  537. │ 6.6) Use of destructive and effects filters including, but not limited │
  538. │ to: RemoveGrain, GrainFactory3, MedianBlur, FineSharp are not │
  539. │ allowed. │
  540. │ 6.7) Optional recommended filtering methods: │
  541. │ 6.7.1) Sources that require crop, and are not mod2 on opposing │
  542. │ sides, can be avoided by moving the video by one pixel. │
  543. │ e.g. 139 pixels can be cropped from the top and bottom of │
  544. │ a source. │
  545. │ source = LSMASHVideoSource("source.mkv") │
  546. │ Overlay(source, source, 0, -1) │
  547. │ Crop(0, 138, 0, -140) │
  548. │ 6.7.2) Use of SelectRangeEvery() as a quick method to test whether a │
  549. │ higher or lower CRF value should be used. │
  550. │ e.g. SelectRangeEvery(3000, 150). │
  551. │ 6.7.3) Selective debanding with f3kdb on scenes that require it is │
  552. │ recommended, high attention to detail and caution must be │
  553. │ observed. │
  554. │ │
  555. │ 7) [ Common: Video ] │
  556. │ 7.1) Multiple video tracks are not allowed. │
  557. │ 7.2) HDR, DV and HDR10Plus must only be released at the highest │
  558. │ resolution offered by the source, except in cases when 8.6.3 │
  559. │ applies. │
  560. │ e.g. Source offers 2160p, 1080p and 720p HDR streams HDR may │
  561. │ only be released at 2160p, not 1080p or 720p. │
  562. │ 7.3) Must be free from technical flaws. │
  563. │ 7.3.1) Technical flaws include, but are not limited to: sync issues, │
  564. │ interlacing, lack of IVTC, bad aspect ratio, invalid │
  565. │ resolution, unrelated footage, warnings, glitches not present │
  566. │ on source, under-crop, over-crop and DRM. │
  567. │ 7.4) Dupes based on source are not allowed, use INTERNAL. │
  568. │ 7.5) Single features must not be split across multiple files. │
  569. │ 7.5.1) Sources with opening and closing credits spanning across │
  570. │ multiple files must be released as a single release. │
  571. │ e.g. File 1: Opening credits │
  572. │ File 2: Feature │
  573. │ File 3: Closing credits │
  574. │ Release: A single file with opening credits, feature and │
  575. │ closing credits. Muxed together or encoded as a single │
  576. │ file. │
  577. │ 7.5.2) Sources with multiple episodes, parts etc., that are in a │
  578. │ single video file, must be split into individual releases if │
  579. │ there is a clear delineation between them, such as credits. │
  580. │ e.g. Source contains 10 episodes in a single stream with │
  581. │ all episodes strung together with credits between every │
  582. │ episode, each episode must be released separately. │
  583. │ 7.6) Non-feature footage including, but not limited to: credits, │
  584. │ previously on, intertitles must not be removed or encoded │
  585. │ separately. │
  586. │ 7.6.1) In situations of a progressive feature containing interlaced │
  587. │ non-feature footage, the interlaced footage may be left │
  588. │ interlaced, or only that footage must be deinterlaced. │
  589. │ e.g. Only the credits are interlaced, you may leave them │
  590. │ interlaced or only apply a deinterlacer to the credits, │
  591. │ not the entire video. │
  592. │ 7.7) Unrelated footage must be removed. │
  593. │ 7.7.1) Unrelated footage includes, but is not limited to: │
  594. │ commercials, content warnings, studio worksheets, test │
  595. │ screens, piracy warnings. │
  596. │ 7.8) English-spoken features must not contain foreign overlays for │
  597. │ relevant on-screen information. │
  598. │ 7.8.1) Relevant on-screen information includes, but is not limited │
  599. │ to: location titles, hardcoded subtitles, introduction text, │
  600. │ or any other information essential to the plot of the │
  601. │ feature. │
  602. │ 7.8.2) Non-relevant on-screen information includes: opening credits, │
  603. │ movie title, closing credits. │
  604. │ 7.8.3) For sources where relevant on-screen information is included │
  605. │ in the form of English subtitles instead of overlays, these │
  606. │ subtitles must be included as a forced track (see 11.2). If │
  607. │ the source does not include them in English, it is not │
  608. │ allowed to omit them and release the feature without them, as │
  609. │ it is still considered relevant information. │
  610. │ 7.9) Using multiple web based video sources of the same feature is │
  611. │ allowed and must not be encoded separately. Each source and what │
  612. │ content came from which must be noted in the NFO. │
  613. │ e.g. Feature from a German streaming service with credits from │
  614. │ an American streaming service to avoid German translated │
  615. │ credits, as the German streaming service had better quality for │
  616. │ the feature. │
  617. │ │
  618. │ 8) [ Common: Resolution / Aspect Ratio ] │
  619. │ 8.1) Standard definition (SD) refers to a maximum horizontal display │
  620. │ resolution of 720 pixels. │
  621. │ 8.2) 720p refers to a maximum display resolution of 1280x720. │
  622. │ 8.2.1) For aspect ratios greater than or equal to 1.78:1, horizontal │
  623. │ pixel width must be 1280 pixels. │
  624. │ e.g. Source aspect ratio of 2.40:1 will resize to │
  625. │ 1280x534. │
  626. │ 8.2.2) For aspect ratios less than or equal to 1.78:1, vertical │
  627. │ pixel height must be 720 pixels. │
  628. │ e.g. Source aspect ratio of 1.33:1 will resize to │
  629. │ 960x720. │
  630. │ 8.3) 1080p refers to a maximum display resolution of 1920x1080. │
  631. │ 8.4) 2160p refers to a maximum display resolution of 3840x2160. │
  632. │ 8.5) Resolution must be mod2. │
  633. │ 8.6) Upscaling is not allowed. │
  634. │ 8.6.1) 1080p from a 1080p source and 2160p from a 2160p source │
  635. │ encodes must only be cropped, no resizing is allowed. │
  636. │ 8.6.2) In situations where cropping is needed vertically and/or │
  637. │ horizontally, resolutions are allowed to be under the max │
  638. │ height or width. │
  639. │ e.g. 1080p at 1916x1072 is acceptable. │
  640. │ 8.6.3) In situations where the source video stream does not meet the │
  641. │ minimum requirements for 720p/1080p/2160p, the video must be │
  642. │ resized down to SD/720p/1080p and a source sample must be │
  643. │ included. │
  644. │ 8.7) Dupes based on resolution are not allowed, use INTERNAL. │
  645. │ 8.7.1) Releases with an AR difference of at least 5% to the previous │
  646. │ release are not considered a dupe. These releases must be │
  647. │ tagged as WS, FS or OM (open matte), not PROPER, and the │
  648. │ original release must not be nuked. Original aspect ratio │
  649. │ (OAR) releases are always allowed. │
  650. │ 8.7.1.1) AR difference example: │
  651. │ Old release resolution (after crop) is 1920x1040 │
  652. │ New release resolution (after crop) is 1440x1080 │
  653. │ OldReleaseAR = 1920 / 1040 = 1.846 │
  654. │ NewReleaseAR = 1440 / 1080 = 1.333 │
  655. │ (OldReleaseAR - NewReleaseAR) / [(OldReleaseAR + │
  656. │ NewReleaseAR) / 2] = AR difference │
  657. │ |AR difference * 100| = AR difference (%) │
  658. │ (1.846 - 1.333) / [(1.846 + 1.333) / 2] = 0.322 │
  659. │ |0.322 * 100| = 32.2% │
  660. │ 32.2% is greater than the 5% minimum, therefore the new │
  661. │ release is not considered a dupe. │
  662. │ 8.8) Black borders, and anything that is not part of the feature, must │
  663. │ be cropped. │
  664. │ 8.8.1) Black borders include, but are not limited to: black or │
  665. │ colored borders, duplicate lines, dirty lines or pixels. │
  666. │ 8.8.2) Retention or removal of faded edges is left to the discretion │
  667. │ of the group. Inclusion of faded edges is not considered a │
  668. │ technical flaw. │
  669. │ 8.8.2.1) Faded edges refers to a line of pixels which are of │
  670. │ similar appearance to pixels parallel to the video │
  671. │ frame. │
  672. │ 8.8.2.2) Releases which include faded edges must consider faded │
  673. │ edges as a valid part of the video frame and do not │
  674. │ count as black borders. │
  675. │ e.g. A release cannot be propered if 1 pixel of │
  676. │ faded edges and 1 pixel of black exists. │
  677. │ 8.8.3) In the case of varying aspect ratios throughout the feature, │
  678. │ video must be cropped to the widest frame. │
  679. │ 8.8.3.1) Studio logos and credits must be disregarded when │
  680. │ determining the widest frame. │
  681. │ 8.8.4) Situations where video cropping of the same content varies │
  682. │ between sources are not considered a technical flaw, and may │
  683. │ not be propered. │
  684. │ 8.9) Video can be over or under-cropped by a maximum of 1 pixel per │
  685. │ side. Over or under-cropping by more than 1 pixel per side is │
  686. │ considered a technical flaw. │
  687. │ 8.9.1) Under-crop refers to portions of the video frame which is not │
  688. │ part of the feature. │
  689. │ 8.10) Resolution must be within 0.2% of the original aspect ratio. │
  690. │ 8.10.1) The original aspect ratio must only be calculated from the │
  691. │ source after cropping. │
  692. │ 8.10.2) In situations where the source aspect ratio is incorrect as │
  693. │ a result of bad mastering, a source sample and comparison │
  694. │ screenshot of the final aspect ratio must be included. │
  695. │ 8.11) Sample aspect ratio (SAR): │
  696. │ SAR = (PixelHeight / PixelWidth) / (DARHeight / DARWidth) │
  697. │ 8.12) Display aspect ratio (DAR): │
  698. │ DAR = (PixelWidth * DARWidth) / (PixelHeight * DARHeight) │
  699. │ 8.13) Display resolution: │
  700. │ DisplayWidth = PixelWidth * (SARWidth / SARHeight) │
  701. │ 8.14) Aspect ratio (AR) error: │
  702. │ Original AR = (SourceWidth - [CropLeft + CropRight]) / │
  703. │ (SourceHeight - [CropTop + CropBottom]) │
  704. │ Release AR = EncodeWidth / EncodedHeight │
  705. │ AR Error % = [(Original AR - Release AR) / Original AR] * 100 │
  706. │ 8.15) Target resolution when resizing to maintain mod2 and reduce AR │
  707. │ error: │
  708. │ TargetHeight = TargetWidth / [(SourceWidth - [CropLeft + │
  709. │ CropRight]) / (SourceHeight - [CropTop + CropBottom])] │
  710. │ The correct mod2 value can also be calculated from the ceiling of │
  711. │ TargetHeight if the value is odd, and the floor of TargetHeight if │
  712. │ the value is even. │
  713. │ 8.15.1) Alternatively, the following can be used to confirm the │
  714. │ correct resolution is used from the above method by │
  715. │ calculating the upper and lower integer limit of │
  716. │ TargetHeight: │
  717. │ HeightA = floor(TargetHeight + (TargetHeight mod2)) │
  718. │ HeightB = floor(TargetHeight - (TargetHeight mod2)) │
  719. │ The TargetHeight value (HeightA or HeightB) which results in │
  720. │ an aspect ratio error which tends to zero must be used. │
  721. │ e.g. TargetWidth: 1280. │
  722. │ SourceWidth: 1920, SourceHeight: 1080. │
  723. │ CropLeft + CropRight = 0, CropTop + CropBottom = 4. │
  724. │ TargetHeight = 1280 / ((1920 - 0) / (1080 - 4)) or │
  725. │ 717.33. │
  726. │ HeightA = floor(717.33 + (717.33 mod2)) or 718. │
  727. │ HeightB = floor(717.33 - (717.33 mod2)) or 716. │
  728. │ TargetWidth x HeightA = 1280x718 with -0.09% AR error. │
  729. │ TargetWidth x HeightB = 1280x716 with 0.19% AR error. │
  730. │ -0.09% tends closer to zero than 0.19% does (0.09 < │
  731. │ 0.19), therefore, HeightA must be used. │
  732. │ │
  733. │ 9) [ Common: Framerate ] │
  734. │ 9.1) Constant frame rate (CFR) must be used. │
  735. │ 9.1.1) Variable frame rate (VFR) methods are not allowed. │
  736. │ 9.2) Dupes based on frame rate are not allowed, use INTERNAL. │
  737. │ 9.3) Features which contain a constant dupe sequence must be decimated. │
  738. │ e.g. A silent movie at 1080p24 with a dupe sequence of 1-in-6 │
  739. │ must be decimated to 20 fps. │
  740. │ 9.4) For sources which contain footage at varying frames per second │
  741. │ throughout (hybrid sources), applying an inverse telecine is left │
  742. │ to the discretion of the group. The NFO must list a reason as per │
  743. │ the final decision chosen. │
  744. │ 9.4.1) It is assumed that the majority of the feature contains │
  745. │ enough unique frames to not require an inverse telecine │
  746. │ filter. If it can be proven an inverse telecine or decimating │
  747. │ filter does not result in any loss of unique frames, this is │
  748. │ considered a technical flaw. │
  749. │ e.g. The feature is filmed at 29.970 fps, but contains │
  750. │ some footage filmed at 23.976 fps. Choosing to encode the │
  751. │ entire release at 29.970 is valid. │
  752. │ 9.5) Native and converted frame rates refer to the standard in which the │
  753. │ feature was produced. │
  754. │ 9.5.1) NTSC produced content is native to NTSC. │
  755. │ 9.5.2) PAL produced content is native to PAL. │
  756. │ 9.5.3) NTSC produced content that is mastered in PAL is considered │
  757. │ as converted video. │
  758. │ 9.5.4) PAL produced content that is mastered in NTSC is considered │
  759. │ as converted video. │
  760. │ 9.6) Sources which contain converted video must be restored to the │
  761. │ original frame rate. │
  762. │ 9.6.1) Converted video includes, but is not limited to: ghosted, │
  763. │ blended, or duplicate frames. │
  764. │ 9.6.2) Converted video does not include NTSC to PAL or PAL to NTSC │
  765. │ sources which are sped up or slowed down. │
  766. │ 9.6.2.1) NTSC slow down or PAL speed up must be corrected by │
  767. │ muxing video to the correct fps and slowing down or │
  768. │ speeding up audio. eac3to is the recommended tool. │
  769. │ e.g. Source is PAL sped up, therefore it must be │
  770. │ slowed down back to NTSC. │
  771. │ Video: Mux with --default-duration 24000/1001p - to │
  772. │ force NTSC fps │
  773. │ Audio: eac3to input.ac3 output.ac3 -slowdown │
  774. │ -keepDialnorm - to slow audio down to NTSC │
  775. │ 9.6.2.2) Relevant rules from section 5 must be respected when │
  776. │ transcoding audio. │
  777. │ 9.6.2.3) WEB releases must still be tagged as such, when only │
  778. │ correcting slow down or speed up. │
  779. │ 9.6.2.4) 24 fps must be considered a valid frame rate and not │
  780. │ corrected, if it is only sped up or slowed down with no │
  781. │ other issues. │
  782. │ 9.6.3) If the restoration process is successful in restoring the │
  783. │ footage to the native format without significant issues or │
  784. │ artifacts, the CONVERT tag must not be used. │
  785. │ 9.6.4) In situations where the footage cannot be restored to the │
  786. │ native format or results in significant issues or artifacts, │
  787. │ the CONVERT tag must be used. │
  788. │ 9.7) True 50 / 59.940 fps video must be released at 50 / 59.940 fps. │
  789. │ True 25 / 29.970 fps video released at 50 / 59.940 fps is not │
  790. │ allowed and considered a technical flaw. │
  791. │ 9.7.1) In cases of varying framerates of 25 / 29.970 fps and true 50 │
  792. │ / 59.940 fps, the framerate of the main feature must be used. │
  793. │ e.g. studio for talk shows, game coverage for sports. │
  794. │ 9.7.2) In rare situations, 25 / 50 fps sources must be restored to │
  795. │ 23.976 or 29.97 fps. │
  796. │ 9.7.3) In rare situations, 29.97 / 59.940 fps sources must be │
  797. │ restored to 25 fps. │
  798. │ │
  799. │ 10) [ Common: Audio ] │
  800. │ 10.1) Sync must not drift during the entire release. │
  801. │ 10.2) Glitching or unrelated audio that occurs in any audio channel │
  802. │ present (e.g. L, R, C) is considered a technical flaw. │
  803. │ 10.2.1) Glitching is defined as, but not limited to: an audible │
  804. │ glitch, missing audio, pops or clicks as a result of │
  805. │ encoding, unintended gaps within playback, missing dialogue, │
  806. │ muted or muffled audio. │
  807. │ 10.3) An English spoken release must only contain a single English │
  808. │ dialogue track. │
  809. │ 10.3.1) Except in situations of a remastered/restored source, │
  810. │ whereby both original and remastered/restored audio track │
  811. │ may be muxed in. It is at the discretion of the group which │
  812. │ track is chosen as the primary dialogue track. │
  813. │ 10.4) A non-English spoken release may contain a secondary dialogue │
  814. │ track. │
  815. │ 10.4.1) The original audio track must be used and forced English │
  816. │ subtitles must be present, see 11.2. │
  817. │ 10.4.2) Secondary dubbed tracks must only be different dialects or │
  818. │ varieties of the original language or an English dub. │
  819. │ e.g. Original Spanish with secondary Latin Spanish. │
  820. │ e.g. Original French with secondary English dub. │
  821. │ 10.4.3) In rare cases, a third dubbed track may be included for │
  822. │ another dialect or variety of the original language, │
  823. │ accompanied with an English dubbed track. │
  824. │ e.g. Chinese original language, English dubbed track and │
  825. │ a Cantonese dubbed track. │
  826. │ 10.5) Non-English spoken releases which use only a dubbed track must be │
  827. │ tagged as DUBBED. │
  828. │ 10.6) Commentary audio may be included. │
  829. │ 10.7) Audio tracks must only be included once at the highest level of │
  830. │ quality allowed for that resolution. e.g. Including an English │
  831. │ dialogue track at lossless DTS-HD and lossy AC3 is not allowed. │
  832. │ 10.7.1) This does not apply to embedded cores in lossless tracks, │
  833. │ which are broken out by muxers as additional tracks. │
  834. │ 10.8) Including additional special audio tracks (e.g. isolated scores, │
  835. │ original mixes, different narrators) is allowed. │
  836. │ 10.9) Supplementary audio tracks must have the title field set to a │
  837. │ descriptive name. e.g. original, remastered, commentary with │
  838. │ director. │
  839. │ 10.10) The correct ISO 639 language code supported by MKVToolnix must be │
  840. │ set for all audio tracks. │
  841. │ 10.10.1) In situations where the language is not supported by │
  842. │ MKVToolnix, 'und' must be used. │
  843. │ 10.11) Dupes based on multiple audio tracks, audio format, different │
  844. │ narrators or remastered audio are not allowed, use INTERNAL. │
  845. │ 10.12) Retail audio may be used in place of audio tracks extracted from │
  846. │ the source. Each source and what content came from which must be │
  847. │ noted in the NFO. │
  848. │ e.g. Video from Netflix, dubbed track from DVD. │
  849. │ 10.12.1) Lossless tracks include, but are not limited to: DTS:X, │
  850. │ TrueHD Atmos, DTS-HD MA and TrueHD. │
  851. │ 10.12.2) Use of the highest quality retail lossless track in the │
  852. │ order of preference specified in 10.12.1 is accepted for │
  853. │ resolutions above 720p. │
  854. │ 10.12.3) 720p must respect 5.6.1 by first attempting to extract an │
  855. │ AC3 or E-AC3 core at or above 640 Kbps or transcoding from │
  856. │ the best lossless/lossy retail track. │
  857. │ 10.12.4) SD and commentary audio must respect 5.6.2, by transcoding │
  858. │ from the best lossless/lossy retail track. │
  859. │ │
  860. │ 11) [ Common: Subtitles ] │
  861. │ 11.1) All subtitles present on the source must be converted to SubRip │
  862. │ format and included in the release. │
  863. │ 11.1.1) It is at the discretion of the group to include forced │
  864. │ subtitles for dubbed audio tracks not included in the │
  865. │ release. │
  866. │ 11.1.2) Except in cases when 11.2.2 applies for non-forced tracks, │
  867. │ PGS or ASS format must be used instead. │
  868. │ 11.1.3) Except when capturing non-forced subtitles are optional, but │
  869. │ it is strongly recommend to find a way to extract them from │
  870. │ the source. │
  871. │ 11.2) Features with foreign dialogue or overlays must include a separate │
  872. │ SubRip subtitle (.srt) track for forced English subtitles set as │
  873. │ forced and default. │
  874. │ 11.2.1) Except in situations where the source video stream contains │
  875. │ hardcoded subtitles for non-English dialogue and overlays. │
  876. │ 11.2.2) Except for features with excessive positional subtitles │
  877. │ (e.g. Anime) which cannot be presented well in SubRip │
  878. │ format. PGS or ASS subtitles must be used instead and set as │
  879. │ forced and default. │
  880. │ 11.3) Forced SubRip subtitles must be free of technical flaws. │
  881. │ Including, but not limited to: sync issues, spelling, incorrect │
  882. │ OCR. │
  883. │ 11.3.1) SubRip subtitles must be carefully OCR'd. │
  884. │ 11.3.2) Minor errors in grammar or punctuation which do not change │
  885. │ the meaning of the sentence are tolerated. However, it is │
  886. │ recommended all errors be corrected. │
  887. │ 11.4) Subtitles from an officially licenced (e.g. HBO TV, Starz TV) HDTV │
  888. │ source or retail discs of the same feature are allowed. │
  889. │ 11.4.1) Subtitles included from another source must be noted in the │
  890. │ NFO. The source and which subtitle tracks used must be │
  891. │ mentioned. │
  892. │ 11.4.2) Fan-made or custom subtitles are not allowed. │
  893. │ 11.4.2.1) This does not included stripped SDH subtitles, which │
  894. │ may be optionally made by groups from a valid SDH │
  895. │ subtitle. │
  896. │ 11.5) Hardcoded subtitles which are only present in the source video │
  897. │ stream are allowed, with the exception of non-English hardcoded │
  898. │ subtitles in English features. │
  899. │ 11.5.1) When hardcoded subtitles extend over the entire feature, it │
  900. │ must be tagged as SUBBED. │
  901. │ e.g. English hardcoded subtitles throughout entire │
  902. │ feature = Tag SUBBED │
  903. │ e.g. English hardcoded subtitles for foreign │
  904. │ dialogue only = Do not tag SUBBED │
  905. │ 11.5.2) Subtitles which are only present within the letterboxed │
  906. │ matte (i.e. the black borders) of a video frame must be │
  907. │ cropped and OCR'd to SubRip format. │
  908. │ 11.5.3) In situations where subtitles overlay active video and │
  909. │ letterbox matte, cropping must be to the widest frame where │
  910. │ the subtitles are present and applied equally to the │
  911. │ relevant sides of the video frame. │
  912. │ 11.5.4) 11.5.2 and 11.5.3 do not apply to WEB releases. │
  913. │ 11.6) Subtitles, unless otherwise stated, are not subject to propers or │
  914. │ nukes for any technical flaws that may be present in the track. │
  915. │ 11.7) Dupes based on subtitles are not allowed, use INTERNAL. │
  916. │ │
  917. │ 12) [ Common: Subtitle Format ] │
  918. │ 12.1) Allowed formats are PGS (.sup), SubStation Alpha (.ass) and SubRip │
  919. │ (.srt). │
  920. │ 12.1.1) Compression must only be used when muxing PGS subtitles, │
  921. │ zlib is the only allowed compression algorithm. │
  922. │ 12.1.2) PGS subtitles must not be resized and must be muxed as is. │
  923. │ 12.1.3) UTF-8 encoding must be used for SubStation Alpha and SubRip │
  924. │ subtitle tracks. │
  925. │ 12.1.4) When converting to SubStation Alpha format, subtitles must │
  926. │ be cleanly converted without any unnecessary modifications │
  927. │ to display format. e.g. position, font, color. Subtitle Edit │
  928. │ is the recommended tool. │
  929. │ 12.1.5) Closed captions (e.g. CEA-708) embedded in video bitstreams │
  930. │ must be left as is and not stripped. │
  931. │ 12.1.5.1) Retaining closed captions when transcoding is optional │
  932. │ but strongly recommend. │
  933. │ 12.1.5.2) Extracting closed captions to create SubRip or when │
  934. │ appropriate SubStation Alpha formatted subtitles is │
  935. │ optional but strongly recommend. │
  936. │ 12.2) Subtitles must: │
  937. │ 12.2.1) Have the correct ISO 639 language code supported by │
  938. │ MKVToolNix set │
  939. │ 12.2.1.1) In situations where the language is not supported by │
  940. │ MKVToolNix, 'und' must be used. │
  941. │ 12.2.2) Not be set as default or forced, unless otherwise stated in │
  942. │ section 11. │
  943. │ 12.2.3) Have the correct sync offset set during muxing. │
  944. │ 12.2.4) Be converted correctly without creating new flaws. Groups │
  945. │ are not responsible for any flaws already present in non- │
  946. │ forced subtitle tracks. │
  947. │ e.g. Subtitle is out of sync on the source in a non- │
  948. │ forced track, when converted it is still out of sync. │
  949. │ This is not a technical flaw. │
  950. │ e.g. Subtitle is in sync on the source and converted │
  951. │ to SubRip format incorrectly by the group resulting │
  952. │ in sync issues. This is a technical flaw. │
  953. │ 12.3) It is strongly recommended to have descriptive names set on the │
  954. │ title field. │
  955. │ e.g. Director's Commentary, English (Forced), English (SDH). │
  956. │ 12.4) Burning-in subtitles to the video stream is not allowed. │
  957. │ 12.5) External subtitles located in 'Subs' directories are not allowed. │
  958. │ │
  959. │ 13) [ Common: Container ] │
  960. │ 13.1) Container must be Matroska (.mkv). MKVToolnix is the recommended │
  961. │ muxer. │
  962. │ 13.1.1) Custom muxing tools are allowed. However, the output must │
  963. │ adhere to the Matroska specifications and must retain │
  964. │ identical compatibility with demuxers as files created with │
  965. │ MKVToolnix. │
  966. │ 13.2) Support for file streaming and playback from RAR is mandatory. │
  967. │ 13.3) Matroska header compression must not be enabled. │
  968. │ 13.4) Chapters are allowed and strongly recommended. │
  969. │ 13.4.1) Chapter names are optional, but any chapter names including │
  970. │ those auto-generated by muxers must be in English. │
  971. │ 13.5) Watermarks, intros, outros or any other forms of defacement in any │
  972. │ track (e.g. video, audio, subtitles, chapters) are not allowed. │
  973. │ │
  974. │ 14) [ Common: Packaging ] │
  975. │ 14.1) Releases must be packed with RAR files and broken into a maximum │
  976. │ of 101 volumes. │
  977. │ 14.1.1) The old style extension-based naming scheme must be used. │
  978. │ i.e. .rar to .r99. │
  979. │ 14.1.2) The extension of the first volume in the archive set must be │
  980. │ .rar. │
  981. │ 14.2) RAR5/RARv5.0 is not allowed. RAR3/v2.0 or RAR4/v2.9 must be used. │
  982. │ 14.2.1) Custom RAR tools can be used. Files produced from custom │
  983. │ tools must adhere to the RAR3/v2.0 or RAR4/v2.9 archive │
  984. │ specification and retain identical compatibility with │
  985. │ extractors and demuxers as file created with WinRAR/rar. │
  986. │ 14.3) The following archive sizes are allowed: │
  987. │ 14.3.1) 15,000,000 bytes or 20,000,000 bytes for SD. Multiples of │
  988. │ these values are not allowed. │
  989. │ 14.3.2) Positive integer multiples of 50,000,000 bytes for all │
  990. │ resolutions. │
  991. │ e.g. (50 * 10^6) * n bytes, where n > 0. │
  992. │ (50 * 10^6) * 4 bytes, 100,000,000 bytes, 400,000,000 │
  993. │ bytes. │
  994. │ 14.3.3) Releases must have a minimum of 10 volumes before the next │
  995. │ multiple of 50,000,000 bytes is used. │
  996. │ e.g. 10 volumes at 50,000,000 bytes can be repackaged to │
  997. │ 5 volumes at 100,000,000 bytes. │
  998. │ 5 volumes at 100,000,000 bytes cannot be repacked to 4 │
  999. │ volumes at 150,000,000 bytes. │
  1000. │ 14.4) A single SFV must be present for the primary archives and contain │
  1001. │ the entire archive set. │
  1002. │ 14.5) NFO, RAR, SFV, Proof, Sample files must have unique, lower-case │
  1003. │ filenames with the group tag. │
  1004. │ 14.5.1) Group tags must be unique to each group, and may be an │
  1005. │ abbreviated variation of the group name. │
  1006. │ 14.6) Preing a release with missing RAR(s) or SFV on all sites is │
  1007. │ considered a technical flaw. │
  1008. │ 14.7) Corrupt RAR(s) (errors upon extraction) is considered a technical │
  1009. │ flaw. │
  1010. │ 14.8) RAR compression and recovery records are not allowed. │
  1011. │ 14.9) Encryption or password protection is not allowed. │
  1012. │ 14.10) RAR archive set must only contain a single mkv file, any other │
  1013. │ files (e.g. multiple mkv files, txt files) are not allowed. │
  1014. │ 14.10.1) Except for extras releases, multiple mkv files are allowed │
  1015. │ and filenames must be unique and descriptive. │
  1016. │ e.g. │
  1017. │ The.Big.Bang.Theory.S01.EXTRAS.1080p.WEB.H264-GROUP │
  1018. │ contains: │
  1019. │ - Interview.with.the.Cast.mkv │
  1020. │ - S01E01.Bloopers.mkv │
  1021. │ 14.10.1.1) All extras of the resolution tagged must be included. │
  1022. │ 14.10.1.2) External extras located in 'Extras' directories are │
  1023. │ not allowed. │
  1024. │ │
  1025. │ 15) [ Common: Proof ] │
  1026. │ 15.1) Proof must be provided for every release that contains retail │
  1027. │ elements. e.g. subtitles and audio. │
  1028. │ 15.1.1) A photograph of reasonable high quality of the printed side │
  1029. │ of the physical disc with the group name clearly visible │
  1030. │ must be used. │
  1031. │ 15.1.2) Photographs must be at least 640x480px in resolution. Disc │
  1032. │ details must be clear and legible. │
  1033. │ 15.1.3) Small identifiable or sensitive information may be redacted. │
  1034. │ 15.1.4) Photographs must be of the actual disc used for the final │
  1035. │ encode. │
  1036. │ 15.1.5) Cover scans or m2ts samples may be included, but do not │
  1037. │ count as the required proof. │
  1038. │ 15.2) Proof must be placed in a separate directory named 'Proof'. │
  1039. │ 15.2.1) Proof must be in JPEG or PNG format and must not be │
  1040. │ archived. │
  1041. │ 15.3) When video, audio or subtitles are taken from multiple retail │
  1042. │ sources, proof must be provided for all sources used. │
  1043. │ e.g. Video from Source A and audio from Source B are used. │
  1044. │ Proof of Source A and B is required. │
  1045. │ 15.4) All EXIF data (especially any personally identifiable such as │
  1046. │ geolocation) must be stripped. │
  1047. │ 15.4.1) Drawing attention (e.g. nuking, propering, mentioning in │
  1048. │ nfo) to proof which has not stripped EXIF data is strictly │
  1049. │ not allowed. │
  1050. │ 15.5) A release which fails to pre with the required proof is considered │
  1051. │ technically flawed and can be propered. │
  1052. │ 15.5.1) Proof fixes must be pred within 24 hours of the original │
  1053. │ pre. │
  1054. │ 15.5.2) Fixes provided after a proper has been released, or after 24 │
  1055. │ hours has elapsed from the original pre will not be │
  1056. │ accepted. │
  1057. │ │
  1058. │ 16) [ Common: Samples / Source Samples ] │
  1059. │ 16.1) Releases must include a 50-70 second sample for each release, │
  1060. │ samples must: │
  1061. │ 16.1.1) Be placed in a separate directory named 'Sample'. │
  1062. │ 16.1.2) Be cut from the final video, not encoded separately and not │
  1063. │ be archived. │
  1064. │ 16.1.3) Not contain opening (e.g. studio titles) or closing (e.g. │
  1065. │ credits) footage when possible. e.g. cut samples from at │
  1066. │ least 2m in or the middle to avoid this. │
  1067. │ 16.2) Source samples are required for any release where the validity of │
  1068. │ the source may be brought into question. │
  1069. │ 16.2.1) Included source samples must have a unique filename and be │
  1070. │ placed within the 'Proof' directory. │
  1071. │ 16.2.2) If there is a question as to the validity of a source, │
  1072. │ encoding methods, or filters used; the release may be nuked │
  1073. │ within 24 hours of pre requesting a source sample and must │
  1074. │ include the initial suspicion or reason. │
  1075. │ e.g. │
  1076. │ source.sample.requested_suspicion.of.invalid.decimation. │
  1077. │ 16.2.3) Requests may mention a specific timecode to verify the │
  1078. │ sample provided is the same source used for the encode in │
  1079. │ question. │
  1080. │ e.g. include.ghosting.at.2m22s. │
  1081. │ 16.2.4) The group has 48 hours from the first nuke to pre a source │
  1082. │ sample that is at least 30 seconds and no more than minutes │
  1083. │ in length. If no specific timestamp is requested, source │
  1084. │ samples must be of the main feature and not the starting or │
  1085. │ ending credits. │
  1086. │ 16.2.5) Source samples must be packed as per section 14 and use the │
  1087. │ SOURCE.SAMPLE tag. │
  1088. │ 16.2.6) Failing to provide source proof, or providing insufficient │
  1089. │ proof to disprove any claims, the original release must │
  1090. │ remain nuked and can be considered technically flawed. │
  1091. │ │
  1092. │ 17) [ Common: NFO ] │
  1093. │ 17.1) A single NFO file must be present, and must contain the following │
  1094. │ information: │
  1095. │ 17.1.1) Transcoded content: Source video stream bitrate. │
  1096. │ 17.1.1.1) Must be retrieved using an accurate method, such as: │
  1097. │ MediaInfo (using --parsespeed=1), ffprobe, etc. │
  1098. │ 17.2) The following information is optional, but recommended: │
  1099. │ 17.2.1) Release name and group. │
  1100. │ 17.2.2) Release date. │
  1101. │ 17.2.3) Runtime. │
  1102. │ 17.2.4) Resolution and aspect ratio. │
  1103. │ 17.2.5) Frame rate. │
  1104. │ 17.2.6) Audio format. │
  1105. │ 17.2.7) File size. │
  1106. │ 17.2.8) Archive information. │
  1107. │ 17.2.9) List of included subtitles. │
  1108. │ 17.2.10) CRF value. │
  1109. │ │
  1110. │ 18) [ Common: Tagging ] │
  1111. │ 18.1) The following source tags are allowed: │
  1112. │ WEB, WEBRIP │
  1113. │ 18.2) Only the following additional tags are allowed: │
  1114. │ ALTERNATIVE.CUT, BW, CHRONO, COLORIZED, CONVERT, DC, DIRFIX, │
  1115. │ DUBBED, DV, EXTENDED, EXTRAS, FS, HDR, HDR10Plus, HR, INTERNAL, │
  1116. │ LINE, NFOFIX, OAR, OM, PROOFFIX, PROPER, PURE, RATED, READNFO, │
  1117. │ REAL, REMASTERED, REPACK, RERIP, RESTORED, SAMPLEFIX, │
  1118. │ SOURCE.SAMPLE, SUBBED, THEATRICAL, UNCENSORED, UNCUT, UNRATED, WS │
  1119. │ 18.2.1) <VERSION / CUT TITLE> may be used when a tag from 18.2 does │
  1120. │ not fit. │
  1121. │ e.g. Deadpool 2: The Super Duper Cut may be tagged as │
  1122. │ Deadpool.2.2018.The.Super.Duper.Cut │
  1123. │ 18.2.2) Proof must be provided for all remastered/restored releases │
  1124. │ to prove it is in fact a remaster/restore. Acceptable proof │
  1125. │ is: │
  1126. │ 18.2.2.1) At least 3 screenshots comparing the new and old │
  1127. │ sources or encodes, depicting a stark difference │
  1128. │ included in the 'Proof' directory. │
  1129. │ 18.2.2.2) Link in the NFO to a comparison website (e.g. caps-a- │
  1130. │ holic.com) which has already performed comparisons. │
  1131. │ 18.2.2.3) Subsequent releases from the same remastered/restored │
  1132. │ source may refer back to the first release in the NFO │
  1133. │ in lieu of including proof again. │
  1134. │ e.g. 1080p released first with proof, 720p can │
  1135. │ refer back to the proof in the 1080p. │
  1136. │ 18.2.3) HR may only be used when 21.5.3 applies. │
  1137. │ 18.3) Variations of any additional tag are not allowed. │
  1138. │ e.g. READ.NFO or RNFO is not allowed, READNFO must be used. │
  1139. │ 18.4) READNFO should be used sparingly. Discretion is recommended. │
  1140. │ 18.4.1) The READNFO tag must not be used with PROPER, REPACK, or │
  1141. │ RERIP. │
  1142. │ 18.5) Tags must be grouped together, period-delimited, and follow the │
  1143. │ mandatory directory format, see rule 19.4. │
  1144. │ e.g. EXTENDED.RERIP, REMASTERED.REPACK. │
  1145. │ 18.6) Tags must only be used once, but the order is left to the │
  1146. │ discretion of the group. │
  1147. │ 18.6.1) Except in situations where the REAL tag is required to be │
  1148. │ stacked to differentiate between multiple invalid releases. │
  1149. │ e.g. A REAL.REAL.PROPER is required for a REAL.PROPER │
  1150. │ and PROPER. │
  1151. │ 18.7) All HDR content must be tagged as such. │
  1152. │ │
  1153. │ 19) [ Common: Directory Nomenclature ] │
  1154. │ 19.1) Acceptable characters allowed for directories are: │
  1155. │ ABCDEFGHIJKLMNOPQRSTUVWXYZ │
  1156. │ abcdefghijklmnopqrstuvwxyz │
  1157. │ 0123456789._- │
  1158. │ 19.2) Single punctuation must be used. Consecutive punctuation is not │
  1159. │ allowed. │
  1160. │ e.g. Show----Name.S01E01, Show.Name....S01E01 │
  1161. │ 19.3) Typos or spelling mistakes in the directory are not allowed. │
  1162. │ 19.4) Releases must match the following directory format: │
  1163. │ 19.4.1) │
  1164. │ Feature.Title.<YEAR>.<TAGS>.[LANGUAGE].<RESOLUTION>.<FORMAT> │
  1165. │ -GROUP │
  1166. │ 19.4.2) Weekly.TV.Show.[COUNTRY_CODE].[YEAR].SXXEXX[Episode.Part].[E │
  1167. │ pisode.Title].<TAGS>.[LANGUAGE].<RESOLUTION>.<FORMAT>-GROUP │
  1168. │ 19.4.3) Weekly.TV.Show.Special.SXXE00.Special.Title.<TAGS>.[LANGUAGE │
  1169. │ ].<RESOLUTION>.<FORMAT>-GROUP │
  1170. │ 19.4.4) Multiple.Episode.TV.Show.SXXEXX-EXX[Episode.Part].[Episode.T │
  1171. │ itle].<TAGS>.[LANGUAGE].<RESOLUTION>.<FORMAT>-GROUP │
  1172. │ 19.4.5) Cross.Over.TV.Show.One.SXXEXX[Episode.Part].[Episode.Title]_ │
  1173. │ Show.Two.SXXEXX[Episode.Part].[Episode.Title].<TAGS>.[LANGUA │
  1174. │ GE].<RESOLUTION>.<FORMAT>-GROUP │
  1175. │ 19.4.6) Miniseries.Show.PartX.[Episode.Title].<TAGS>.[LANGUAGE].<RES │
  1176. │ OLUTION>.<FORMAT>-GROUP │
  1177. │ 19.5) Named directory arguments formatted inside <> must be included. │
  1178. │ Optional arguments formatted inside [] can be used in some cases. │
  1179. │ 19.5.1) Mini-series parts must be at least 1 integer wide, and │
  1180. │ values used may extend past 9. │
  1181. │ e.g. Miniseries.Part.1, Miniseries.Part.10. │
  1182. │ 19.5.2) Episode and seasonal numbering must be at least 2 integers │
  1183. │ wide, and values used may extend past 99. │
  1184. │ e.g. S01E99, S01E100, S101E01. │
  1185. │ 19.5.3) Episode part refers to episodes, usually cartoons or │
  1186. │ animation, which split episodes into stories by different │
  1187. │ directors. Episode parts must be alphanumeric (A-Z, a-z, │
  1188. │ 0-9). │
  1189. │ e.g. The first episode from Season 2 of SpongeBob │
  1190. │ SquarePants is split into S02E01A/B, see: │
  1191. │ https://goo.gl/CVGXKu │
  1192. │ 19.5.4) Season must be omitted if a series is not a mini-series and │
  1193. │ does not have seasons. │
  1194. │ e.g. One Piece must be tagged as One.Piece.E01. │
  1195. │ 19.5.5) Episode title is optional. │
  1196. │ 19.5.6) Tags refers to all permitted tags only, see section 18. │
  1197. │ 19.5.7) Non-English releases must include the language tag. English │
  1198. │ releases must not include the language tag. │
  1199. │ 19.5.7.1) Language tags must be the full name of the language. │
  1200. │ Abbreviations or language codes are not allowed. │
  1201. │ e.g. FRENCH, RUSSIAN, GERMAN. │
  1202. │ 19.5.8) Format refers to whether the release is transcoded │
  1203. │ (WEBRip.x264/x265) or untouched (WEB.H264/WEB.H265). │
  1204. │ 19.6) Do not indicate the ripping, or encoding methods that were used. │
  1205. │ Use the NFO for any technical details. │
  1206. │ 19.7) Non-series releases (e.g. movies, documentaries) must include the │
  1207. │ production year. │
  1208. │ 19.8) Different shows with the same title produced in different │
  1209. │ countries must have the ISO 3166-1 alpha 2 country code in the │
  1210. │ show name. │
  1211. │ 19.8.1) Except for UK shows, which must use UK, not GB. │
  1212. │ 19.8.2) This rule does not apply to an original show, only shows │
  1213. │ that succeed the original. │
  1214. │ e.g. The.Office.S01E01 and The.Office.US.S01E01. │
  1215. │ 19.9) Different shows with the same title produced in the same country │
  1216. │ which begin in different years must have the year of the first │
  1217. │ season in the directory. │
  1218. │ 19.9.1) The year is not required for the show broadcasted first. │
  1219. │ e.g. Second.Chance.S01E01 and Second.Chance.2016.S01E01. │
  1220. │ 19.10) Different shows with the same titles produced in the same country │
  1221. │ which begin in different years must have the ISO-3166-1 alpha 2 │
  1222. │ country code followed by the year of the first season in the │
  1223. │ directory. │
  1224. │ 19.10.1) See rules 19.8 and 19.9 for country code and year │
  1225. │ explanations. │
  1226. │ e.g. Wanted.S01E01 (2005), Wanted.AU.S01E01 (2013), │
  1227. │ Wanted.AU.2016.S01E01 (2016). │
  1228. │ 19.11) Show names which are hyphenated or include punctuation must │
  1229. │ follow the format shown in the title sequence or credits of the │
  1230. │ first episode, limited to the list of acceptable characters. │
  1231. │ 19.11.1) If no title card exists, see rule 19.13.1. │
  1232. │ 19.11.2) Additional titles and names given to an individual season │
  1233. │ must not be used. │
  1234. │ e.g. Archer.Vice.S05, Strike.Back.Legacy.S05. │
  1235. │ 19.11.3) Acronyms which show the ellipsis of letters with non- │
  1236. │ standard characters must be replaced with a period. │
  1237. │ e.g. M*A*S*H must be M.A.S.H. │
  1238. │ e.g. George Carlin... It's Bad for Ya! must be │
  1239. │ George.Carlin.Its.Bad.For.Ya. │
  1240. │ 19.12) Directory nomenclature and numbering must remain consistent │
  1241. │ across the lifetime of an individual show or event. │
  1242. │ 19.12.1) Shows which contain acronyms or secondary titles must │
  1243. │ follow the format used by the first release. │
  1244. │ e.g. Law.and.Order.SVU.S01E01 is the standard format │
  1245. │ that must be used for all following episodes, │
  1246. │ Law.and.Order.Special.Victims.Unit.S01E02 is not │
  1247. │ allowed. │
  1248. │ Shadowhunters.The.Mortal.Instruments.S01E01 is the │
  1249. │ standard format, Shadowhunters.S01E02 is not allowed. │
  1250. │ 19.12.2) Shows which air with extended content under modified names │
  1251. │ must use the primary show name and numbering with the │
  1252. │ EXTENDED tag. │
  1253. │ e.g. QI.S06E01 and QI.XL.S01E01, must be tagged as │
  1254. │ QI.S06E01 and QI.S06E01.EXTENDED respectively. │
  1255. │ Room.101.S01E01 and Room.101.Extra.Storage.S01E01, must │
  1256. │ be tagged as Room.101.S01E01 and │
  1257. │ Room.101.S01E01.EXTENDED respectively. │
  1258. │ 19.12.3) Groups cannot change the directory format of a show after a │
  1259. │ second release or episode with the same format exists. │
  1260. │ e.g. 2016-01-01: Law.and.Order.SVU.S01E01 sets the │
  1261. │ format. │
  1262. │ 2016-01-08: Law.and.Order.SVU.S01E02 continues the │
  1263. │ format. │
  1264. │ 2016-01-09: │
  1265. │ Law.and.Order.Special.Victims.Unit.S01E01.DIRFIX is not │
  1266. │ valid as the second episode already exists and │
  1267. │ continues with the previously defined format. │
  1268. │ 19.12.4) Except in situations where the show has an official change │
  1269. │ in its name, whereby all official references by the │
  1270. │ broadcaster or studio are of the new name. This change must │
  1271. │ be mentioned in the first NFO with the new name with │
  1272. │ relevant references. │
  1273. │ e.g. Gold.Rush.Alaska.S01E01 changed to │
  1274. │ Gold.Rush.S02E01. │
  1275. │ 19.12.5) Official name changes for a show does not include the │
  1276. │ renaming of individual seasons. Seasonal name changes must │
  1277. │ be ignored. │
  1278. │ e.g. Power.Rangers.S01 and Power.Rangers.S07 must be │
  1279. │ used. Power.Rangers.Lost.Galaxy.S07 must not be used. │
  1280. │ Strike.Back.S03, Strike.Back.S05 must be used. │
  1281. │ Strike.Back.Vengeance.S03, Strike.Back.Legacy.S05 must │
  1282. │ not be used. │
  1283. │ 19.12.6) Any deviations or changes require sufficient evidence │
  1284. │ listed in the NFO as to the reason for change. │
  1285. │ 19.13) User-contributed services such as TVMaze or TheTVDB must not be │
  1286. │ used as a reference when naming and numbering episodes. It may be │
  1287. │ used as a general guide; however, official guides must be used. │
  1288. │ 19.13.1) The following order must be used as the primary source for │
  1289. │ naming and numbering. │
  1290. │ 19.13.1.1) Official website of the show. │
  1291. │ 19.13.1.2) Order and format listed by the original broadcaster. │
  1292. │ 19.13.1.3) Network guide. │
  1293. │ 19.13.2) In situations where official sources have inconsistent │
  1294. │ listings, or offer none at all, previously established │
  1295. │ numbering must be used. │
  1296. │ e.g. MythBusters, National Geographic Special Episodes. │
  1297. │ │
  1298. │ 20) [ Common: Fixes ] │
  1299. │ 20.1) The following fixes are allowed: │
  1300. │ DIRFIX, NFOFIX, PROOFFIX, SAMPLEFIX. │
  1301. │ 20.2) Any other form of fix is not allowed. │
  1302. │ e.g. RARFIX, SFVFIX, SUBFIX │
  1303. │ 20.3) All fixes require an NFO and must state which release is being │
  1304. │ fixed. │
  1305. │ 20.4) A proper may not be released for a flaw which can be fixed with │
  1306. │ the above methods, with the exception of prooffixes, see 15.5.1. │
  1307. │ 20.5) If multiple releases from a single season require a DIRFIX, a │
  1308. │ single DIRFIX per season is allowed and recommended. │
  1309. │ e.g. Show.Name.S01.1080p.DIRFIX.WEB.H264-GROUP. │
  1310. │ 20.5.1) If a single DIRFIX is used, all relevant releases and │
  1311. │ corresponding fixes must be listed in the NFO. │
  1312. │ e.g. The NFO should contain the following: │
  1313. │ This is the correct order in which to watch the show; │
  1314. │ Some.Show.S01E02.720p.WEB.H264-GROUP is actually E01 │
  1315. │ Some.Show.S01E01.720p.WEB.H264-GROUP is actually E02 │
  1316. │ Some.Show.S01E03.720p.WEB.H264-GROUP │
  1317. │ Some.Show.S01E05.720p.WEB.H264-GROUP is actually E04 │
  1318. │ Some.Show.S01E04.720p.WEB.H264-GROUP is actually E05 │
  1319. │ Some.Show.S01E06.720p.WEB.H264-GROUP │
  1320. │ │
  1321. │ 21) [ Common: Dupes ] │
  1322. │ 21.1) Same second releases, with a maximum acceptable variance of two │
  1323. │ seconds (+/- 2 seconds) between timestamps reported by a majority │
  1324. │ of pre bots, are not considered dupes and should not be nuked. │
  1325. │ 21.1.1) Timestamps must be considered as whole integers and round │
  1326. │ half towards zero. │
  1327. │ 21.1.2) The earliest timestamp must be used when considering dupes. │
  1328. │ e.g. Release A: 1451572201.427158 -> 1451572201 │
  1329. │ Release B: 1451572203.626645 -> 1451572203 │
  1330. │ Release C: 1451572204.137665 -> 1451572204 │
  1331. │ Release B does not dupe Release A: 1451572203 - │
  1332. │ 1451572201 = 2, i.e. maximum variance allowed. │
  1333. │ Release C dupes Releases A and B: 1451572204 - │
  1334. │ 1451572201 = 3, i.e. 3 > 2. │
  1335. │ 21.1.3) In situations where a release is found to contain a │
  1336. │ technical flaw, same second dupes which do not exhibit any │
  1337. │ technical flaws must be considered the final release. Groups │
  1338. │ may release a DIRFIX to PROPER for their original release, │
  1339. │ but it is not required. │
  1340. │ e.g. Release A and Release B are released at the same │
  1341. │ time. Release A is nuked as containing glitches, Release │
  1342. │ B then becomes the de facto release and a DIRFIX to │
  1343. │ PROPER may be released. │
  1344. │ 21.2) WEBRip.x264/x265 dupes WEB.H264/H265. │
  1345. │ 21.3) WEB.H264/H265 does not dupe WEBRip.x264/x265. │
  1346. │ 21.4) WEB.H264/H265 and WEBRip.x264/x265 does not dupe │
  1347. │ DSR/PDTV/HR.PDTV/AHDTV/HDTV. │
  1348. │ 21.5) WEB.H264/H265 and WEBRip.x264/x265 dupes an equivalent Retail │
  1349. │ release. │
  1350. │ 21.5.1) Except in situations where the aspect ratio of the release │
  1351. │ exceeds that of its respective retail release. │
  1352. │ e.g. A 2.39:1 release will not dupe a 1.78:1 retail │
  1353. │ release, provided there is clearly more visible on- │
  1354. │ screen footage. Proof demonstrating this difference is │
  1355. │ recommended, but not mandatory. │
  1356. │ 21.5.2) Except in situations where the release is a different │
  1357. │ version (e.g. ALTERNATIVE.CUT, COLORIZED) of its respective │
  1358. │ retail release, and is not censored after uncensored. │
  1359. │ e.g. An UNCENSORED.720p.WEB.H264 release does not dupe a │
  1360. │ censored 720p.BluRay.x264. │
  1361. │ 21.5.3) Except in situations where SD WEB has a width between, and │
  1362. │ including, 960 and 1024. In that case it may be released │
  1363. │ after SD retail, and only if no HD retail release exists. │
  1364. │ The release must be tagged as HR (High resolution). │
  1365. │ 21.6) Native video streams do not dupe converted video streams. │
  1366. │ 21.7) Converted video streams dupe native video streams. │
  1367. │ 21.8) Releases with muxed-in subtitles do not dupe releases with │
  1368. │ hardcoded subtitles. │
  1369. │ 21.9) Releases with hardcoded subtitles (i.e. SUBBED) dupe releases with │
  1370. │ muxed in subtitles. │
  1371. │ 21.10) HDR after SDR or vice versa does not dupe. │
  1372. │ 21.11) Non-foreign tagged English release does not dupe a foreign tagged │
  1373. │ release. │
  1374. │ │
  1375. │ 22) [ Common: Propers / Rerips / Repacks ] │
  1376. │ 22.1) Detailed reasons must be included in the NFO for all repacks, │
  1377. │ rerips, and propers. │
  1378. │ 22.1.1) Proper reasons must be clearly stated in the NFO, including │
  1379. │ timestamps and specifics in regards to the flaw when │
  1380. │ appropriate. │
  1381. │ 22.1.2) If a release is not globally nuked, a sample demonstrating │
  1382. │ the flaws in the original release is required and must be │
  1383. │ placed within the 'Proof' directory. │
  1384. │ 22.2) Propers are only permitted in the case of a technical flaw in the │
  1385. │ original release. │
  1386. │ 22.2.1) Except in cases of video and/or audio based qualitative │
  1387. │ propers, which are only allowed within 15 minutes of the │
  1388. │ original release's pre time. │
  1389. │ 22.2.1.1) All qualitative propers must follow 23.1.1, 23.1.1.1 │
  1390. │ and 23.1.3 to prove superior quality of video and/or │
  1391. │ audio. │
  1392. │ 22.2.1.2) Mixing sources on qualitative based propers is not │
  1393. │ allowed, use INTERNAL. │
  1394. │ e.g. Video from Netflix, audio from retail. Video │
  1395. │ from Amazon, audio from Netflix. │
  1396. │ 22.2.1.3) 23.2, 23.2.1 and 23.2.2 must be respected │
  1397. │ (supplementing internal(led)/internalling with │
  1398. │ proper(ed)/propering) on all qualitative propers. │
  1399. │ 22.2.2) Transcoded releases cannot proper any untouched files. │
  1400. │ e.g. WEBRip.x264 cannot proper WEB.H264. │
  1401. │ 22.2.2.1) Unless it is a transcode of a lossless stream │
  1402. │ correcting the technical flaw, see rule 1.4. │
  1403. │ 22.2.2.2) Unless it can be proven that all untouched sources are │
  1404. │ flawed which cannot be repaired by transcoding, but a │
  1405. │ WEBRip does not exhibit the same technical flaw(s). │
  1406. │ e.g. iTunes, Amazon, and Netflix only offer the │
  1407. │ content. Amazon and iTunes sourced files cannot be │
  1408. │ repaired by transcoding, however a Netflix WEBRip │
  1409. │ is fine. │
  1410. │ 22.2.3) Untouched files can proper transcoded releases for any valid │
  1411. │ technical flaw. │
  1412. │ 22.3) Audio or visual glitches can be propered with a release which does │
  1413. │ not exhibit the same flaw. │
  1414. │ 22.3.1) In situations where mastering issues results in visual or │
  1415. │ audio glitches, a release must not be nuked until a valid │
  1416. │ proper, repack, or rerip using a glitch-free source or │
  1417. │ master is released. │
  1418. │ 22.4) Highest quality video and audio, and all subtitles present counts │
  1419. │ at time of pre. Propering with higher quality video, audio, or │
  1420. │ subtitles that may appear later on the source is not allowed, use │
  1421. │ INTERNAL. │
  1422. │ e.g. Movie is posted to Netflix with 24 subtitles and 448 │
  1423. │ E-AC3 audio, released as is. Two hours later, five additional │
  1424. │ subtitle tracks are added, and audio is upgraded to 640Kbps │
  1425. │ E-AC3 audio and propered. That proper is invalid. │
  1426. │ 22.4.1) This does not apply when certain regions may have degraded │
  1427. │ video or audio quality, but another region on the source │
  1428. │ does not. │
  1429. │ e.g. Netflix has limited bitrates to 10Mbps in South │
  1430. │ America due to bandwidth limitations, but Europe has the │
  1431. │ expected 25Mbps streams. Using the 10Mbps stream from │
  1432. │ South America is a technical flaw. │
  1433. │ 22.4.2) Propers based on one region having more subtitles than │
  1434. │ another is not allowed, use INTERNAL. │
  1435. │ e.g. Netflix in Japan has four more subtitle tracks at │
  1436. │ time of pre than Europe, group releases from Europe │
  1437. │ missing the extra 4 subtitles - propering from Japan is │
  1438. │ not allowed, use INTERNAL. │
  1439. │ 22.5) RERIP must be used for ripping or encoding issues. │
  1440. │ 22.6) REPACK must be used for packing or muxing issues. │
  1441. │ │
  1442. │ 23) [ Common: Internals ] │
  1443. │ 23.1) Internals are only allowed when they provide superior quality to │
  1444. │ the last internal/non-internal WEB/WEBRip or non-internal retail │
  1445. │ release, when internaling over: │
  1446. │ e.g. Feature is released as WEB, then released again as │
  1447. │ INTERNAL with superior quality. To release another INTERNAL it │
  1448. │ must be superior to the last INTERNAL not the first release. │
  1449. │ e.g. Feature is released as WEB, then retail and then │
  1450. │ again as INTERNAL retail. To release INTERNAL it must be │
  1451. │ superior to the non-internal retail, not the internal │
  1452. │ retail or the first release (WEB). │
  1453. │ 23.1.1) Video quality, a minimum of four B to B frame comparisons │
  1454. │ (INTERNAL vs last release) in PNG format spread throughout │
  1455. │ the feature, showing a stark improvement in video quality, │
  1456. │ must be included in the 'Proof' directory. │
  1457. │ 23.1.1.1) Comparison frame numbers must be included in the NFO │
  1458. │ file or embedded in comparisons. FFInfo is the │
  1459. │ recommend method. │
  1460. │ 23.1.2) Number of subtitle or audio tracks, the release must have │
  1461. │ all the tracks the previous release had plus new additional │
  1462. │ tracks. │
  1463. │ 23.1.2.1) Inclusion or lacking of closed captions subtitles │
  1464. │ defined by rule 12.1.5 or stripped SDH subtitles │
  1465. │ defined by rule 11.4.2.1, must not be taken into │
  1466. │ consideration. │
  1467. │ e.g. Only improvement is inclusion of closed │
  1468. │ captions - internal is invalid. │
  1469. │ 23.1.3) Audio quality must be better quality as defined by rule │
  1470. │ 2.3.1. │
  1471. │ 23.2) Any aspects (i.e. video, subtitles, audio) not being internalled │
  1472. │ over better quality, must be of equal quality to the previous │
  1473. │ release. As per 23.1.2.1 closed captions and stripped SDH │
  1474. │ subtitles must not be taken into consideration. │
  1475. │ e.g. Internalling over video quality, but not providing audio │
  1476. │ of equal or better quality or lacking subtitles the previous │
  1477. │ release had, is not allowed. │
  1478. │ e.g. Internalling over audio quality, but not providing │
  1479. │ video of equal or better quality or lacking subtitles the │
  1480. │ previous release had, is not allowed. │
  1481. │ e.g. Internalling over video quality, having better │
  1482. │ audio, more/equal subtitles and lacking closed │
  1483. │ captions the original release had is allowed. │
  1484. │ 23.2.1) All improvements must be detailed within the NFO. │
  1485. │ 23.2.2) Proof of superior quality for a certain source need only be │
  1486. │ provided for the first release of a season. All other │
  1487. │ releases must refer back to the first release in the NFO. │
  1488. │ 23.3) Internals with equal files/quality are allowed after one year of │
  1489. │ release and should be used sparingly only when a release has gone │
  1490. │ missing from archives. The release that went missing must be │
  1491. │ mentioned in the NFO. │
  1492. │ 23.4) Internals are required to follow all rules. │
  1493. │ 23.5) Using DIRFIX.INTERNAL to avoid a nuke is not allowed, and must be │
  1494. │ nuked fix.for.nuke. │
  1495. │ │
  1496. │ 24) [ Common: Ruleset Specifics ] │
  1497. │ 24.1) This ruleset is to be considered the ONLY official ruleset for WEB │
  1498. │ and WEBRip releases. It supersedes all previous revisions, │
  1499. │ rulesets and precedents. │
  1500. │ 24.1.1) Releasing under former rulesets or codecs is not allowed, │
  1501. │ and must be nuked defunct.ruleset or defunct.codec. │
  1502. │ 24.1.2) The naming standards listed in this document must only take │
  1503. │ effect once a current running season has ended. Any existing │
  1504. │ naming schemes must be used in the event of missing │
  1505. │ episode(s) from older seasons being filled. │
  1506. │ 24.1.3) This ruleset is not retroactive, and only applies to │
  1507. │ releases released under it. │
  1508. │ 24.2) The following definition of keywords throughout this ruleset are │
  1509. │ as follows: │
  1510. │ 24.2.1) Must: the rule is explicit in the definition and is │
  1511. │ compulsory. │
  1512. │ 24.2.2) Should: implies the rule is a suggestion, and is non- │
  1513. │ compulsory. │
  1514. │ 24.2.3) Can or may: implies the rule is optional, and is non- │
  1515. │ compulsory. │
  1516. │ 24.2.4) e.g: refers to common examples, elements listed should not │
  1517. │ be considered as all possibilities. │
  1518. │ 24.2.5) i.e: refers to the only examples, elements listed will be │
  1519. │ considered as all valid possibilities. │
  1520. │ │
  1521. │ 25) [ Common: Notes ] │
  1522. │ 25.1) The inclusion of 2-pass in this ruleset should not be misconstrued │
  1523. │ as preferring it for every release, CRF must always be considered │
  1524. │ the primary method. Instead, it is encouraged for groups to use │
  1525. │ 2-pass methods for rare cases when files provided are of extremely │
  1526. │ high quality. │
  1527. │ 25.1.1) Video which contains an excessive amount of noise may often │
  1528. │ result in an unnecessary large bitrate. In such situations, │
  1529. │ encoding to a smaller bitrate using 2-pass can result in a │
  1530. │ file size improvement with negligible loss in video quality. │
  1531. │ 25.2) Dolby Vision (DV) and HDR10+ (HDR10Plus) are considered out of │
  1532. │ scope, due to lack of support and no standard workflow for │
  1533. │ producing them, and must only be released as INTERNAL. │
  1534. │ 25.2.1) DV encodes must have DV Profile (--dolby-vision-profile) and │
  1535. │ RPU metadata (--dolby-vision-rpu) set to the same values as │
  1536. │ the source. │
  1537. │ 25.2.1.1) Including the DV enhancement layer on a HDR or │
  1538. │ HDR10Plus encode is another option. │
  1539. │ 25.2.1.2) Until such a time as Matroska gains support for Dolby │
  1540. │ Vision, MP4 may be used and dlb_mp4base or MP4Box are │
  1541. │ the only allowed muxers. It is fully at the group's │
  1542. │ discretion to work around any pitfalls of the MP4 │
  1543. │ container (e.g. limited audio codec and subtitles │
  1544. │ support). Groups are exempt from any rules with │
  1545. │ regards to these pitfalls. │
  1546. │ 25.2.2) HDR10Plus releases, in addition to HDR specifics (see │
  1547. │ 4.23.4), must have SEI tone mapping metadata (--dhdr10-info) │
  1548. │ set to the same values as the source. Tone mapping metadata │
  1549. │ optimisation (--dhdr10-opt) must be enabled. │
  1550. │ 25.2.3) Any metadata must be extracted from the whole concatenated │
  1551. │ source, not a partial source. e.g. the first m2ts file. │
  1552. │ 25.2.4) Until such a time as mapping metadata to cropped encodes is │
  1553. │ possible, DV and HDR10Plus are exempt from cropping rules │
  1554. │ and must be left uncropped. │
  1555. │ 25.2.5) The rules below will apply in a hypothetical future when all │
  1556. │ pitfalls and issues mentioned above are resolved, support │
  1557. │ has become widespread, does not result in any playback │
  1558. │ issues and at least three months have elapsed from support │
  1559. │ being added. │
  1560. │ 25.2.5.1) If the source contains a DV enhancement layer, it must │
  1561. │ be muxed in with the correct DV Profile set for the │
  1562. │ source during muxing. │
  1563. │ 25.2.5.2) If the source contains HDR10Plus SEI metadata, 25.2.2 │
  1564. │ is mandatory. │
  1565. │ 25.2.5.3) 25.2.3 must be respected. │
  1566. │ 25.2.5.4) The HDR10Plus tag must not be used. │
  1567. │ 25.2.5.5) DV single layer encodes (see 25.2.1) or untouched are │
  1568. │ only allowed when the source is single layer DV (i.e. │
  1569. │ No HDR, only DV). The DV tag must only be used in the │
  1570. │ case of single layer DV. │
  1571. │ 25.2.5.6) Dolby Vision (DV) and HDR10+ (HDR10Plus) no longer │
  1572. │ need be released only as INTERNAL. │
  1573. │ 25.3) YouTube may only be used as a source if geographical restrictions │
  1574. │ apply to legitimate content uploaded by the rights holder or on a │
  1575. │ verified channel. │
  1576. │ 25.4) Re-releasing uncropped WEB which has already been released as │
  1577. │ uncropped INTERNAL.WEB or cropped WEBRIP is not allowed and must │
  1578. │ be considered dupe. │
  1579. │ 25.4.1) Any WEB release nuked solely for not being cropped and not │
  1580. │ reripped, repacked or propered may be unnuked and now be │
  1581. │ considered valid. │
  1582. │ 25.5) Re-releasing any INTERNAL WEB/WEBRips that duped │
  1583. │ DSR/PDTV/HR.PDTV/AHDTV/HDTV under v1.0 of this ruleset is not │
  1584. │ allowed and must be considered dupe. │
  1585. │ │
  1586. ├──────────────────────────────────────────────────────────────────────────────┤
  1587. │ │
  1588. │ [ Signed (in alphabetical order) - 92 Groups ] │
  1589. │ 57CHAN, 707, aAF, ADMiT, ADRENALiNE, AMCON, AMRAP, ANiURL, APRiCiTY, │
  1590. │ ASCENDANCE, ASSOCiATE, AVR, BAKFYLLA, BALLIN, BARGE, BATV, BAWSER, BiQ, │
  1591. │ BRAINFUEL, BREXiT, CAFFEiNE, CBFM, CookieMonster, CREED, CRiMSON, CROOKS, │
  1592. │ DANES, DEADPOOL, DHD, DISKRIMINERING, DKiDS, DKiNO, EDHD, ELIMINERING, EMX, │
  1593. │ EXECUTION, EXEKVERING, FaiLED, FAiRCHANCE, FELTET, FFD, FLEKSNES, GIMINI, │
  1594. │ GRiP, HANGAR17, HENRETTELSE, HOTLiPS, iNDKAST, iNSPiRiT, iNTENSO, JAWN, JRP, │
  1595. │ KOMPOST, KYR, LEiEFiLM, LEViTATE, LiGATE, LSDK, MenInTights, METCON, MoA, │
  1596. │ MTB, NCC1701D, NiXON, NORPiLT, NORUSH, OldSeasons, PETRiFiED, PLAYD, │
  1597. │ PLUTONiUM, QPEL, REGRET, RiVER, SECRETOS, SERIOUSLY, SHERLOCK, SHiFT, SKGTV, │
  1598. │ SKRiTT, SOAPLOVE, STATOiL, TRUMP, TVADDiCT, TViLLAGE, TVSLiCES, TWERK, │
  1599. │ UNDERBELLY, VERUM, WALT, WATCHER, WATSON, WEBELL │
  1600. │ │
  1601. │ [ Refused to Sign ] │
  1602. │ This refused to sign list consists of 31 groups, many of them sub-groups. │
  1603. │ │
  1604. │ ACES, BAMBOOZLE, BiSH, BRASS, CONVOY, CROSSFIT, CUTEYS, DARKFLiX, │
  1605. │ DECAPiTATiON, DEFY, ELiMiNATE, FLX, HANDBOLL, HILLARY, I_KnoW, KiNDERGARTEN, │
  1606. │ KLINGON, LiNKLE, MEMENTO, MORSOM, OATH, RADiOACTiVE, ROBOTS, ROWBOATS, │
  1607. │ SLAUGHTER, STRiFE, TBS, TURBO, URANiME, W4F, XLF │
  1608. │ │
  1609. │ These groups felt encouraging the use of high quality sources with │
  1610. │ qualitative based propers was "anti-competitive". │
  1611. │ They believe it's acceptable to use worse sources to win races instead of │
  1612. │ waiting mere seconds and picking the better ones. │
  1613. │ │
  1614. │ They demanded that they be allowed to release internals that were either │
  1615. │ worse quality, technically flawed or same file dupes. │
  1616. │ They feel that "because it's always been that way" no change should happen │
  1617. │ and are standing in the way of progress. │
  1618. │ │
  1619. │ They banded together and went against majority voting on changes made to the │
  1620. │ rules below: │
  1621. │ Rule 22.2.1 (Qualitative based propers allowed within 15 min of pre time) - │
  1622. │ 19 for and 7 against. │
  1623. │ Rule 23.1 (Internals only for better quality) - 27 for and 2 against. │
  1624. │ │
  1625. │ Every group present during drafting was given 1 vote and collectively │
  1626. │ decided on all changes made. │
  1627. │ This egregious and unreasonable behaviour will not be tolerated in a │
  1628. │ democratic system. │
  1629. │ │
  1630. ├──────────────────────────────────────────────────────────────────────────────┤
  1631. │ │
  1632. │ [ Revisions ] │
  1633. │ 2016-03-16 - v1.0 - Final commit and public release of ruleset. │
  1634. │ 2020-05-13 - v2.0 - Restructuring and hardening of all rules, UHD and HDR │
  1635. │ supported properly, qualitative based propers allowed, internals specificity │
  1636. │ hardened. │
  1637. │ │
  1638. └──────────────────────────────────────────────────────────────────────────────┘
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