| 1 | \input texinfo @c -*- texinfo -*- |
| 2 | |
| 3 | @settitle ffmpeg Documentation |
| 4 | @titlepage |
| 5 | @center @titlefont{ffmpeg Documentation} |
| 6 | @end titlepage |
| 7 | |
| 8 | @top |
| 9 | |
| 10 | @contents |
| 11 | |
| 12 | @chapter Synopsis |
| 13 | |
| 14 | ffmpeg [@var{global_options}] @{[@var{input_file_options}] -i @file{input_file}@} ... @{[@var{output_file_options}] @file{output_file}@} ... |
| 15 | |
| 16 | @chapter Description |
| 17 | @c man begin DESCRIPTION |
| 18 | |
| 19 | @command{ffmpeg} is a very fast video and audio converter that can also grab from |
| 20 | a live audio/video source. It can also convert between arbitrary sample |
| 21 | rates and resize video on the fly with a high quality polyphase filter. |
| 22 | |
| 23 | @command{ffmpeg} reads from an arbitrary number of input "files" (which can be regular |
| 24 | files, pipes, network streams, grabbing devices, etc.), specified by the |
| 25 | @code{-i} option, and writes to an arbitrary number of output "files", which are |
| 26 | specified by a plain output filename. Anything found on the command line which |
| 27 | cannot be interpreted as an option is considered to be an output filename. |
| 28 | |
| 29 | Each input or output file can, in principle, contain any number of streams of |
| 30 | different types (video/audio/subtitle/attachment/data). The allowed number and/or |
| 31 | types of streams may be limited by the container format. Selecting which |
| 32 | streams from which inputs will go into which output is either done automatically |
| 33 | or with the @code{-map} option (see the Stream selection chapter). |
| 34 | |
| 35 | To refer to input files in options, you must use their indices (0-based). E.g. |
| 36 | the first input file is @code{0}, the second is @code{1}, etc. Similarly, streams |
| 37 | within a file are referred to by their indices. E.g. @code{2:3} refers to the |
| 38 | fourth stream in the third input file. Also see the Stream specifiers chapter. |
| 39 | |
| 40 | As a general rule, options are applied to the next specified |
| 41 | file. Therefore, order is important, and you can have the same |
| 42 | option on the command line multiple times. Each occurrence is |
| 43 | then applied to the next input or output file. |
| 44 | Exceptions from this rule are the global options (e.g. verbosity level), |
| 45 | which should be specified first. |
| 46 | |
| 47 | Do not mix input and output files -- first specify all input files, then all |
| 48 | output files. Also do not mix options which belong to different files. All |
| 49 | options apply ONLY to the next input or output file and are reset between files. |
| 50 | |
| 51 | @itemize |
| 52 | @item |
| 53 | To set the video bitrate of the output file to 64 kbit/s: |
| 54 | @example |
| 55 | ffmpeg -i input.avi -b:v 64k -bufsize 64k output.avi |
| 56 | @end example |
| 57 | |
| 58 | @item |
| 59 | To force the frame rate of the output file to 24 fps: |
| 60 | @example |
| 61 | ffmpeg -i input.avi -r 24 output.avi |
| 62 | @end example |
| 63 | |
| 64 | @item |
| 65 | To force the frame rate of the input file (valid for raw formats only) |
| 66 | to 1 fps and the frame rate of the output file to 24 fps: |
| 67 | @example |
| 68 | ffmpeg -r 1 -i input.m2v -r 24 output.avi |
| 69 | @end example |
| 70 | @end itemize |
| 71 | |
| 72 | The format option may be needed for raw input files. |
| 73 | |
| 74 | @c man end DESCRIPTION |
| 75 | |
| 76 | @chapter Detailed description |
| 77 | @c man begin DETAILED DESCRIPTION |
| 78 | |
| 79 | The transcoding process in @command{ffmpeg} for each output can be described by |
| 80 | the following diagram: |
| 81 | |
| 82 | @example |
| 83 | _______ ______________ |
| 84 | | | | | |
| 85 | | input | demuxer | encoded data | decoder |
| 86 | | file | ---------> | packets | -----+ |
| 87 | |_______| |______________| | |
| 88 | v |
| 89 | _________ |
| 90 | | | |
| 91 | | decoded | |
| 92 | | frames | |
| 93 | |_________| |
| 94 | ________ ______________ | |
| 95 | | | | | | |
| 96 | | output | <-------- | encoded data | <----+ |
| 97 | | file | muxer | packets | encoder |
| 98 | |________| |______________| |
| 99 | |
| 100 | |
| 101 | @end example |
| 102 | |
| 103 | @command{ffmpeg} calls the libavformat library (containing demuxers) to read |
| 104 | input files and get packets containing encoded data from them. When there are |
| 105 | multiple input files, @command{ffmpeg} tries to keep them synchronized by |
| 106 | tracking lowest timestamp on any active input stream. |
| 107 | |
| 108 | Encoded packets are then passed to the decoder (unless streamcopy is selected |
| 109 | for the stream, see further for a description). The decoder produces |
| 110 | uncompressed frames (raw video/PCM audio/...) which can be processed further by |
| 111 | filtering (see next section). After filtering, the frames are passed to the |
| 112 | encoder, which encodes them and outputs encoded packets. Finally those are |
| 113 | passed to the muxer, which writes the encoded packets to the output file. |
| 114 | |
| 115 | @section Filtering |
| 116 | Before encoding, @command{ffmpeg} can process raw audio and video frames using |
| 117 | filters from the libavfilter library. Several chained filters form a filter |
| 118 | graph. @command{ffmpeg} distinguishes between two types of filtergraphs: |
| 119 | simple and complex. |
| 120 | |
| 121 | @subsection Simple filtergraphs |
| 122 | Simple filtergraphs are those that have exactly one input and output, both of |
| 123 | the same type. In the above diagram they can be represented by simply inserting |
| 124 | an additional step between decoding and encoding: |
| 125 | |
| 126 | @example |
| 127 | _________ ______________ |
| 128 | | | | | |
| 129 | | decoded | | encoded data | |
| 130 | | frames |\ _ | packets | |
| 131 | |_________| \ /||______________| |
| 132 | \ __________ / |
| 133 | simple _\|| | / encoder |
| 134 | filtergraph | filtered |/ |
| 135 | | frames | |
| 136 | |__________| |
| 137 | |
| 138 | @end example |
| 139 | |
| 140 | Simple filtergraphs are configured with the per-stream @option{-filter} option |
| 141 | (with @option{-vf} and @option{-af} aliases for video and audio respectively). |
| 142 | A simple filtergraph for video can look for example like this: |
| 143 | |
| 144 | @example |
| 145 | _______ _____________ _______ ________ |
| 146 | | | | | | | | | |
| 147 | | input | ---> | deinterlace | ---> | scale | ---> | output | |
| 148 | |_______| |_____________| |_______| |________| |
| 149 | |
| 150 | @end example |
| 151 | |
| 152 | Note that some filters change frame properties but not frame contents. E.g. the |
| 153 | @code{fps} filter in the example above changes number of frames, but does not |
| 154 | touch the frame contents. Another example is the @code{setpts} filter, which |
| 155 | only sets timestamps and otherwise passes the frames unchanged. |
| 156 | |
| 157 | @subsection Complex filtergraphs |
| 158 | Complex filtergraphs are those which cannot be described as simply a linear |
| 159 | processing chain applied to one stream. This is the case, for example, when the graph has |
| 160 | more than one input and/or output, or when output stream type is different from |
| 161 | input. They can be represented with the following diagram: |
| 162 | |
| 163 | @example |
| 164 | _________ |
| 165 | | | |
| 166 | | input 0 |\ __________ |
| 167 | |_________| \ | | |
| 168 | \ _________ /| output 0 | |
| 169 | \ | | / |__________| |
| 170 | _________ \| complex | / |
| 171 | | | | |/ |
| 172 | | input 1 |---->| filter |\ |
| 173 | |_________| | | \ __________ |
| 174 | /| graph | \ | | |
| 175 | / | | \| output 1 | |
| 176 | _________ / |_________| |__________| |
| 177 | | | / |
| 178 | | input 2 |/ |
| 179 | |_________| |
| 180 | |
| 181 | @end example |
| 182 | |
| 183 | Complex filtergraphs are configured with the @option{-filter_complex} option. |
| 184 | Note that this option is global, since a complex filtergraph, by its nature, |
| 185 | cannot be unambiguously associated with a single stream or file. |
| 186 | |
| 187 | The @option{-lavfi} option is equivalent to @option{-filter_complex}. |
| 188 | |
| 189 | A trivial example of a complex filtergraph is the @code{overlay} filter, which |
| 190 | has two video inputs and one video output, containing one video overlaid on top |
| 191 | of the other. Its audio counterpart is the @code{amix} filter. |
| 192 | |
| 193 | @section Stream copy |
| 194 | Stream copy is a mode selected by supplying the @code{copy} parameter to the |
| 195 | @option{-codec} option. It makes @command{ffmpeg} omit the decoding and encoding |
| 196 | step for the specified stream, so it does only demuxing and muxing. It is useful |
| 197 | for changing the container format or modifying container-level metadata. The |
| 198 | diagram above will, in this case, simplify to this: |
| 199 | |
| 200 | @example |
| 201 | _______ ______________ ________ |
| 202 | | | | | | | |
| 203 | | input | demuxer | encoded data | muxer | output | |
| 204 | | file | ---------> | packets | -------> | file | |
| 205 | |_______| |______________| |________| |
| 206 | |
| 207 | @end example |
| 208 | |
| 209 | Since there is no decoding or encoding, it is very fast and there is no quality |
| 210 | loss. However, it might not work in some cases because of many factors. Applying |
| 211 | filters is obviously also impossible, since filters work on uncompressed data. |
| 212 | |
| 213 | @c man end DETAILED DESCRIPTION |
| 214 | |
| 215 | @chapter Stream selection |
| 216 | @c man begin STREAM SELECTION |
| 217 | |
| 218 | By default, @command{ffmpeg} includes only one stream of each type (video, audio, subtitle) |
| 219 | present in the input files and adds them to each output file. It picks the |
| 220 | "best" of each based upon the following criteria: for video, it is the stream |
| 221 | with the highest resolution, for audio, it is the stream with the most channels, for |
| 222 | subtitles, it is the first subtitle stream. In the case where several streams of |
| 223 | the same type rate equally, the stream with the lowest index is chosen. |
| 224 | |
| 225 | You can disable some of those defaults by using the @code{-vn/-an/-sn} options. For |
| 226 | full manual control, use the @code{-map} option, which disables the defaults just |
| 227 | described. |
| 228 | |
| 229 | @c man end STREAM SELECTION |
| 230 | |
| 231 | @chapter Options |
| 232 | @c man begin OPTIONS |
| 233 | |
| 234 | @include fftools-common-opts.texi |
| 235 | |
| 236 | @section Main options |
| 237 | |
| 238 | @table @option |
| 239 | |
| 240 | @item -f @var{fmt} (@emph{input/output}) |
| 241 | Force input or output file format. The format is normally auto detected for input |
| 242 | files and guessed from the file extension for output files, so this option is not |
| 243 | needed in most cases. |
| 244 | |
| 245 | @item -i @var{filename} (@emph{input}) |
| 246 | input file name |
| 247 | |
| 248 | @item -y (@emph{global}) |
| 249 | Overwrite output files without asking. |
| 250 | |
| 251 | @item -n (@emph{global}) |
| 252 | Do not overwrite output files, and exit immediately if a specified |
| 253 | output file already exists. |
| 254 | |
| 255 | @item -c[:@var{stream_specifier}] @var{codec} (@emph{input/output,per-stream}) |
| 256 | @itemx -codec[:@var{stream_specifier}] @var{codec} (@emph{input/output,per-stream}) |
| 257 | Select an encoder (when used before an output file) or a decoder (when used |
| 258 | before an input file) for one or more streams. @var{codec} is the name of a |
| 259 | decoder/encoder or a special value @code{copy} (output only) to indicate that |
| 260 | the stream is not to be re-encoded. |
| 261 | |
| 262 | For example |
| 263 | @example |
| 264 | ffmpeg -i INPUT -map 0 -c:v libx264 -c:a copy OUTPUT |
| 265 | @end example |
| 266 | encodes all video streams with libx264 and copies all audio streams. |
| 267 | |
| 268 | For each stream, the last matching @code{c} option is applied, so |
| 269 | @example |
| 270 | ffmpeg -i INPUT -map 0 -c copy -c:v:1 libx264 -c:a:137 libvorbis OUTPUT |
| 271 | @end example |
| 272 | will copy all the streams except the second video, which will be encoded with |
| 273 | libx264, and the 138th audio, which will be encoded with libvorbis. |
| 274 | |
| 275 | @item -t @var{duration} (@emph{input/output}) |
| 276 | When used as an input option (before @code{-i}), limit the @var{duration} of |
| 277 | data read from the input file. |
| 278 | |
| 279 | When used as an output option (before an output filename), stop writing the |
| 280 | output after its duration reaches @var{duration}. |
| 281 | |
| 282 | @var{duration} may be a number in seconds, or in @code{hh:mm:ss[.xxx]} form. |
| 283 | |
| 284 | -to and -t are mutually exclusive and -t has priority. |
| 285 | |
| 286 | @item -to @var{position} (@emph{output}) |
| 287 | Stop writing the output at @var{position}. |
| 288 | @var{position} may be a number in seconds, or in @code{hh:mm:ss[.xxx]} form. |
| 289 | |
| 290 | -to and -t are mutually exclusive and -t has priority. |
| 291 | |
| 292 | @item -fs @var{limit_size} (@emph{output}) |
| 293 | Set the file size limit, expressed in bytes. |
| 294 | |
| 295 | @item -ss @var{position} (@emph{input/output}) |
| 296 | When used as an input option (before @code{-i}), seeks in this input file to |
| 297 | @var{position}. Note the in most formats it is not possible to seek exactly, so |
| 298 | @command{ffmpeg} will seek to the closest seek point before @var{position}. |
| 299 | When transcoding and @option{-accurate_seek} is enabled (the default), this |
| 300 | extra segment between the seek point and @var{position} will be decoded and |
| 301 | discarded. When doing stream copy or when @option{-noaccurate_seek} is used, it |
| 302 | will be preserved. |
| 303 | |
| 304 | When used as an output option (before an output filename), decodes but discards |
| 305 | input until the timestamps reach @var{position}. |
| 306 | |
| 307 | @var{position} may be either in seconds or in @code{hh:mm:ss[.xxx]} form. |
| 308 | |
| 309 | @item -itsoffset @var{offset} (@emph{input}) |
| 310 | Set the input time offset. |
| 311 | |
| 312 | @var{offset} must be a time duration specification, |
| 313 | see @ref{time duration syntax,,the Time duration section in the ffmpeg-utils(1) manual,ffmpeg-utils}. |
| 314 | |
| 315 | The offset is added to the timestamps of the input files. Specifying |
| 316 | a positive offset means that the corresponding streams are delayed by |
| 317 | the time duration specified in @var{offset}. |
| 318 | |
| 319 | @item -timestamp @var{date} (@emph{output}) |
| 320 | Set the recording timestamp in the container. |
| 321 | |
| 322 | @var{date} must be a time duration specification, |
| 323 | see @ref{date syntax,,the Date section in the ffmpeg-utils(1) manual,ffmpeg-utils}. |
| 324 | |
| 325 | @item -metadata[:metadata_specifier] @var{key}=@var{value} (@emph{output,per-metadata}) |
| 326 | Set a metadata key/value pair. |
| 327 | |
| 328 | An optional @var{metadata_specifier} may be given to set metadata |
| 329 | on streams or chapters. See @code{-map_metadata} documentation for |
| 330 | details. |
| 331 | |
| 332 | This option overrides metadata set with @code{-map_metadata}. It is |
| 333 | also possible to delete metadata by using an empty value. |
| 334 | |
| 335 | For example, for setting the title in the output file: |
| 336 | @example |
| 337 | ffmpeg -i in.avi -metadata title="my title" out.flv |
| 338 | @end example |
| 339 | |
| 340 | To set the language of the first audio stream: |
| 341 | @example |
| 342 | ffmpeg -i INPUT -metadata:s:a:0 language=eng OUTPUT |
| 343 | @end example |
| 344 | |
| 345 | @item -target @var{type} (@emph{output}) |
| 346 | Specify target file type (@code{vcd}, @code{svcd}, @code{dvd}, @code{dv}, |
| 347 | @code{dv50}). @var{type} may be prefixed with @code{pal-}, @code{ntsc-} or |
| 348 | @code{film-} to use the corresponding standard. All the format options |
| 349 | (bitrate, codecs, buffer sizes) are then set automatically. You can just type: |
| 350 | |
| 351 | @example |
| 352 | ffmpeg -i myfile.avi -target vcd /tmp/vcd.mpg |
| 353 | @end example |
| 354 | |
| 355 | Nevertheless you can specify additional options as long as you know |
| 356 | they do not conflict with the standard, as in: |
| 357 | |
| 358 | @example |
| 359 | ffmpeg -i myfile.avi -target vcd -bf 2 /tmp/vcd.mpg |
| 360 | @end example |
| 361 | |
| 362 | @item -dframes @var{number} (@emph{output}) |
| 363 | Set the number of data frames to output. This is an alias for @code{-frames:d}. |
| 364 | |
| 365 | @item -frames[:@var{stream_specifier}] @var{framecount} (@emph{output,per-stream}) |
| 366 | Stop writing to the stream after @var{framecount} frames. |
| 367 | |
| 368 | @item -q[:@var{stream_specifier}] @var{q} (@emph{output,per-stream}) |
| 369 | @itemx -qscale[:@var{stream_specifier}] @var{q} (@emph{output,per-stream}) |
| 370 | Use fixed quality scale (VBR). The meaning of @var{q}/@var{qscale} is |
| 371 | codec-dependent. |
| 372 | If @var{qscale} is used without a @var{stream_specifier} then it applies only |
| 373 | to the video stream, this is to maintain compatibility with previous behavior |
| 374 | and as specifying the same codec specific value to 2 different codecs that is |
| 375 | audio and video generally is not what is intended when no stream_specifier is |
| 376 | used. |
| 377 | |
| 378 | @anchor{filter_option} |
| 379 | @item -filter[:@var{stream_specifier}] @var{filtergraph} (@emph{output,per-stream}) |
| 380 | Create the filtergraph specified by @var{filtergraph} and use it to |
| 381 | filter the stream. |
| 382 | |
| 383 | @var{filtergraph} is a description of the filtergraph to apply to |
| 384 | the stream, and must have a single input and a single output of the |
| 385 | same type of the stream. In the filtergraph, the input is associated |
| 386 | to the label @code{in}, and the output to the label @code{out}. See |
| 387 | the ffmpeg-filters manual for more information about the filtergraph |
| 388 | syntax. |
| 389 | |
| 390 | See the @ref{filter_complex_option,,-filter_complex option} if you |
| 391 | want to create filtergraphs with multiple inputs and/or outputs. |
| 392 | |
| 393 | @item -filter_script[:@var{stream_specifier}] @var{filename} (@emph{output,per-stream}) |
| 394 | This option is similar to @option{-filter}, the only difference is that its |
| 395 | argument is the name of the file from which a filtergraph description is to be |
| 396 | read. |
| 397 | |
| 398 | @item -pre[:@var{stream_specifier}] @var{preset_name} (@emph{output,per-stream}) |
| 399 | Specify the preset for matching stream(s). |
| 400 | |
| 401 | @item -stats (@emph{global}) |
| 402 | Print encoding progress/statistics. It is on by default, to explicitly |
| 403 | disable it you need to specify @code{-nostats}. |
| 404 | |
| 405 | @item -progress @var{url} (@emph{global}) |
| 406 | Send program-friendly progress information to @var{url}. |
| 407 | |
| 408 | Progress information is written approximately every second and at the end of |
| 409 | the encoding process. It is made of "@var{key}=@var{value}" lines. @var{key} |
| 410 | consists of only alphanumeric characters. The last key of a sequence of |
| 411 | progress information is always "progress". |
| 412 | |
| 413 | @item -stdin |
| 414 | Enable interaction on standard input. On by default unless standard input is |
| 415 | used as an input. To explicitly disable interaction you need to specify |
| 416 | @code{-nostdin}. |
| 417 | |
| 418 | Disabling interaction on standard input is useful, for example, if |
| 419 | ffmpeg is in the background process group. Roughly the same result can |
| 420 | be achieved with @code{ffmpeg ... < /dev/null} but it requires a |
| 421 | shell. |
| 422 | |
| 423 | @item -debug_ts (@emph{global}) |
| 424 | Print timestamp information. It is off by default. This option is |
| 425 | mostly useful for testing and debugging purposes, and the output |
| 426 | format may change from one version to another, so it should not be |
| 427 | employed by portable scripts. |
| 428 | |
| 429 | See also the option @code{-fdebug ts}. |
| 430 | |
| 431 | @item -attach @var{filename} (@emph{output}) |
| 432 | Add an attachment to the output file. This is supported by a few formats |
| 433 | like Matroska for e.g. fonts used in rendering subtitles. Attachments |
| 434 | are implemented as a specific type of stream, so this option will add |
| 435 | a new stream to the file. It is then possible to use per-stream options |
| 436 | on this stream in the usual way. Attachment streams created with this |
| 437 | option will be created after all the other streams (i.e. those created |
| 438 | with @code{-map} or automatic mappings). |
| 439 | |
| 440 | Note that for Matroska you also have to set the mimetype metadata tag: |
| 441 | @example |
| 442 | ffmpeg -i INPUT -attach DejaVuSans.ttf -metadata:s:2 mimetype=application/x-truetype-font out.mkv |
| 443 | @end example |
| 444 | (assuming that the attachment stream will be third in the output file). |
| 445 | |
| 446 | @item -dump_attachment[:@var{stream_specifier}] @var{filename} (@emph{input,per-stream}) |
| 447 | Extract the matching attachment stream into a file named @var{filename}. If |
| 448 | @var{filename} is empty, then the value of the @code{filename} metadata tag |
| 449 | will be used. |
| 450 | |
| 451 | E.g. to extract the first attachment to a file named 'out.ttf': |
| 452 | @example |
| 453 | ffmpeg -dump_attachment:t:0 out.ttf -i INPUT |
| 454 | @end example |
| 455 | To extract all attachments to files determined by the @code{filename} tag: |
| 456 | @example |
| 457 | ffmpeg -dump_attachment:t "" -i INPUT |
| 458 | @end example |
| 459 | |
| 460 | Technical note -- attachments are implemented as codec extradata, so this |
| 461 | option can actually be used to extract extradata from any stream, not just |
| 462 | attachments. |
| 463 | |
| 464 | @end table |
| 465 | |
| 466 | @section Video Options |
| 467 | |
| 468 | @table @option |
| 469 | @item -vframes @var{number} (@emph{output}) |
| 470 | Set the number of video frames to output. This is an alias for @code{-frames:v}. |
| 471 | @item -r[:@var{stream_specifier}] @var{fps} (@emph{input/output,per-stream}) |
| 472 | Set frame rate (Hz value, fraction or abbreviation). |
| 473 | |
| 474 | As an input option, ignore any timestamps stored in the file and instead |
| 475 | generate timestamps assuming constant frame rate @var{fps}. |
| 476 | This is not the same as the @option{-framerate} option used for some input formats |
| 477 | like image2 or v4l2 (it used to be the same in older versions of FFmpeg). |
| 478 | If in doubt use @option{-framerate} instead of the input option @option{-r}. |
| 479 | |
| 480 | As an output option, duplicate or drop input frames to achieve constant output |
| 481 | frame rate @var{fps}. |
| 482 | |
| 483 | @item -s[:@var{stream_specifier}] @var{size} (@emph{input/output,per-stream}) |
| 484 | Set frame size. |
| 485 | |
| 486 | As an input option, this is a shortcut for the @option{video_size} private |
| 487 | option, recognized by some demuxers for which the frame size is either not |
| 488 | stored in the file or is configurable -- e.g. raw video or video grabbers. |
| 489 | |
| 490 | As an output option, this inserts the @code{scale} video filter to the |
| 491 | @emph{end} of the corresponding filtergraph. Please use the @code{scale} filter |
| 492 | directly to insert it at the beginning or some other place. |
| 493 | |
| 494 | The format is @samp{wxh} (default - same as source). |
| 495 | |
| 496 | @item -aspect[:@var{stream_specifier}] @var{aspect} (@emph{output,per-stream}) |
| 497 | Set the video display aspect ratio specified by @var{aspect}. |
| 498 | |
| 499 | @var{aspect} can be a floating point number string, or a string of the |
| 500 | form @var{num}:@var{den}, where @var{num} and @var{den} are the |
| 501 | numerator and denominator of the aspect ratio. For example "4:3", |
| 502 | "16:9", "1.3333", and "1.7777" are valid argument values. |
| 503 | |
| 504 | If used together with @option{-vcodec copy}, it will affect the aspect ratio |
| 505 | stored at container level, but not the aspect ratio stored in encoded |
| 506 | frames, if it exists. |
| 507 | |
| 508 | @item -vn (@emph{output}) |
| 509 | Disable video recording. |
| 510 | |
| 511 | @item -vcodec @var{codec} (@emph{output}) |
| 512 | Set the video codec. This is an alias for @code{-codec:v}. |
| 513 | |
| 514 | @item -pass[:@var{stream_specifier}] @var{n} (@emph{output,per-stream}) |
| 515 | Select the pass number (1 or 2). It is used to do two-pass |
| 516 | video encoding. The statistics of the video are recorded in the first |
| 517 | pass into a log file (see also the option -passlogfile), |
| 518 | and in the second pass that log file is used to generate the video |
| 519 | at the exact requested bitrate. |
| 520 | On pass 1, you may just deactivate audio and set output to null, |
| 521 | examples for Windows and Unix: |
| 522 | @example |
| 523 | ffmpeg -i foo.mov -c:v libxvid -pass 1 -an -f rawvideo -y NUL |
| 524 | ffmpeg -i foo.mov -c:v libxvid -pass 1 -an -f rawvideo -y /dev/null |
| 525 | @end example |
| 526 | |
| 527 | @item -passlogfile[:@var{stream_specifier}] @var{prefix} (@emph{output,per-stream}) |
| 528 | Set two-pass log file name prefix to @var{prefix}, the default file name |
| 529 | prefix is ``ffmpeg2pass''. The complete file name will be |
| 530 | @file{PREFIX-N.log}, where N is a number specific to the output |
| 531 | stream |
| 532 | |
| 533 | @item -vf @var{filtergraph} (@emph{output}) |
| 534 | Create the filtergraph specified by @var{filtergraph} and use it to |
| 535 | filter the stream. |
| 536 | |
| 537 | This is an alias for @code{-filter:v}, see the @ref{filter_option,,-filter option}. |
| 538 | @end table |
| 539 | |
| 540 | @section Advanced Video options |
| 541 | |
| 542 | @table @option |
| 543 | @item -pix_fmt[:@var{stream_specifier}] @var{format} (@emph{input/output,per-stream}) |
| 544 | Set pixel format. Use @code{-pix_fmts} to show all the supported |
| 545 | pixel formats. |
| 546 | If the selected pixel format can not be selected, ffmpeg will print a |
| 547 | warning and select the best pixel format supported by the encoder. |
| 548 | If @var{pix_fmt} is prefixed by a @code{+}, ffmpeg will exit with an error |
| 549 | if the requested pixel format can not be selected, and automatic conversions |
| 550 | inside filtergraphs are disabled. |
| 551 | If @var{pix_fmt} is a single @code{+}, ffmpeg selects the same pixel format |
| 552 | as the input (or graph output) and automatic conversions are disabled. |
| 553 | |
| 554 | @item -sws_flags @var{flags} (@emph{input/output}) |
| 555 | Set SwScaler flags. |
| 556 | @item -vdt @var{n} |
| 557 | Discard threshold. |
| 558 | |
| 559 | @item -rc_override[:@var{stream_specifier}] @var{override} (@emph{output,per-stream}) |
| 560 | Rate control override for specific intervals, formatted as "int,int,int" |
| 561 | list separated with slashes. Two first values are the beginning and |
| 562 | end frame numbers, last one is quantizer to use if positive, or quality |
| 563 | factor if negative. |
| 564 | |
| 565 | @item -ilme |
| 566 | Force interlacing support in encoder (MPEG-2 and MPEG-4 only). |
| 567 | Use this option if your input file is interlaced and you want |
| 568 | to keep the interlaced format for minimum losses. |
| 569 | The alternative is to deinterlace the input stream with |
| 570 | @option{-deinterlace}, but deinterlacing introduces losses. |
| 571 | @item -psnr |
| 572 | Calculate PSNR of compressed frames. |
| 573 | @item -vstats |
| 574 | Dump video coding statistics to @file{vstats_HHMMSS.log}. |
| 575 | @item -vstats_file @var{file} |
| 576 | Dump video coding statistics to @var{file}. |
| 577 | @item -top[:@var{stream_specifier}] @var{n} (@emph{output,per-stream}) |
| 578 | top=1/bottom=0/auto=-1 field first |
| 579 | @item -dc @var{precision} |
| 580 | Intra_dc_precision. |
| 581 | @item -vtag @var{fourcc/tag} (@emph{output}) |
| 582 | Force video tag/fourcc. This is an alias for @code{-tag:v}. |
| 583 | @item -qphist (@emph{global}) |
| 584 | Show QP histogram |
| 585 | @item -vbsf @var{bitstream_filter} |
| 586 | Deprecated see -bsf |
| 587 | |
| 588 | @item -force_key_frames[:@var{stream_specifier}] @var{time}[,@var{time}...] (@emph{output,per-stream}) |
| 589 | @item -force_key_frames[:@var{stream_specifier}] expr:@var{expr} (@emph{output,per-stream}) |
| 590 | Force key frames at the specified timestamps, more precisely at the first |
| 591 | frames after each specified time. |
| 592 | |
| 593 | If the argument is prefixed with @code{expr:}, the string @var{expr} |
| 594 | is interpreted like an expression and is evaluated for each frame. A |
| 595 | key frame is forced in case the evaluation is non-zero. |
| 596 | |
| 597 | If one of the times is "@code{chapters}[@var{delta}]", it is expanded into |
| 598 | the time of the beginning of all chapters in the file, shifted by |
| 599 | @var{delta}, expressed as a time in seconds. |
| 600 | This option can be useful to ensure that a seek point is present at a |
| 601 | chapter mark or any other designated place in the output file. |
| 602 | |
| 603 | For example, to insert a key frame at 5 minutes, plus key frames 0.1 second |
| 604 | before the beginning of every chapter: |
| 605 | @example |
| 606 | -force_key_frames 0:05:00,chapters-0.1 |
| 607 | @end example |
| 608 | |
| 609 | The expression in @var{expr} can contain the following constants: |
| 610 | @table @option |
| 611 | @item n |
| 612 | the number of current processed frame, starting from 0 |
| 613 | @item n_forced |
| 614 | the number of forced frames |
| 615 | @item prev_forced_n |
| 616 | the number of the previous forced frame, it is @code{NAN} when no |
| 617 | keyframe was forced yet |
| 618 | @item prev_forced_t |
| 619 | the time of the previous forced frame, it is @code{NAN} when no |
| 620 | keyframe was forced yet |
| 621 | @item t |
| 622 | the time of the current processed frame |
| 623 | @end table |
| 624 | |
| 625 | For example to force a key frame every 5 seconds, you can specify: |
| 626 | @example |
| 627 | -force_key_frames expr:gte(t,n_forced*5) |
| 628 | @end example |
| 629 | |
| 630 | To force a key frame 5 seconds after the time of the last forced one, |
| 631 | starting from second 13: |
| 632 | @example |
| 633 | -force_key_frames expr:if(isnan(prev_forced_t),gte(t,13),gte(t,prev_forced_t+5)) |
| 634 | @end example |
| 635 | |
| 636 | Note that forcing too many keyframes is very harmful for the lookahead |
| 637 | algorithms of certain encoders: using fixed-GOP options or similar |
| 638 | would be more efficient. |
| 639 | |
| 640 | @item -copyinkf[:@var{stream_specifier}] (@emph{output,per-stream}) |
| 641 | When doing stream copy, copy also non-key frames found at the |
| 642 | beginning. |
| 643 | |
| 644 | @item -hwaccel[:@var{stream_specifier}] @var{hwaccel} (@emph{input,per-stream}) |
| 645 | Use hardware acceleration to decode the matching stream(s). The allowed values |
| 646 | of @var{hwaccel} are: |
| 647 | @table @option |
| 648 | @item none |
| 649 | Do not use any hardware acceleration (the default). |
| 650 | |
| 651 | @item auto |
| 652 | Automatically select the hardware acceleration method. |
| 653 | |
| 654 | @item vda |
| 655 | Use Apple VDA hardware acceleration. |
| 656 | |
| 657 | @item vdpau |
| 658 | Use VDPAU (Video Decode and Presentation API for Unix) hardware acceleration. |
| 659 | |
| 660 | @item dxva2 |
| 661 | Use DXVA2 (DirectX Video Acceleration) hardware acceleration. |
| 662 | @end table |
| 663 | |
| 664 | This option has no effect if the selected hwaccel is not available or not |
| 665 | supported by the chosen decoder. |
| 666 | |
| 667 | Note that most acceleration methods are intended for playback and will not be |
| 668 | faster than software decoding on modern CPUs. Additionally, @command{ffmpeg} |
| 669 | will usually need to copy the decoded frames from the GPU memory into the system |
| 670 | memory, resulting in further performance loss. This option is thus mainly |
| 671 | useful for testing. |
| 672 | |
| 673 | @item -hwaccel_device[:@var{stream_specifier}] @var{hwaccel_device} (@emph{input,per-stream}) |
| 674 | Select a device to use for hardware acceleration. |
| 675 | |
| 676 | This option only makes sense when the @option{-hwaccel} option is also |
| 677 | specified. Its exact meaning depends on the specific hardware acceleration |
| 678 | method chosen. |
| 679 | |
| 680 | @table @option |
| 681 | @item vdpau |
| 682 | For VDPAU, this option specifies the X11 display/screen to use. If this option |
| 683 | is not specified, the value of the @var{DISPLAY} environment variable is used |
| 684 | |
| 685 | @item dxva2 |
| 686 | For DXVA2, this option should contain the number of the display adapter to use. |
| 687 | If this option is not specified, the default adapter is used. |
| 688 | @end table |
| 689 | @end table |
| 690 | |
| 691 | @section Audio Options |
| 692 | |
| 693 | @table @option |
| 694 | @item -aframes @var{number} (@emph{output}) |
| 695 | Set the number of audio frames to output. This is an alias for @code{-frames:a}. |
| 696 | @item -ar[:@var{stream_specifier}] @var{freq} (@emph{input/output,per-stream}) |
| 697 | Set the audio sampling frequency. For output streams it is set by |
| 698 | default to the frequency of the corresponding input stream. For input |
| 699 | streams this option only makes sense for audio grabbing devices and raw |
| 700 | demuxers and is mapped to the corresponding demuxer options. |
| 701 | @item -aq @var{q} (@emph{output}) |
| 702 | Set the audio quality (codec-specific, VBR). This is an alias for -q:a. |
| 703 | @item -ac[:@var{stream_specifier}] @var{channels} (@emph{input/output,per-stream}) |
| 704 | Set the number of audio channels. For output streams it is set by |
| 705 | default to the number of input audio channels. For input streams |
| 706 | this option only makes sense for audio grabbing devices and raw demuxers |
| 707 | and is mapped to the corresponding demuxer options. |
| 708 | @item -an (@emph{output}) |
| 709 | Disable audio recording. |
| 710 | @item -acodec @var{codec} (@emph{input/output}) |
| 711 | Set the audio codec. This is an alias for @code{-codec:a}. |
| 712 | @item -sample_fmt[:@var{stream_specifier}] @var{sample_fmt} (@emph{output,per-stream}) |
| 713 | Set the audio sample format. Use @code{-sample_fmts} to get a list |
| 714 | of supported sample formats. |
| 715 | |
| 716 | @item -af @var{filtergraph} (@emph{output}) |
| 717 | Create the filtergraph specified by @var{filtergraph} and use it to |
| 718 | filter the stream. |
| 719 | |
| 720 | This is an alias for @code{-filter:a}, see the @ref{filter_option,,-filter option}. |
| 721 | @end table |
| 722 | |
| 723 | @section Advanced Audio options |
| 724 | |
| 725 | @table @option |
| 726 | @item -atag @var{fourcc/tag} (@emph{output}) |
| 727 | Force audio tag/fourcc. This is an alias for @code{-tag:a}. |
| 728 | @item -absf @var{bitstream_filter} |
| 729 | Deprecated, see -bsf |
| 730 | @item -guess_layout_max @var{channels} (@emph{input,per-stream}) |
| 731 | If some input channel layout is not known, try to guess only if it |
| 732 | corresponds to at most the specified number of channels. For example, 2 |
| 733 | tells to @command{ffmpeg} to recognize 1 channel as mono and 2 channels as |
| 734 | stereo but not 6 channels as 5.1. The default is to always try to guess. Use |
| 735 | 0 to disable all guessing. |
| 736 | @end table |
| 737 | |
| 738 | @section Subtitle options |
| 739 | |
| 740 | @table @option |
| 741 | @item -scodec @var{codec} (@emph{input/output}) |
| 742 | Set the subtitle codec. This is an alias for @code{-codec:s}. |
| 743 | @item -sn (@emph{output}) |
| 744 | Disable subtitle recording. |
| 745 | @item -sbsf @var{bitstream_filter} |
| 746 | Deprecated, see -bsf |
| 747 | @end table |
| 748 | |
| 749 | @section Advanced Subtitle options |
| 750 | |
| 751 | @table @option |
| 752 | |
| 753 | @item -fix_sub_duration |
| 754 | Fix subtitles durations. For each subtitle, wait for the next packet in the |
| 755 | same stream and adjust the duration of the first to avoid overlap. This is |
| 756 | necessary with some subtitles codecs, especially DVB subtitles, because the |
| 757 | duration in the original packet is only a rough estimate and the end is |
| 758 | actually marked by an empty subtitle frame. Failing to use this option when |
| 759 | necessary can result in exaggerated durations or muxing failures due to |
| 760 | non-monotonic timestamps. |
| 761 | |
| 762 | Note that this option will delay the output of all data until the next |
| 763 | subtitle packet is decoded: it may increase memory consumption and latency a |
| 764 | lot. |
| 765 | |
| 766 | @item -canvas_size @var{size} |
| 767 | Set the size of the canvas used to render subtitles. |
| 768 | |
| 769 | @end table |
| 770 | |
| 771 | @section Advanced options |
| 772 | |
| 773 | @table @option |
| 774 | @item -map [-]@var{input_file_id}[:@var{stream_specifier}][,@var{sync_file_id}[:@var{stream_specifier}]] | @var{[linklabel]} (@emph{output}) |
| 775 | |
| 776 | Designate one or more input streams as a source for the output file. Each input |
| 777 | stream is identified by the input file index @var{input_file_id} and |
| 778 | the input stream index @var{input_stream_id} within the input |
| 779 | file. Both indices start at 0. If specified, |
| 780 | @var{sync_file_id}:@var{stream_specifier} sets which input stream |
| 781 | is used as a presentation sync reference. |
| 782 | |
| 783 | The first @code{-map} option on the command line specifies the |
| 784 | source for output stream 0, the second @code{-map} option specifies |
| 785 | the source for output stream 1, etc. |
| 786 | |
| 787 | A @code{-} character before the stream identifier creates a "negative" mapping. |
| 788 | It disables matching streams from already created mappings. |
| 789 | |
| 790 | An alternative @var{[linklabel]} form will map outputs from complex filter |
| 791 | graphs (see the @option{-filter_complex} option) to the output file. |
| 792 | @var{linklabel} must correspond to a defined output link label in the graph. |
| 793 | |
| 794 | For example, to map ALL streams from the first input file to output |
| 795 | @example |
| 796 | ffmpeg -i INPUT -map 0 output |
| 797 | @end example |
| 798 | |
| 799 | For example, if you have two audio streams in the first input file, |
| 800 | these streams are identified by "0:0" and "0:1". You can use |
| 801 | @code{-map} to select which streams to place in an output file. For |
| 802 | example: |
| 803 | @example |
| 804 | ffmpeg -i INPUT -map 0:1 out.wav |
| 805 | @end example |
| 806 | will map the input stream in @file{INPUT} identified by "0:1" to |
| 807 | the (single) output stream in @file{out.wav}. |
| 808 | |
| 809 | For example, to select the stream with index 2 from input file |
| 810 | @file{a.mov} (specified by the identifier "0:2"), and stream with |
| 811 | index 6 from input @file{b.mov} (specified by the identifier "1:6"), |
| 812 | and copy them to the output file @file{out.mov}: |
| 813 | @example |
| 814 | ffmpeg -i a.mov -i b.mov -c copy -map 0:2 -map 1:6 out.mov |
| 815 | @end example |
| 816 | |
| 817 | To select all video and the third audio stream from an input file: |
| 818 | @example |
| 819 | ffmpeg -i INPUT -map 0:v -map 0:a:2 OUTPUT |
| 820 | @end example |
| 821 | |
| 822 | To map all the streams except the second audio, use negative mappings |
| 823 | @example |
| 824 | ffmpeg -i INPUT -map 0 -map -0:a:1 OUTPUT |
| 825 | @end example |
| 826 | |
| 827 | To pick the English audio stream: |
| 828 | @example |
| 829 | ffmpeg -i INPUT -map 0:m:language:eng OUTPUT |
| 830 | @end example |
| 831 | |
| 832 | Note that using this option disables the default mappings for this output file. |
| 833 | |
| 834 | @item -map_channel [@var{input_file_id}.@var{stream_specifier}.@var{channel_id}|-1][:@var{output_file_id}.@var{stream_specifier}] |
| 835 | Map an audio channel from a given input to an output. If |
| 836 | @var{output_file_id}.@var{stream_specifier} is not set, the audio channel will |
| 837 | be mapped on all the audio streams. |
| 838 | |
| 839 | Using "-1" instead of |
| 840 | @var{input_file_id}.@var{stream_specifier}.@var{channel_id} will map a muted |
| 841 | channel. |
| 842 | |
| 843 | For example, assuming @var{INPUT} is a stereo audio file, you can switch the |
| 844 | two audio channels with the following command: |
| 845 | @example |
| 846 | ffmpeg -i INPUT -map_channel 0.0.1 -map_channel 0.0.0 OUTPUT |
| 847 | @end example |
| 848 | |
| 849 | If you want to mute the first channel and keep the second: |
| 850 | @example |
| 851 | ffmpeg -i INPUT -map_channel -1 -map_channel 0.0.1 OUTPUT |
| 852 | @end example |
| 853 | |
| 854 | The order of the "-map_channel" option specifies the order of the channels in |
| 855 | the output stream. The output channel layout is guessed from the number of |
| 856 | channels mapped (mono if one "-map_channel", stereo if two, etc.). Using "-ac" |
| 857 | in combination of "-map_channel" makes the channel gain levels to be updated if |
| 858 | input and output channel layouts don't match (for instance two "-map_channel" |
| 859 | options and "-ac 6"). |
| 860 | |
| 861 | You can also extract each channel of an input to specific outputs; the following |
| 862 | command extracts two channels of the @var{INPUT} audio stream (file 0, stream 0) |
| 863 | to the respective @var{OUTPUT_CH0} and @var{OUTPUT_CH1} outputs: |
| 864 | @example |
| 865 | ffmpeg -i INPUT -map_channel 0.0.0 OUTPUT_CH0 -map_channel 0.0.1 OUTPUT_CH1 |
| 866 | @end example |
| 867 | |
| 868 | The following example splits the channels of a stereo input into two separate |
| 869 | streams, which are put into the same output file: |
| 870 | @example |
| 871 | ffmpeg -i stereo.wav -map 0:0 -map 0:0 -map_channel 0.0.0:0.0 -map_channel 0.0.1:0.1 -y out.ogg |
| 872 | @end example |
| 873 | |
| 874 | Note that currently each output stream can only contain channels from a single |
| 875 | input stream; you can't for example use "-map_channel" to pick multiple input |
| 876 | audio channels contained in different streams (from the same or different files) |
| 877 | and merge them into a single output stream. It is therefore not currently |
| 878 | possible, for example, to turn two separate mono streams into a single stereo |
| 879 | stream. However splitting a stereo stream into two single channel mono streams |
| 880 | is possible. |
| 881 | |
| 882 | If you need this feature, a possible workaround is to use the @emph{amerge} |
| 883 | filter. For example, if you need to merge a media (here @file{input.mkv}) with 2 |
| 884 | mono audio streams into one single stereo channel audio stream (and keep the |
| 885 | video stream), you can use the following command: |
| 886 | @example |
| 887 | ffmpeg -i input.mkv -filter_complex "[0:1] [0:2] amerge" -c:a pcm_s16le -c:v copy output.mkv |
| 888 | @end example |
| 889 | |
| 890 | @item -map_metadata[:@var{metadata_spec_out}] @var{infile}[:@var{metadata_spec_in}] (@emph{output,per-metadata}) |
| 891 | Set metadata information of the next output file from @var{infile}. Note that |
| 892 | those are file indices (zero-based), not filenames. |
| 893 | Optional @var{metadata_spec_in/out} parameters specify, which metadata to copy. |
| 894 | A metadata specifier can have the following forms: |
| 895 | @table @option |
| 896 | @item @var{g} |
| 897 | global metadata, i.e. metadata that applies to the whole file |
| 898 | |
| 899 | @item @var{s}[:@var{stream_spec}] |
| 900 | per-stream metadata. @var{stream_spec} is a stream specifier as described |
| 901 | in the @ref{Stream specifiers} chapter. In an input metadata specifier, the first |
| 902 | matching stream is copied from. In an output metadata specifier, all matching |
| 903 | streams are copied to. |
| 904 | |
| 905 | @item @var{c}:@var{chapter_index} |
| 906 | per-chapter metadata. @var{chapter_index} is the zero-based chapter index. |
| 907 | |
| 908 | @item @var{p}:@var{program_index} |
| 909 | per-program metadata. @var{program_index} is the zero-based program index. |
| 910 | @end table |
| 911 | If metadata specifier is omitted, it defaults to global. |
| 912 | |
| 913 | By default, global metadata is copied from the first input file, |
| 914 | per-stream and per-chapter metadata is copied along with streams/chapters. These |
| 915 | default mappings are disabled by creating any mapping of the relevant type. A negative |
| 916 | file index can be used to create a dummy mapping that just disables automatic copying. |
| 917 | |
| 918 | For example to copy metadata from the first stream of the input file to global metadata |
| 919 | of the output file: |
| 920 | @example |
| 921 | ffmpeg -i in.ogg -map_metadata 0:s:0 out.mp3 |
| 922 | @end example |
| 923 | |
| 924 | To do the reverse, i.e. copy global metadata to all audio streams: |
| 925 | @example |
| 926 | ffmpeg -i in.mkv -map_metadata:s:a 0:g out.mkv |
| 927 | @end example |
| 928 | Note that simple @code{0} would work as well in this example, since global |
| 929 | metadata is assumed by default. |
| 930 | |
| 931 | @item -map_chapters @var{input_file_index} (@emph{output}) |
| 932 | Copy chapters from input file with index @var{input_file_index} to the next |
| 933 | output file. If no chapter mapping is specified, then chapters are copied from |
| 934 | the first input file with at least one chapter. Use a negative file index to |
| 935 | disable any chapter copying. |
| 936 | |
| 937 | @item -benchmark (@emph{global}) |
| 938 | Show benchmarking information at the end of an encode. |
| 939 | Shows CPU time used and maximum memory consumption. |
| 940 | Maximum memory consumption is not supported on all systems, |
| 941 | it will usually display as 0 if not supported. |
| 942 | @item -benchmark_all (@emph{global}) |
| 943 | Show benchmarking information during the encode. |
| 944 | Shows CPU time used in various steps (audio/video encode/decode). |
| 945 | @item -timelimit @var{duration} (@emph{global}) |
| 946 | Exit after ffmpeg has been running for @var{duration} seconds. |
| 947 | @item -dump (@emph{global}) |
| 948 | Dump each input packet to stderr. |
| 949 | @item -hex (@emph{global}) |
| 950 | When dumping packets, also dump the payload. |
| 951 | @item -re (@emph{input}) |
| 952 | Read input at native frame rate. Mainly used to simulate a grab device. |
| 953 | or live input stream (e.g. when reading from a file). Should not be used |
| 954 | with actual grab devices or live input streams (where it can cause packet |
| 955 | loss). |
| 956 | By default @command{ffmpeg} attempts to read the input(s) as fast as possible. |
| 957 | This option will slow down the reading of the input(s) to the native frame rate |
| 958 | of the input(s). It is useful for real-time output (e.g. live streaming). |
| 959 | @item -loop_input |
| 960 | Loop over the input stream. Currently it works only for image |
| 961 | streams. This option is used for automatic FFserver testing. |
| 962 | This option is deprecated, use -loop 1. |
| 963 | @item -loop_output @var{number_of_times} |
| 964 | Repeatedly loop output for formats that support looping such as animated GIF |
| 965 | (0 will loop the output infinitely). |
| 966 | This option is deprecated, use -loop. |
| 967 | @item -vsync @var{parameter} |
| 968 | Video sync method. |
| 969 | For compatibility reasons old values can be specified as numbers. |
| 970 | Newly added values will have to be specified as strings always. |
| 971 | |
| 972 | @table @option |
| 973 | @item 0, passthrough |
| 974 | Each frame is passed with its timestamp from the demuxer to the muxer. |
| 975 | @item 1, cfr |
| 976 | Frames will be duplicated and dropped to achieve exactly the requested |
| 977 | constant frame rate. |
| 978 | @item 2, vfr |
| 979 | Frames are passed through with their timestamp or dropped so as to |
| 980 | prevent 2 frames from having the same timestamp. |
| 981 | @item drop |
| 982 | As passthrough but destroys all timestamps, making the muxer generate |
| 983 | fresh timestamps based on frame-rate. |
| 984 | @item -1, auto |
| 985 | Chooses between 1 and 2 depending on muxer capabilities. This is the |
| 986 | default method. |
| 987 | @end table |
| 988 | |
| 989 | Note that the timestamps may be further modified by the muxer, after this. |
| 990 | For example, in the case that the format option @option{avoid_negative_ts} |
| 991 | is enabled. |
| 992 | |
| 993 | With -map you can select from which stream the timestamps should be |
| 994 | taken. You can leave either video or audio unchanged and sync the |
| 995 | remaining stream(s) to the unchanged one. |
| 996 | |
| 997 | @item -async @var{samples_per_second} |
| 998 | Audio sync method. "Stretches/squeezes" the audio stream to match the timestamps, |
| 999 | the parameter is the maximum samples per second by which the audio is changed. |
| 1000 | -async 1 is a special case where only the start of the audio stream is corrected |
| 1001 | without any later correction. |
| 1002 | |
| 1003 | Note that the timestamps may be further modified by the muxer, after this. |
| 1004 | For example, in the case that the format option @option{avoid_negative_ts} |
| 1005 | is enabled. |
| 1006 | |
| 1007 | This option has been deprecated. Use the @code{aresample} audio filter instead. |
| 1008 | |
| 1009 | @item -copyts |
| 1010 | Do not process input timestamps, but keep their values without trying |
| 1011 | to sanitize them. In particular, do not remove the initial start time |
| 1012 | offset value. |
| 1013 | |
| 1014 | Note that, depending on the @option{vsync} option or on specific muxer |
| 1015 | processing (e.g. in case the format option @option{avoid_negative_ts} |
| 1016 | is enabled) the output timestamps may mismatch with the input |
| 1017 | timestamps even when this option is selected. |
| 1018 | |
| 1019 | @item -start_at_zero |
| 1020 | When used with @option{copyts}, shift input timestamps so they start at zero. |
| 1021 | |
| 1022 | This means that using e.g. @code{-ss 50} will make output timestamps start at |
| 1023 | 50 seconds, regardless of what timestamp the input file started at. |
| 1024 | |
| 1025 | @item -copytb @var{mode} |
| 1026 | Specify how to set the encoder timebase when stream copying. @var{mode} is an |
| 1027 | integer numeric value, and can assume one of the following values: |
| 1028 | |
| 1029 | @table @option |
| 1030 | @item 1 |
| 1031 | Use the demuxer timebase. |
| 1032 | |
| 1033 | The time base is copied to the output encoder from the corresponding input |
| 1034 | demuxer. This is sometimes required to avoid non monotonically increasing |
| 1035 | timestamps when copying video streams with variable frame rate. |
| 1036 | |
| 1037 | @item 0 |
| 1038 | Use the decoder timebase. |
| 1039 | |
| 1040 | The time base is copied to the output encoder from the corresponding input |
| 1041 | decoder. |
| 1042 | |
| 1043 | @item -1 |
| 1044 | Try to make the choice automatically, in order to generate a sane output. |
| 1045 | @end table |
| 1046 | |
| 1047 | Default value is -1. |
| 1048 | |
| 1049 | @item -shortest (@emph{output}) |
| 1050 | Finish encoding when the shortest input stream ends. |
| 1051 | @item -dts_delta_threshold |
| 1052 | Timestamp discontinuity delta threshold. |
| 1053 | @item -muxdelay @var{seconds} (@emph{input}) |
| 1054 | Set the maximum demux-decode delay. |
| 1055 | @item -muxpreload @var{seconds} (@emph{input}) |
| 1056 | Set the initial demux-decode delay. |
| 1057 | @item -streamid @var{output-stream-index}:@var{new-value} (@emph{output}) |
| 1058 | Assign a new stream-id value to an output stream. This option should be |
| 1059 | specified prior to the output filename to which it applies. |
| 1060 | For the situation where multiple output files exist, a streamid |
| 1061 | may be reassigned to a different value. |
| 1062 | |
| 1063 | For example, to set the stream 0 PID to 33 and the stream 1 PID to 36 for |
| 1064 | an output mpegts file: |
| 1065 | @example |
| 1066 | ffmpeg -i infile -streamid 0:33 -streamid 1:36 out.ts |
| 1067 | @end example |
| 1068 | |
| 1069 | @item -bsf[:@var{stream_specifier}] @var{bitstream_filters} (@emph{output,per-stream}) |
| 1070 | Set bitstream filters for matching streams. @var{bitstream_filters} is |
| 1071 | a comma-separated list of bitstream filters. Use the @code{-bsfs} option |
| 1072 | to get the list of bitstream filters. |
| 1073 | @example |
| 1074 | ffmpeg -i h264.mp4 -c:v copy -bsf:v h264_mp4toannexb -an out.h264 |
| 1075 | @end example |
| 1076 | @example |
| 1077 | ffmpeg -i file.mov -an -vn -bsf:s mov2textsub -c:s copy -f rawvideo sub.txt |
| 1078 | @end example |
| 1079 | |
| 1080 | @item -tag[:@var{stream_specifier}] @var{codec_tag} (@emph{input/output,per-stream}) |
| 1081 | Force a tag/fourcc for matching streams. |
| 1082 | |
| 1083 | @item -timecode @var{hh}:@var{mm}:@var{ss}SEP@var{ff} |
| 1084 | Specify Timecode for writing. @var{SEP} is ':' for non drop timecode and ';' |
| 1085 | (or '.') for drop. |
| 1086 | @example |
| 1087 | ffmpeg -i input.mpg -timecode 01:02:03.04 -r 30000/1001 -s ntsc output.mpg |
| 1088 | @end example |
| 1089 | |
| 1090 | @anchor{filter_complex_option} |
| 1091 | @item -filter_complex @var{filtergraph} (@emph{global}) |
| 1092 | Define a complex filtergraph, i.e. one with arbitrary number of inputs and/or |
| 1093 | outputs. For simple graphs -- those with one input and one output of the same |
| 1094 | type -- see the @option{-filter} options. @var{filtergraph} is a description of |
| 1095 | the filtergraph, as described in the ``Filtergraph syntax'' section of the |
| 1096 | ffmpeg-filters manual. |
| 1097 | |
| 1098 | Input link labels must refer to input streams using the |
| 1099 | @code{[file_index:stream_specifier]} syntax (i.e. the same as @option{-map} |
| 1100 | uses). If @var{stream_specifier} matches multiple streams, the first one will be |
| 1101 | used. An unlabeled input will be connected to the first unused input stream of |
| 1102 | the matching type. |
| 1103 | |
| 1104 | Output link labels are referred to with @option{-map}. Unlabeled outputs are |
| 1105 | added to the first output file. |
| 1106 | |
| 1107 | Note that with this option it is possible to use only lavfi sources without |
| 1108 | normal input files. |
| 1109 | |
| 1110 | For example, to overlay an image over video |
| 1111 | @example |
| 1112 | ffmpeg -i video.mkv -i image.png -filter_complex '[0:v][1:v]overlay[out]' -map |
| 1113 | '[out]' out.mkv |
| 1114 | @end example |
| 1115 | Here @code{[0:v]} refers to the first video stream in the first input file, |
| 1116 | which is linked to the first (main) input of the overlay filter. Similarly the |
| 1117 | first video stream in the second input is linked to the second (overlay) input |
| 1118 | of overlay. |
| 1119 | |
| 1120 | Assuming there is only one video stream in each input file, we can omit input |
| 1121 | labels, so the above is equivalent to |
| 1122 | @example |
| 1123 | ffmpeg -i video.mkv -i image.png -filter_complex 'overlay[out]' -map |
| 1124 | '[out]' out.mkv |
| 1125 | @end example |
| 1126 | |
| 1127 | Furthermore we can omit the output label and the single output from the filter |
| 1128 | graph will be added to the output file automatically, so we can simply write |
| 1129 | @example |
| 1130 | ffmpeg -i video.mkv -i image.png -filter_complex 'overlay' out.mkv |
| 1131 | @end example |
| 1132 | |
| 1133 | To generate 5 seconds of pure red video using lavfi @code{color} source: |
| 1134 | @example |
| 1135 | ffmpeg -filter_complex 'color=c=red' -t 5 out.mkv |
| 1136 | @end example |
| 1137 | |
| 1138 | @item -lavfi @var{filtergraph} (@emph{global}) |
| 1139 | Define a complex filtergraph, i.e. one with arbitrary number of inputs and/or |
| 1140 | outputs. Equivalent to @option{-filter_complex}. |
| 1141 | |
| 1142 | @item -filter_complex_script @var{filename} (@emph{global}) |
| 1143 | This option is similar to @option{-filter_complex}, the only difference is that |
| 1144 | its argument is the name of the file from which a complex filtergraph |
| 1145 | description is to be read. |
| 1146 | |
| 1147 | @item -accurate_seek (@emph{input}) |
| 1148 | This option enables or disables accurate seeking in input files with the |
| 1149 | @option{-ss} option. It is enabled by default, so seeking is accurate when |
| 1150 | transcoding. Use @option{-noaccurate_seek} to disable it, which may be useful |
| 1151 | e.g. when copying some streams and transcoding the others. |
| 1152 | |
| 1153 | @item -override_ffserver (@emph{global}) |
| 1154 | Overrides the input specifications from @command{ffserver}. Using this |
| 1155 | option you can map any input stream to @command{ffserver} and control |
| 1156 | many aspects of the encoding from @command{ffmpeg}. Without this |
| 1157 | option @command{ffmpeg} will transmit to @command{ffserver} what is |
| 1158 | requested by @command{ffserver}. |
| 1159 | |
| 1160 | The option is intended for cases where features are needed that cannot be |
| 1161 | specified to @command{ffserver} but can be to @command{ffmpeg}. |
| 1162 | |
| 1163 | @item -discard (@emph{input}) |
| 1164 | Allows discarding specific streams or frames of streams at the demuxer. |
| 1165 | Not all demuxers support this. |
| 1166 | |
| 1167 | @table @option |
| 1168 | @item none |
| 1169 | Discard no frame. |
| 1170 | |
| 1171 | @item default |
| 1172 | Default, which discards no frames. |
| 1173 | |
| 1174 | @item noref |
| 1175 | Discard all non-reference frames. |
| 1176 | |
| 1177 | @item bidir |
| 1178 | Discard all bidirectional frames. |
| 1179 | |
| 1180 | @item nokey |
| 1181 | Discard all frames excepts keyframes. |
| 1182 | |
| 1183 | @item all |
| 1184 | Discard all frames. |
| 1185 | @end table |
| 1186 | |
| 1187 | @end table |
| 1188 | |
| 1189 | As a special exception, you can use a bitmap subtitle stream as input: it |
| 1190 | will be converted into a video with the same size as the largest video in |
| 1191 | the file, or 720x576 if no video is present. Note that this is an |
| 1192 | experimental and temporary solution. It will be removed once libavfilter has |
| 1193 | proper support for subtitles. |
| 1194 | |
| 1195 | For example, to hardcode subtitles on top of a DVB-T recording stored in |
| 1196 | MPEG-TS format, delaying the subtitles by 1 second: |
| 1197 | @example |
| 1198 | ffmpeg -i input.ts -filter_complex \ |
| 1199 | '[#0x2ef] setpts=PTS+1/TB [sub] ; [#0x2d0] [sub] overlay' \ |
| 1200 | -sn -map '#0x2dc' output.mkv |
| 1201 | @end example |
| 1202 | (0x2d0, 0x2dc and 0x2ef are the MPEG-TS PIDs of respectively the video, |
| 1203 | audio and subtitles streams; 0:0, 0:3 and 0:7 would have worked too) |
| 1204 | |
| 1205 | @section Preset files |
| 1206 | A preset file contains a sequence of @var{option}=@var{value} pairs, |
| 1207 | one for each line, specifying a sequence of options which would be |
| 1208 | awkward to specify on the command line. Lines starting with the hash |
| 1209 | ('#') character are ignored and are used to provide comments. Check |
| 1210 | the @file{presets} directory in the FFmpeg source tree for examples. |
| 1211 | |
| 1212 | Preset files are specified with the @code{vpre}, @code{apre}, |
| 1213 | @code{spre}, and @code{fpre} options. The @code{fpre} option takes the |
| 1214 | filename of the preset instead of a preset name as input and can be |
| 1215 | used for any kind of codec. For the @code{vpre}, @code{apre}, and |
| 1216 | @code{spre} options, the options specified in a preset file are |
| 1217 | applied to the currently selected codec of the same type as the preset |
| 1218 | option. |
| 1219 | |
| 1220 | The argument passed to the @code{vpre}, @code{apre}, and @code{spre} |
| 1221 | preset options identifies the preset file to use according to the |
| 1222 | following rules: |
| 1223 | |
| 1224 | First ffmpeg searches for a file named @var{arg}.ffpreset in the |
| 1225 | directories @file{$FFMPEG_DATADIR} (if set), and @file{$HOME/.ffmpeg}, and in |
| 1226 | the datadir defined at configuration time (usually @file{PREFIX/share/ffmpeg}) |
| 1227 | or in a @file{ffpresets} folder along the executable on win32, |
| 1228 | in that order. For example, if the argument is @code{libvpx-1080p}, it will |
| 1229 | search for the file @file{libvpx-1080p.ffpreset}. |
| 1230 | |
| 1231 | If no such file is found, then ffmpeg will search for a file named |
| 1232 | @var{codec_name}-@var{arg}.ffpreset in the above-mentioned |
| 1233 | directories, where @var{codec_name} is the name of the codec to which |
| 1234 | the preset file options will be applied. For example, if you select |
| 1235 | the video codec with @code{-vcodec libvpx} and use @code{-vpre 1080p}, |
| 1236 | then it will search for the file @file{libvpx-1080p.ffpreset}. |
| 1237 | @c man end OPTIONS |
| 1238 | |
| 1239 | @chapter Tips |
| 1240 | @c man begin TIPS |
| 1241 | |
| 1242 | @itemize |
| 1243 | @item |
| 1244 | For streaming at very low bitrates, use a low frame rate |
| 1245 | and a small GOP size. This is especially true for RealVideo where |
| 1246 | the Linux player does not seem to be very fast, so it can miss |
| 1247 | frames. An example is: |
| 1248 | |
| 1249 | @example |
| 1250 | ffmpeg -g 3 -r 3 -t 10 -b:v 50k -s qcif -f rv10 /tmp/b.rm |
| 1251 | @end example |
| 1252 | |
| 1253 | @item |
| 1254 | The parameter 'q' which is displayed while encoding is the current |
| 1255 | quantizer. The value 1 indicates that a very good quality could |
| 1256 | be achieved. The value 31 indicates the worst quality. If q=31 appears |
| 1257 | too often, it means that the encoder cannot compress enough to meet |
| 1258 | your bitrate. You must either increase the bitrate, decrease the |
| 1259 | frame rate or decrease the frame size. |
| 1260 | |
| 1261 | @item |
| 1262 | If your computer is not fast enough, you can speed up the |
| 1263 | compression at the expense of the compression ratio. You can use |
| 1264 | '-me zero' to speed up motion estimation, and '-g 0' to disable |
| 1265 | motion estimation completely (you have only I-frames, which means it |
| 1266 | is about as good as JPEG compression). |
| 1267 | |
| 1268 | @item |
| 1269 | To have very low audio bitrates, reduce the sampling frequency |
| 1270 | (down to 22050 Hz for MPEG audio, 22050 or 11025 for AC-3). |
| 1271 | |
| 1272 | @item |
| 1273 | To have a constant quality (but a variable bitrate), use the option |
| 1274 | '-qscale n' when 'n' is between 1 (excellent quality) and 31 (worst |
| 1275 | quality). |
| 1276 | |
| 1277 | @end itemize |
| 1278 | @c man end TIPS |
| 1279 | |
| 1280 | @chapter Examples |
| 1281 | @c man begin EXAMPLES |
| 1282 | |
| 1283 | @section Preset files |
| 1284 | |
| 1285 | A preset file contains a sequence of @var{option=value} pairs, one for |
| 1286 | each line, specifying a sequence of options which can be specified also on |
| 1287 | the command line. Lines starting with the hash ('#') character are ignored and |
| 1288 | are used to provide comments. Empty lines are also ignored. Check the |
| 1289 | @file{presets} directory in the FFmpeg source tree for examples. |
| 1290 | |
| 1291 | Preset files are specified with the @code{pre} option, this option takes a |
| 1292 | preset name as input. FFmpeg searches for a file named @var{preset_name}.avpreset in |
| 1293 | the directories @file{$AVCONV_DATADIR} (if set), and @file{$HOME/.ffmpeg}, and in |
| 1294 | the data directory defined at configuration time (usually @file{$PREFIX/share/ffmpeg}) |
| 1295 | in that order. For example, if the argument is @code{libx264-max}, it will |
| 1296 | search for the file @file{libx264-max.avpreset}. |
| 1297 | |
| 1298 | @section Video and Audio grabbing |
| 1299 | |
| 1300 | If you specify the input format and device then ffmpeg can grab video |
| 1301 | and audio directly. |
| 1302 | |
| 1303 | @example |
| 1304 | ffmpeg -f oss -i /dev/dsp -f video4linux2 -i /dev/video0 /tmp/out.mpg |
| 1305 | @end example |
| 1306 | |
| 1307 | Or with an ALSA audio source (mono input, card id 1) instead of OSS: |
| 1308 | @example |
| 1309 | ffmpeg -f alsa -ac 1 -i hw:1 -f video4linux2 -i /dev/video0 /tmp/out.mpg |
| 1310 | @end example |
| 1311 | |
| 1312 | Note that you must activate the right video source and channel before |
| 1313 | launching ffmpeg with any TV viewer such as |
| 1314 | @uref{http://linux.bytesex.org/xawtv/, xawtv} by Gerd Knorr. You also |
| 1315 | have to set the audio recording levels correctly with a |
| 1316 | standard mixer. |
| 1317 | |
| 1318 | @section X11 grabbing |
| 1319 | |
| 1320 | Grab the X11 display with ffmpeg via |
| 1321 | |
| 1322 | @example |
| 1323 | ffmpeg -f x11grab -video_size cif -framerate 25 -i :0.0 /tmp/out.mpg |
| 1324 | @end example |
| 1325 | |
| 1326 | 0.0 is display.screen number of your X11 server, same as |
| 1327 | the DISPLAY environment variable. |
| 1328 | |
| 1329 | @example |
| 1330 | ffmpeg -f x11grab -video_size cif -framerate 25 -i :0.0+10,20 /tmp/out.mpg |
| 1331 | @end example |
| 1332 | |
| 1333 | 0.0 is display.screen number of your X11 server, same as the DISPLAY environment |
| 1334 | variable. 10 is the x-offset and 20 the y-offset for the grabbing. |
| 1335 | |
| 1336 | @section Video and Audio file format conversion |
| 1337 | |
| 1338 | Any supported file format and protocol can serve as input to ffmpeg: |
| 1339 | |
| 1340 | Examples: |
| 1341 | @itemize |
| 1342 | @item |
| 1343 | You can use YUV files as input: |
| 1344 | |
| 1345 | @example |
| 1346 | ffmpeg -i /tmp/test%d.Y /tmp/out.mpg |
| 1347 | @end example |
| 1348 | |
| 1349 | It will use the files: |
| 1350 | @example |
| 1351 | /tmp/test0.Y, /tmp/test0.U, /tmp/test0.V, |
| 1352 | /tmp/test1.Y, /tmp/test1.U, /tmp/test1.V, etc... |
| 1353 | @end example |
| 1354 | |
| 1355 | The Y files use twice the resolution of the U and V files. They are |
| 1356 | raw files, without header. They can be generated by all decent video |
| 1357 | decoders. You must specify the size of the image with the @option{-s} option |
| 1358 | if ffmpeg cannot guess it. |
| 1359 | |
| 1360 | @item |
| 1361 | You can input from a raw YUV420P file: |
| 1362 | |
| 1363 | @example |
| 1364 | ffmpeg -i /tmp/test.yuv /tmp/out.avi |
| 1365 | @end example |
| 1366 | |
| 1367 | test.yuv is a file containing raw YUV planar data. Each frame is composed |
| 1368 | of the Y plane followed by the U and V planes at half vertical and |
| 1369 | horizontal resolution. |
| 1370 | |
| 1371 | @item |
| 1372 | You can output to a raw YUV420P file: |
| 1373 | |
| 1374 | @example |
| 1375 | ffmpeg -i mydivx.avi hugefile.yuv |
| 1376 | @end example |
| 1377 | |
| 1378 | @item |
| 1379 | You can set several input files and output files: |
| 1380 | |
| 1381 | @example |
| 1382 | ffmpeg -i /tmp/a.wav -s 640x480 -i /tmp/a.yuv /tmp/a.mpg |
| 1383 | @end example |
| 1384 | |
| 1385 | Converts the audio file a.wav and the raw YUV video file a.yuv |
| 1386 | to MPEG file a.mpg. |
| 1387 | |
| 1388 | @item |
| 1389 | You can also do audio and video conversions at the same time: |
| 1390 | |
| 1391 | @example |
| 1392 | ffmpeg -i /tmp/a.wav -ar 22050 /tmp/a.mp2 |
| 1393 | @end example |
| 1394 | |
| 1395 | Converts a.wav to MPEG audio at 22050 Hz sample rate. |
| 1396 | |
| 1397 | @item |
| 1398 | You can encode to several formats at the same time and define a |
| 1399 | mapping from input stream to output streams: |
| 1400 | |
| 1401 | @example |
| 1402 | ffmpeg -i /tmp/a.wav -map 0:a -b:a 64k /tmp/a.mp2 -map 0:a -b:a 128k /tmp/b.mp2 |
| 1403 | @end example |
| 1404 | |
| 1405 | Converts a.wav to a.mp2 at 64 kbits and to b.mp2 at 128 kbits. '-map |
| 1406 | file:index' specifies which input stream is used for each output |
| 1407 | stream, in the order of the definition of output streams. |
| 1408 | |
| 1409 | @item |
| 1410 | You can transcode decrypted VOBs: |
| 1411 | |
| 1412 | @example |
| 1413 | ffmpeg -i snatch_1.vob -f avi -c:v mpeg4 -b:v 800k -g 300 -bf 2 -c:a libmp3lame -b:a 128k snatch.avi |
| 1414 | @end example |
| 1415 | |
| 1416 | This is a typical DVD ripping example; the input is a VOB file, the |
| 1417 | output an AVI file with MPEG-4 video and MP3 audio. Note that in this |
| 1418 | command we use B-frames so the MPEG-4 stream is DivX5 compatible, and |
| 1419 | GOP size is 300 which means one intra frame every 10 seconds for 29.97fps |
| 1420 | input video. Furthermore, the audio stream is MP3-encoded so you need |
| 1421 | to enable LAME support by passing @code{--enable-libmp3lame} to configure. |
| 1422 | The mapping is particularly useful for DVD transcoding |
| 1423 | to get the desired audio language. |
| 1424 | |
| 1425 | NOTE: To see the supported input formats, use @code{ffmpeg -formats}. |
| 1426 | |
| 1427 | @item |
| 1428 | You can extract images from a video, or create a video from many images: |
| 1429 | |
| 1430 | For extracting images from a video: |
| 1431 | @example |
| 1432 | ffmpeg -i foo.avi -r 1 -s WxH -f image2 foo-%03d.jpeg |
| 1433 | @end example |
| 1434 | |
| 1435 | This will extract one video frame per second from the video and will |
| 1436 | output them in files named @file{foo-001.jpeg}, @file{foo-002.jpeg}, |
| 1437 | etc. Images will be rescaled to fit the new WxH values. |
| 1438 | |
| 1439 | If you want to extract just a limited number of frames, you can use the |
| 1440 | above command in combination with the -vframes or -t option, or in |
| 1441 | combination with -ss to start extracting from a certain point in time. |
| 1442 | |
| 1443 | For creating a video from many images: |
| 1444 | @example |
| 1445 | ffmpeg -f image2 -i foo-%03d.jpeg -r 12 -s WxH foo.avi |
| 1446 | @end example |
| 1447 | |
| 1448 | The syntax @code{foo-%03d.jpeg} specifies to use a decimal number |
| 1449 | composed of three digits padded with zeroes to express the sequence |
| 1450 | number. It is the same syntax supported by the C printf function, but |
| 1451 | only formats accepting a normal integer are suitable. |
| 1452 | |
| 1453 | When importing an image sequence, -i also supports expanding |
| 1454 | shell-like wildcard patterns (globbing) internally, by selecting the |
| 1455 | image2-specific @code{-pattern_type glob} option. |
| 1456 | |
| 1457 | For example, for creating a video from filenames matching the glob pattern |
| 1458 | @code{foo-*.jpeg}: |
| 1459 | @example |
| 1460 | ffmpeg -f image2 -pattern_type glob -i 'foo-*.jpeg' -r 12 -s WxH foo.avi |
| 1461 | @end example |
| 1462 | |
| 1463 | @item |
| 1464 | You can put many streams of the same type in the output: |
| 1465 | |
| 1466 | @example |
| 1467 | ffmpeg -i test1.avi -i test2.avi -map 1:1 -map 1:0 -map 0:1 -map 0:0 -c copy -y test12.nut |
| 1468 | @end example |
| 1469 | |
| 1470 | The resulting output file @file{test12.nut} will contain the first four streams |
| 1471 | from the input files in reverse order. |
| 1472 | |
| 1473 | @item |
| 1474 | To force CBR video output: |
| 1475 | @example |
| 1476 | ffmpeg -i myfile.avi -b 4000k -minrate 4000k -maxrate 4000k -bufsize 1835k out.m2v |
| 1477 | @end example |
| 1478 | |
| 1479 | @item |
| 1480 | The four options lmin, lmax, mblmin and mblmax use 'lambda' units, |
| 1481 | but you may use the QP2LAMBDA constant to easily convert from 'q' units: |
| 1482 | @example |
| 1483 | ffmpeg -i src.ext -lmax 21*QP2LAMBDA dst.ext |
| 1484 | @end example |
| 1485 | |
| 1486 | @end itemize |
| 1487 | @c man end EXAMPLES |
| 1488 | |
| 1489 | @include config.texi |
| 1490 | @ifset config-all |
| 1491 | @ifset config-avutil |
| 1492 | @include utils.texi |
| 1493 | @end ifset |
| 1494 | @ifset config-avcodec |
| 1495 | @include codecs.texi |
| 1496 | @include bitstream_filters.texi |
| 1497 | @end ifset |
| 1498 | @ifset config-avformat |
| 1499 | @include formats.texi |
| 1500 | @include protocols.texi |
| 1501 | @end ifset |
| 1502 | @ifset config-avdevice |
| 1503 | @include devices.texi |
| 1504 | @end ifset |
| 1505 | @ifset config-swresample |
| 1506 | @include resampler.texi |
| 1507 | @end ifset |
| 1508 | @ifset config-swscale |
| 1509 | @include scaler.texi |
| 1510 | @end ifset |
| 1511 | @ifset config-avfilter |
| 1512 | @include filters.texi |
| 1513 | @end ifset |
| 1514 | @end ifset |
| 1515 | |
| 1516 | @chapter See Also |
| 1517 | |
| 1518 | @ifhtml |
| 1519 | @ifset config-all |
| 1520 | @url{ffmpeg.html,ffmpeg} |
| 1521 | @end ifset |
| 1522 | @ifset config-not-all |
| 1523 | @url{ffmpeg-all.html,ffmpeg-all}, |
| 1524 | @end ifset |
| 1525 | @url{ffplay.html,ffplay}, @url{ffprobe.html,ffprobe}, @url{ffserver.html,ffserver}, |
| 1526 | @url{ffmpeg-utils.html,ffmpeg-utils}, |
| 1527 | @url{ffmpeg-scaler.html,ffmpeg-scaler}, |
| 1528 | @url{ffmpeg-resampler.html,ffmpeg-resampler}, |
| 1529 | @url{ffmpeg-codecs.html,ffmpeg-codecs}, |
| 1530 | @url{ffmpeg-bitstream-filters.html,ffmpeg-bitstream-filters}, |
| 1531 | @url{ffmpeg-formats.html,ffmpeg-formats}, |
| 1532 | @url{ffmpeg-devices.html,ffmpeg-devices}, |
| 1533 | @url{ffmpeg-protocols.html,ffmpeg-protocols}, |
| 1534 | @url{ffmpeg-filters.html,ffmpeg-filters} |
| 1535 | @end ifhtml |
| 1536 | |
| 1537 | @ifnothtml |
| 1538 | @ifset config-all |
| 1539 | ffmpeg(1), |
| 1540 | @end ifset |
| 1541 | @ifset config-not-all |
| 1542 | ffmpeg-all(1), |
| 1543 | @end ifset |
| 1544 | ffplay(1), ffprobe(1), ffserver(1), |
| 1545 | ffmpeg-utils(1), ffmpeg-scaler(1), ffmpeg-resampler(1), |
| 1546 | ffmpeg-codecs(1), ffmpeg-bitstream-filters(1), ffmpeg-formats(1), |
| 1547 | ffmpeg-devices(1), ffmpeg-protocols(1), ffmpeg-filters(1) |
| 1548 | @end ifnothtml |
| 1549 | |
| 1550 | @include authors.texi |
| 1551 | |
| 1552 | @ignore |
| 1553 | |
| 1554 | @setfilename ffmpeg |
| 1555 | @settitle ffmpeg video converter |
| 1556 | |
| 1557 | @end ignore |
| 1558 | |
| 1559 | @bye |