1 \input texinfo @c -*- texinfo -*-
3 @settitle ffmpeg Documentation
5 @center @titlefont{ffmpeg Documentation}
14 ffmpeg [@var{global_options}] @{[@var{input_file_options}] -i @file{input_file}@} ... @{[@var{output_file_options}] @file{output_file}@} ...
17 @c man begin DESCRIPTION
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.
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.
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).
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.
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.
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.
53 To set the video bitrate of the output file to 64 kbit/s:
55 ffmpeg -i input.avi -b:v 64k -bufsize 64k output.avi
59 To force the frame rate of the output file to 24 fps:
61 ffmpeg -i input.avi -r 24 output.avi
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:
68 ffmpeg -r 1 -i input.m2v -r 24 output.avi
72 The format option may be needed for raw input files.
74 @c man end DESCRIPTION
76 @chapter Detailed description
77 @c man begin DETAILED DESCRIPTION
79 The transcoding process in @command{ffmpeg} for each output can be described by
80 the following diagram:
83 _______ ______________ _________ ______________ ________
85 | input | demuxer | encoded data | decoder | decoded | encoder | encoded data | muxer | output |
86 | file | ---------> | packets | ---------> | frames | ---------> | packets | -------> | file |
87 |_______| |______________| |_________| |______________| |________|
91 @command{ffmpeg} calls the libavformat library (containing demuxers) to read
92 input files and get packets containing encoded data from them. When there are
93 multiple input files, @command{ffmpeg} tries to keep them synchronized by
94 tracking lowest timestamp on any active input stream.
96 Encoded packets are then passed to the decoder (unless streamcopy is selected
97 for the stream, see further for a description). The decoder produces
98 uncompressed frames (raw video/PCM audio/...) which can be processed further by
99 filtering (see next section). After filtering, the frames are passed to the
100 encoder, which encodes them and outputs encoded packets. Finally those are
101 passed to the muxer, which writes the encoded packets to the output file.
104 Before encoding, @command{ffmpeg} can process raw audio and video frames using
105 filters from the libavfilter library. Several chained filters form a filter
106 graph. @command{ffmpeg} distinguishes between two types of filtergraphs:
109 @subsection Simple filtergraphs
110 Simple filtergraphs are those that have exactly one input and output, both of
111 the same type. In the above diagram they can be represented by simply inserting
112 an additional step between decoding and encoding:
115 _________ __________ ______________
117 | decoded | simple filtergraph | filtered | encoder | encoded data |
118 | frames | -------------------> | frames | ---------> | packets |
119 |_________| |__________| |______________|
123 Simple filtergraphs are configured with the per-stream @option{-filter} option
124 (with @option{-vf} and @option{-af} aliases for video and audio respectively).
125 A simple filtergraph for video can look for example like this:
128 _______ _____________ _______ _____ ________
130 | input | ---> | deinterlace | ---> | scale | ---> | fps | ---> | output |
131 |_______| |_____________| |_______| |_____| |________|
135 Note that some filters change frame properties but not frame contents. E.g. the
136 @code{fps} filter in the example above changes number of frames, but does not
137 touch the frame contents. Another example is the @code{setpts} filter, which
138 only sets timestamps and otherwise passes the frames unchanged.
140 @subsection Complex filtergraphs
141 Complex filtergraphs are those which cannot be described as simply a linear
142 processing chain applied to one stream. This is the case, for example, when the graph has
143 more than one input and/or output, or when output stream type is different from
144 input. They can be represented with the following diagram:
149 | input 0 |\ __________
151 \ _________ /| output 0 |
153 _________ \| complex | /
155 | input 1 |---->| filter |\
156 |_________| | | \ __________
159 _________ / |_________| |__________|
166 Complex filtergraphs are configured with the @option{-filter_complex} option.
167 Note that this option is global, since a complex filtergraph, by its nature,
168 cannot be unambiguously associated with a single stream or file.
170 The @option{-lavfi} option is equivalent to @option{-filter_complex}.
172 A trivial example of a complex filtergraph is the @code{overlay} filter, which
173 has two video inputs and one video output, containing one video overlaid on top
174 of the other. Its audio counterpart is the @code{amix} filter.
177 Stream copy is a mode selected by supplying the @code{copy} parameter to the
178 @option{-codec} option. It makes @command{ffmpeg} omit the decoding and encoding
179 step for the specified stream, so it does only demuxing and muxing. It is useful
180 for changing the container format or modifying container-level metadata. The
181 diagram above will, in this case, simplify to this:
184 _______ ______________ ________
186 | input | demuxer | encoded data | muxer | output |
187 | file | ---------> | packets | -------> | file |
188 |_______| |______________| |________|
192 Since there is no decoding or encoding, it is very fast and there is no quality
193 loss. However, it might not work in some cases because of many factors. Applying
194 filters is obviously also impossible, since filters work on uncompressed data.
196 @c man end DETAILED DESCRIPTION
198 @chapter Stream selection
199 @c man begin STREAM SELECTION
201 By default, @command{ffmpeg} includes only one stream of each type (video, audio, subtitle)
202 present in the input files and adds them to each output file. It picks the
203 "best" of each based upon the following criteria: for video, it is the stream
204 with the highest resolution, for audio, it is the stream with the most channels, for
205 subtitles, it is the first subtitle stream. In the case where several streams of
206 the same type rate equally, the stream with the lowest index is chosen.
208 You can disable some of those defaults by using the @code{-vn/-an/-sn} options. For
209 full manual control, use the @code{-map} option, which disables the defaults just
212 @c man end STREAM SELECTION
217 @include fftools-common-opts.texi
219 @section Main options
223 @item -f @var{fmt} (@emph{input/output})
224 Force input or output file format. The format is normally auto detected for input
225 files and guessed from the file extension for output files, so this option is not
226 needed in most cases.
228 @item -i @var{filename} (@emph{input})
231 @item -y (@emph{global})
232 Overwrite output files without asking.
234 @item -n (@emph{global})
235 Do not overwrite output files, and exit immediately if a specified
236 output file already exists.
238 @item -c[:@var{stream_specifier}] @var{codec} (@emph{input/output,per-stream})
239 @itemx -codec[:@var{stream_specifier}] @var{codec} (@emph{input/output,per-stream})
240 Select an encoder (when used before an output file) or a decoder (when used
241 before an input file) for one or more streams. @var{codec} is the name of a
242 decoder/encoder or a special value @code{copy} (output only) to indicate that
243 the stream is not to be re-encoded.
247 ffmpeg -i INPUT -map 0 -c:v libx264 -c:a copy OUTPUT
249 encodes all video streams with libx264 and copies all audio streams.
251 For each stream, the last matching @code{c} option is applied, so
253 ffmpeg -i INPUT -map 0 -c copy -c:v:1 libx264 -c:a:137 libvorbis OUTPUT
255 will copy all the streams except the second video, which will be encoded with
256 libx264, and the 138th audio, which will be encoded with libvorbis.
258 @item -t @var{duration} (@emph{output})
259 Stop writing the output after its duration reaches @var{duration}.
260 @var{duration} may be a number in seconds, or in @code{hh:mm:ss[.xxx]} form.
262 -to and -t are mutually exclusive and -t has priority.
264 @item -to @var{position} (@emph{output})
265 Stop writing the output at @var{position}.
266 @var{position} may be a number in seconds, or in @code{hh:mm:ss[.xxx]} form.
268 -to and -t are mutually exclusive and -t has priority.
270 @item -fs @var{limit_size} (@emph{output})
271 Set the file size limit, expressed in bytes.
273 @item -ss @var{position} (@emph{input/output})
274 When used as an input option (before @code{-i}), seeks in this input file to
275 @var{position}. Note the in most formats it is not possible to seek exactly, so
276 @command{ffmpeg} will seek to the closest seek point before @var{position}.
277 When transcoding and @option{-accurate_seek} is enabled (the default), this
278 extra segment between the seek point and @var{position} will be decoded and
279 discarded. When doing stream copy or when @option{-noaccurate_seek} is used, it
282 When used as an output option (before an output filename), decodes but discards
283 input until the timestamps reach @var{position}.
285 @var{position} may be either in seconds or in @code{hh:mm:ss[.xxx]} form.
287 @item -itsoffset @var{offset} (@emph{input})
288 Set the input time offset in seconds.
289 @code{[-]hh:mm:ss[.xxx]} syntax is also supported.
290 The offset is added to the timestamps of the input files.
291 Specifying a positive offset means that the corresponding
292 streams are delayed by @var{offset} seconds.
294 @item -timestamp @var{time} (@emph{output})
295 Set the recording timestamp in the container.
296 The syntax for @var{time} is:
298 now|([(YYYY-MM-DD|YYYYMMDD)[T|t| ]]((HH:MM:SS[.m...])|(HHMMSS[.m...]))[Z|z])
300 If the value is "now" it takes the current time.
301 Time is local time unless 'Z' or 'z' is appended, in which case it is
303 If the year-month-day part is not specified it takes the current
306 @item -metadata[:metadata_specifier] @var{key}=@var{value} (@emph{output,per-metadata})
307 Set a metadata key/value pair.
309 An optional @var{metadata_specifier} may be given to set metadata
310 on streams or chapters. See @code{-map_metadata} documentation for
313 This option overrides metadata set with @code{-map_metadata}. It is
314 also possible to delete metadata by using an empty value.
316 For example, for setting the title in the output file:
318 ffmpeg -i in.avi -metadata title="my title" out.flv
321 To set the language of the first audio stream:
323 ffmpeg -i INPUT -metadata:s:a:1 language=eng OUTPUT
326 @item -target @var{type} (@emph{output})
327 Specify target file type (@code{vcd}, @code{svcd}, @code{dvd}, @code{dv},
328 @code{dv50}). @var{type} may be prefixed with @code{pal-}, @code{ntsc-} or
329 @code{film-} to use the corresponding standard. All the format options
330 (bitrate, codecs, buffer sizes) are then set automatically. You can just type:
333 ffmpeg -i myfile.avi -target vcd /tmp/vcd.mpg
336 Nevertheless you can specify additional options as long as you know
337 they do not conflict with the standard, as in:
340 ffmpeg -i myfile.avi -target vcd -bf 2 /tmp/vcd.mpg
343 @item -dframes @var{number} (@emph{output})
344 Set the number of data frames to record. This is an alias for @code{-frames:d}.
346 @item -frames[:@var{stream_specifier}] @var{framecount} (@emph{output,per-stream})
347 Stop writing to the stream after @var{framecount} frames.
349 @item -q[:@var{stream_specifier}] @var{q} (@emph{output,per-stream})
350 @itemx -qscale[:@var{stream_specifier}] @var{q} (@emph{output,per-stream})
351 Use fixed quality scale (VBR). The meaning of @var{q} is
354 @anchor{filter_option}
355 @item -filter[:@var{stream_specifier}] @var{filtergraph} (@emph{output,per-stream})
356 Create the filtergraph specified by @var{filtergraph} and use it to
359 @var{filtergraph} is a description of the filtergraph to apply to
360 the stream, and must have a single input and a single output of the
361 same type of the stream. In the filtergraph, the input is associated
362 to the label @code{in}, and the output to the label @code{out}. See
363 the ffmpeg-filters manual for more information about the filtergraph
366 See the @ref{filter_complex_option,,-filter_complex option} if you
367 want to create filtergraphs with multiple inputs and/or outputs.
369 @item -filter_script[:@var{stream_specifier}] @var{filename} (@emph{output,per-stream})
370 This option is similar to @option{-filter}, the only difference is that its
371 argument is the name of the file from which a filtergraph description is to be
374 @item -pre[:@var{stream_specifier}] @var{preset_name} (@emph{output,per-stream})
375 Specify the preset for matching stream(s).
377 @item -stats (@emph{global})
378 Print encoding progress/statistics. It is on by default, to explicitly
379 disable it you need to specify @code{-nostats}.
381 @item -progress @var{url} (@emph{global})
382 Send program-friendly progress information to @var{url}.
384 Progress information is written approximately every second and at the end of
385 the encoding process. It is made of "@var{key}=@var{value}" lines. @var{key}
386 consists of only alphanumeric characters. The last key of a sequence of
387 progress information is always "progress".
390 Enable interaction on standard input. On by default unless standard input is
391 used as an input. To explicitly disable interaction you need to specify
394 Disabling interaction on standard input is useful, for example, if
395 ffmpeg is in the background process group. Roughly the same result can
396 be achieved with @code{ffmpeg ... < /dev/null} but it requires a
399 @item -debug_ts (@emph{global})
400 Print timestamp information. It is off by default. This option is
401 mostly useful for testing and debugging purposes, and the output
402 format may change from one version to another, so it should not be
403 employed by portable scripts.
405 See also the option @code{-fdebug ts}.
407 @item -attach @var{filename} (@emph{output})
408 Add an attachment to the output file. This is supported by a few formats
409 like Matroska for e.g. fonts used in rendering subtitles. Attachments
410 are implemented as a specific type of stream, so this option will add
411 a new stream to the file. It is then possible to use per-stream options
412 on this stream in the usual way. Attachment streams created with this
413 option will be created after all the other streams (i.e. those created
414 with @code{-map} or automatic mappings).
416 Note that for Matroska you also have to set the mimetype metadata tag:
418 ffmpeg -i INPUT -attach DejaVuSans.ttf -metadata:s:2 mimetype=application/x-truetype-font out.mkv
420 (assuming that the attachment stream will be third in the output file).
422 @item -dump_attachment[:@var{stream_specifier}] @var{filename} (@emph{input,per-stream})
423 Extract the matching attachment stream into a file named @var{filename}. If
424 @var{filename} is empty, then the value of the @code{filename} metadata tag
427 E.g. to extract the first attachment to a file named 'out.ttf':
429 ffmpeg -dump_attachment:t:0 out.ttf -i INPUT
431 To extract all attachments to files determined by the @code{filename} tag:
433 ffmpeg -dump_attachment:t "" -i INPUT
436 Technical note -- attachments are implemented as codec extradata, so this
437 option can actually be used to extract extradata from any stream, not just
442 @section Video Options
445 @item -vframes @var{number} (@emph{output})
446 Set the number of video frames to record. This is an alias for @code{-frames:v}.
447 @item -r[:@var{stream_specifier}] @var{fps} (@emph{input/output,per-stream})
448 Set frame rate (Hz value, fraction or abbreviation).
450 As an input option, ignore any timestamps stored in the file and instead
451 generate timestamps assuming constant frame rate @var{fps}.
453 As an output option, duplicate or drop input frames to achieve constant output
454 frame rate @var{fps}.
456 @item -s[:@var{stream_specifier}] @var{size} (@emph{input/output,per-stream})
459 As an input option, this is a shortcut for the @option{video_size} private
460 option, recognized by some demuxers for which the frame size is either not
461 stored in the file or is configurable -- e.g. raw video or video grabbers.
463 As an output option, this inserts the @code{scale} video filter to the
464 @emph{end} of the corresponding filtergraph. Please use the @code{scale} filter
465 directly to insert it at the beginning or some other place.
467 The format is @samp{wxh} (default - same as source).
469 @item -aspect[:@var{stream_specifier}] @var{aspect} (@emph{output,per-stream})
470 Set the video display aspect ratio specified by @var{aspect}.
472 @var{aspect} can be a floating point number string, or a string of the
473 form @var{num}:@var{den}, where @var{num} and @var{den} are the
474 numerator and denominator of the aspect ratio. For example "4:3",
475 "16:9", "1.3333", and "1.7777" are valid argument values.
477 If used together with @option{-vcodec copy}, it will affect the aspect ratio
478 stored at container level, but not the aspect ratio stored in encoded
479 frames, if it exists.
481 @item -vn (@emph{output})
482 Disable video recording.
484 @item -vcodec @var{codec} (@emph{output})
485 Set the video codec. This is an alias for @code{-codec:v}.
487 @item -pass[:@var{stream_specifier}] @var{n} (@emph{output,per-stream})
488 Select the pass number (1 or 2). It is used to do two-pass
489 video encoding. The statistics of the video are recorded in the first
490 pass into a log file (see also the option -passlogfile),
491 and in the second pass that log file is used to generate the video
492 at the exact requested bitrate.
493 On pass 1, you may just deactivate audio and set output to null,
494 examples for Windows and Unix:
496 ffmpeg -i foo.mov -c:v libxvid -pass 1 -an -f rawvideo -y NUL
497 ffmpeg -i foo.mov -c:v libxvid -pass 1 -an -f rawvideo -y /dev/null
500 @item -passlogfile[:@var{stream_specifier}] @var{prefix} (@emph{output,per-stream})
501 Set two-pass log file name prefix to @var{prefix}, the default file name
502 prefix is ``ffmpeg2pass''. The complete file name will be
503 @file{PREFIX-N.log}, where N is a number specific to the output
506 @item -vlang @var{code}
507 Set the ISO 639 language code (3 letters) of the current video stream.
509 @item -vf @var{filtergraph} (@emph{output})
510 Create the filtergraph specified by @var{filtergraph} and use it to
513 This is an alias for @code{-filter:v}, see the @ref{filter_option,,-filter option}.
516 @section Advanced Video Options
519 @item -pix_fmt[:@var{stream_specifier}] @var{format} (@emph{input/output,per-stream})
520 Set pixel format. Use @code{-pix_fmts} to show all the supported
522 If the selected pixel format can not be selected, ffmpeg will print a
523 warning and select the best pixel format supported by the encoder.
524 If @var{pix_fmt} is prefixed by a @code{+}, ffmpeg will exit with an error
525 if the requested pixel format can not be selected, and automatic conversions
526 inside filtergraphs are disabled.
527 If @var{pix_fmt} is a single @code{+}, ffmpeg selects the same pixel format
528 as the input (or graph output) and automatic conversions are disabled.
530 @item -sws_flags @var{flags} (@emph{input/output})
535 @item -rc_override[:@var{stream_specifier}] @var{override} (@emph{output,per-stream})
536 Rate control override for specific intervals, formatted as "int,int,int"
537 list separated with slashes. Two first values are the beginning and
538 end frame numbers, last one is quantizer to use if positive, or quality
542 Force interlacing support in encoder (MPEG-2 and MPEG-4 only).
543 Use this option if your input file is interlaced and you want
544 to keep the interlaced format for minimum losses.
545 The alternative is to deinterlace the input stream with
546 @option{-deinterlace}, but deinterlacing introduces losses.
548 Calculate PSNR of compressed frames.
550 Dump video coding statistics to @file{vstats_HHMMSS.log}.
551 @item -vstats_file @var{file}
552 Dump video coding statistics to @var{file}.
553 @item -top[:@var{stream_specifier}] @var{n} (@emph{output,per-stream})
554 top=1/bottom=0/auto=-1 field first
555 @item -dc @var{precision}
557 @item -vtag @var{fourcc/tag} (@emph{output})
558 Force video tag/fourcc. This is an alias for @code{-tag:v}.
559 @item -qphist (@emph{global})
561 @item -vbsf @var{bitstream_filter}
564 @item -force_key_frames[:@var{stream_specifier}] @var{time}[,@var{time}...] (@emph{output,per-stream})
565 @item -force_key_frames[:@var{stream_specifier}] expr:@var{expr} (@emph{output,per-stream})
566 Force key frames at the specified timestamps, more precisely at the first
567 frames after each specified time.
569 If the argument is prefixed with @code{expr:}, the string @var{expr}
570 is interpreted like an expression and is evaluated for each frame. A
571 key frame is forced in case the evaluation is non-zero.
573 If one of the times is "@code{chapters}[@var{delta}]", it is expanded into
574 the time of the beginning of all chapters in the file, shifted by
575 @var{delta}, expressed as a time in seconds.
576 This option can be useful to ensure that a seek point is present at a
577 chapter mark or any other designated place in the output file.
579 For example, to insert a key frame at 5 minutes, plus key frames 0.1 second
580 before the beginning of every chapter:
582 -force_key_frames 0:05:00,chapters-0.1
585 The expression in @var{expr} can contain the following constants:
588 the number of current processed frame, starting from 0
590 the number of forced frames
592 the number of the previous forced frame, it is @code{NAN} when no
593 keyframe was forced yet
595 the time of the previous forced frame, it is @code{NAN} when no
596 keyframe was forced yet
598 the time of the current processed frame
601 For example to force a key frame every 5 seconds, you can specify:
603 -force_key_frames expr:gte(t,n_forced*5)
606 To force a key frame 5 seconds after the time of the last forced one,
607 starting from second 13:
609 -force_key_frames expr:if(isnan(prev_forced_t),gte(t,13),gte(t,prev_forced_t+5))
612 Note that forcing too many keyframes is very harmful for the lookahead
613 algorithms of certain encoders: using fixed-GOP options or similar
614 would be more efficient.
616 @item -copyinkf[:@var{stream_specifier}] (@emph{output,per-stream})
617 When doing stream copy, copy also non-key frames found at the
621 @section Audio Options
624 @item -aframes @var{number} (@emph{output})
625 Set the number of audio frames to record. This is an alias for @code{-frames:a}.
626 @item -ar[:@var{stream_specifier}] @var{freq} (@emph{input/output,per-stream})
627 Set the audio sampling frequency. For output streams it is set by
628 default to the frequency of the corresponding input stream. For input
629 streams this option only makes sense for audio grabbing devices and raw
630 demuxers and is mapped to the corresponding demuxer options.
631 @item -aq @var{q} (@emph{output})
632 Set the audio quality (codec-specific, VBR). This is an alias for -q:a.
633 @item -ac[:@var{stream_specifier}] @var{channels} (@emph{input/output,per-stream})
634 Set the number of audio channels. For output streams it is set by
635 default to the number of input audio channels. For input streams
636 this option only makes sense for audio grabbing devices and raw demuxers
637 and is mapped to the corresponding demuxer options.
638 @item -an (@emph{output})
639 Disable audio recording.
640 @item -acodec @var{codec} (@emph{input/output})
641 Set the audio codec. This is an alias for @code{-codec:a}.
642 @item -sample_fmt[:@var{stream_specifier}] @var{sample_fmt} (@emph{output,per-stream})
643 Set the audio sample format. Use @code{-sample_fmts} to get a list
644 of supported sample formats.
646 @item -af @var{filtergraph} (@emph{output})
647 Create the filtergraph specified by @var{filtergraph} and use it to
650 This is an alias for @code{-filter:a}, see the @ref{filter_option,,-filter option}.
653 @section Advanced Audio options:
656 @item -atag @var{fourcc/tag} (@emph{output})
657 Force audio tag/fourcc. This is an alias for @code{-tag:a}.
658 @item -absf @var{bitstream_filter}
660 @item -guess_layout_max @var{channels} (@emph{input,per-stream})
661 If some input channel layout is not known, try to guess only if it
662 corresponds to at most the specified number of channels. For example, 2
663 tells to @command{ffmpeg} to recognize 1 channel as mono and 2 channels as
664 stereo but not 6 channels as 5.1. The default is to always try to guess. Use
665 0 to disable all guessing.
668 @section Subtitle options:
671 @item -slang @var{code}
672 Set the ISO 639 language code (3 letters) of the current subtitle stream.
673 @item -scodec @var{codec} (@emph{input/output})
674 Set the subtitle codec. This is an alias for @code{-codec:s}.
675 @item -sn (@emph{output})
676 Disable subtitle recording.
677 @item -sbsf @var{bitstream_filter}
681 @section Advanced Subtitle options:
685 @item -fix_sub_duration
686 Fix subtitles durations. For each subtitle, wait for the next packet in the
687 same stream and adjust the duration of the first to avoid overlap. This is
688 necessary with some subtitles codecs, especially DVB subtitles, because the
689 duration in the original packet is only a rough estimate and the end is
690 actually marked by an empty subtitle frame. Failing to use this option when
691 necessary can result in exaggerated durations or muxing failures due to
692 non-monotonic timestamps.
694 Note that this option will delay the output of all data until the next
695 subtitle packet is decoded: it may increase memory consumption and latency a
698 @item -canvas_size @var{size}
699 Set the size of the canvas used to render subtitles.
703 @section Advanced options
706 @item -map [-]@var{input_file_id}[:@var{stream_specifier}][,@var{sync_file_id}[:@var{stream_specifier}]] | @var{[linklabel]} (@emph{output})
708 Designate one or more input streams as a source for the output file. Each input
709 stream is identified by the input file index @var{input_file_id} and
710 the input stream index @var{input_stream_id} within the input
711 file. Both indices start at 0. If specified,
712 @var{sync_file_id}:@var{stream_specifier} sets which input stream
713 is used as a presentation sync reference.
715 The first @code{-map} option on the command line specifies the
716 source for output stream 0, the second @code{-map} option specifies
717 the source for output stream 1, etc.
719 A @code{-} character before the stream identifier creates a "negative" mapping.
720 It disables matching streams from already created mappings.
722 An alternative @var{[linklabel]} form will map outputs from complex filter
723 graphs (see the @option{-filter_complex} option) to the output file.
724 @var{linklabel} must correspond to a defined output link label in the graph.
726 For example, to map ALL streams from the first input file to output
728 ffmpeg -i INPUT -map 0 output
731 For example, if you have two audio streams in the first input file,
732 these streams are identified by "0:0" and "0:1". You can use
733 @code{-map} to select which streams to place in an output file. For
736 ffmpeg -i INPUT -map 0:1 out.wav
738 will map the input stream in @file{INPUT} identified by "0:1" to
739 the (single) output stream in @file{out.wav}.
741 For example, to select the stream with index 2 from input file
742 @file{a.mov} (specified by the identifier "0:2"), and stream with
743 index 6 from input @file{b.mov} (specified by the identifier "1:6"),
744 and copy them to the output file @file{out.mov}:
746 ffmpeg -i a.mov -i b.mov -c copy -map 0:2 -map 1:6 out.mov
749 To select all video and the third audio stream from an input file:
751 ffmpeg -i INPUT -map 0:v -map 0:a:2 OUTPUT
754 To map all the streams except the second audio, use negative mappings
756 ffmpeg -i INPUT -map 0 -map -0:a:1 OUTPUT
759 Note that using this option disables the default mappings for this output file.
761 @item -map_channel [@var{input_file_id}.@var{stream_specifier}.@var{channel_id}|-1][:@var{output_file_id}.@var{stream_specifier}]
762 Map an audio channel from a given input to an output. If
763 @var{output_file_id}.@var{stream_specifier} is not set, the audio channel will
764 be mapped on all the audio streams.
766 Using "-1" instead of
767 @var{input_file_id}.@var{stream_specifier}.@var{channel_id} will map a muted
770 For example, assuming @var{INPUT} is a stereo audio file, you can switch the
771 two audio channels with the following command:
773 ffmpeg -i INPUT -map_channel 0.0.1 -map_channel 0.0.0 OUTPUT
776 If you want to mute the first channel and keep the second:
778 ffmpeg -i INPUT -map_channel -1 -map_channel 0.0.1 OUTPUT
781 The order of the "-map_channel" option specifies the order of the channels in
782 the output stream. The output channel layout is guessed from the number of
783 channels mapped (mono if one "-map_channel", stereo if two, etc.). Using "-ac"
784 in combination of "-map_channel" makes the channel gain levels to be updated if
785 input and output channel layouts don't match (for instance two "-map_channel"
786 options and "-ac 6").
788 You can also extract each channel of an input to specific outputs; the following
789 command extracts two channels of the @var{INPUT} audio stream (file 0, stream 0)
790 to the respective @var{OUTPUT_CH0} and @var{OUTPUT_CH1} outputs:
792 ffmpeg -i INPUT -map_channel 0.0.0 OUTPUT_CH0 -map_channel 0.0.1 OUTPUT_CH1
795 The following example splits the channels of a stereo input into two separate
796 streams, which are put into the same output file:
798 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
801 Note that currently each output stream can only contain channels from a single
802 input stream; you can't for example use "-map_channel" to pick multiple input
803 audio channels contained in different streams (from the same or different files)
804 and merge them into a single output stream. It is therefore not currently
805 possible, for example, to turn two separate mono streams into a single stereo
806 stream. However splitting a stereo stream into two single channel mono streams
809 If you need this feature, a possible workaround is to use the @emph{amerge}
810 filter. For example, if you need to merge a media (here @file{input.mkv}) with 2
811 mono audio streams into one single stereo channel audio stream (and keep the
812 video stream), you can use the following command:
814 ffmpeg -i input.mkv -filter_complex "[0:1] [0:2] amerge" -c:a pcm_s16le -c:v copy output.mkv
817 @item -map_metadata[:@var{metadata_spec_out}] @var{infile}[:@var{metadata_spec_in}] (@emph{output,per-metadata})
818 Set metadata information of the next output file from @var{infile}. Note that
819 those are file indices (zero-based), not filenames.
820 Optional @var{metadata_spec_in/out} parameters specify, which metadata to copy.
821 A metadata specifier can have the following forms:
824 global metadata, i.e. metadata that applies to the whole file
826 @item @var{s}[:@var{stream_spec}]
827 per-stream metadata. @var{stream_spec} is a stream specifier as described
828 in the @ref{Stream specifiers} chapter. In an input metadata specifier, the first
829 matching stream is copied from. In an output metadata specifier, all matching
830 streams are copied to.
832 @item @var{c}:@var{chapter_index}
833 per-chapter metadata. @var{chapter_index} is the zero-based chapter index.
835 @item @var{p}:@var{program_index}
836 per-program metadata. @var{program_index} is the zero-based program index.
838 If metadata specifier is omitted, it defaults to global.
840 By default, global metadata is copied from the first input file,
841 per-stream and per-chapter metadata is copied along with streams/chapters. These
842 default mappings are disabled by creating any mapping of the relevant type. A negative
843 file index can be used to create a dummy mapping that just disables automatic copying.
845 For example to copy metadata from the first stream of the input file to global metadata
848 ffmpeg -i in.ogg -map_metadata 0:s:0 out.mp3
851 To do the reverse, i.e. copy global metadata to all audio streams:
853 ffmpeg -i in.mkv -map_metadata:s:a 0:g out.mkv
855 Note that simple @code{0} would work as well in this example, since global
856 metadata is assumed by default.
858 @item -map_chapters @var{input_file_index} (@emph{output})
859 Copy chapters from input file with index @var{input_file_index} to the next
860 output file. If no chapter mapping is specified, then chapters are copied from
861 the first input file with at least one chapter. Use a negative file index to
862 disable any chapter copying.
864 @item -benchmark (@emph{global})
865 Show benchmarking information at the end of an encode.
866 Shows CPU time used and maximum memory consumption.
867 Maximum memory consumption is not supported on all systems,
868 it will usually display as 0 if not supported.
869 @item -benchmark_all (@emph{global})
870 Show benchmarking information during the encode.
871 Shows CPU time used in various steps (audio/video encode/decode).
872 @item -timelimit @var{duration} (@emph{global})
873 Exit after ffmpeg has been running for @var{duration} seconds.
874 @item -dump (@emph{global})
875 Dump each input packet to stderr.
876 @item -hex (@emph{global})
877 When dumping packets, also dump the payload.
878 @item -re (@emph{input})
879 Read input at native frame rate. Mainly used to simulate a grab device.
880 or live input stream (e.g. when reading from a file). Should not be used
881 with actual grab devices or live input streams (where it can cause packet
883 By default @command{ffmpeg} attempts to read the input(s) as fast as possible.
884 This option will slow down the reading of the input(s) to the native frame rate
885 of the input(s). It is useful for real-time output (e.g. live streaming).
887 Loop over the input stream. Currently it works only for image
888 streams. This option is used for automatic FFserver testing.
889 This option is deprecated, use -loop 1.
890 @item -loop_output @var{number_of_times}
891 Repeatedly loop output for formats that support looping such as animated GIF
892 (0 will loop the output infinitely).
893 This option is deprecated, use -loop.
894 @item -vsync @var{parameter}
896 For compatibility reasons old values can be specified as numbers.
897 Newly added values will have to be specified as strings always.
901 Each frame is passed with its timestamp from the demuxer to the muxer.
903 Frames will be duplicated and dropped to achieve exactly the requested
906 Frames are passed through with their timestamp or dropped so as to
907 prevent 2 frames from having the same timestamp.
909 As passthrough but destroys all timestamps, making the muxer generate
910 fresh timestamps based on frame-rate.
912 Chooses between 1 and 2 depending on muxer capabilities. This is the
916 Note that the timestamps may be further modified by the muxer, after this.
917 For example, in the case that the format option @option{avoid_negative_ts}
920 With -map you can select from which stream the timestamps should be
921 taken. You can leave either video or audio unchanged and sync the
922 remaining stream(s) to the unchanged one.
924 @item -async @var{samples_per_second}
925 Audio sync method. "Stretches/squeezes" the audio stream to match the timestamps,
926 the parameter is the maximum samples per second by which the audio is changed.
927 -async 1 is a special case where only the start of the audio stream is corrected
928 without any later correction.
930 Note that the timestamps may be further modified by the muxer, after this.
931 For example, in the case that the format option @option{avoid_negative_ts}
934 This option has been deprecated. Use the @code{aresample} audio filter instead.
937 Do not process input timestamps, but keep their values without trying
938 to sanitize them. In particular, do not remove the initial start time
941 Note that, depending on the @option{vsync} option or on specific muxer
942 processing (e.g. in case the format option @option{avoid_negative_ts}
943 is enabled) the output timestamps may mismatch with the input
944 timestamps even when this option is selected.
946 @item -copytb @var{mode}
947 Specify how to set the encoder timebase when stream copying. @var{mode} is an
948 integer numeric value, and can assume one of the following values:
952 Use the demuxer timebase.
954 The time base is copied to the output encoder from the corresponding input
955 demuxer. This is sometimes required to avoid non monotonically increasing
956 timestamps when copying video streams with variable frame rate.
959 Use the decoder timebase.
961 The time base is copied to the output encoder from the corresponding input
965 Try to make the choice automatically, in order to generate a sane output.
970 @item -shortest (@emph{output})
971 Finish encoding when the shortest input stream ends.
972 @item -dts_delta_threshold
973 Timestamp discontinuity delta threshold.
974 @item -muxdelay @var{seconds} (@emph{input})
975 Set the maximum demux-decode delay.
976 @item -muxpreload @var{seconds} (@emph{input})
977 Set the initial demux-decode delay.
978 @item -streamid @var{output-stream-index}:@var{new-value} (@emph{output})
979 Assign a new stream-id value to an output stream. This option should be
980 specified prior to the output filename to which it applies.
981 For the situation where multiple output files exist, a streamid
982 may be reassigned to a different value.
984 For example, to set the stream 0 PID to 33 and the stream 1 PID to 36 for
985 an output mpegts file:
987 ffmpeg -i infile -streamid 0:33 -streamid 1:36 out.ts
990 @item -bsf[:@var{stream_specifier}] @var{bitstream_filters} (@emph{output,per-stream})
991 Set bitstream filters for matching streams. @var{bitstream_filters} is
992 a comma-separated list of bitstream filters. Use the @code{-bsfs} option
993 to get the list of bitstream filters.
995 ffmpeg -i h264.mp4 -c:v copy -bsf:v h264_mp4toannexb -an out.h264
998 ffmpeg -i file.mov -an -vn -bsf:s mov2textsub -c:s copy -f rawvideo sub.txt
1001 @item -tag[:@var{stream_specifier}] @var{codec_tag} (@emph{per-stream})
1002 Force a tag/fourcc for matching streams.
1004 @item -timecode @var{hh}:@var{mm}:@var{ss}SEP@var{ff}
1005 Specify Timecode for writing. @var{SEP} is ':' for non drop timecode and ';'
1008 ffmpeg -i input.mpg -timecode 01:02:03.04 -r 30000/1001 -s ntsc output.mpg
1011 @anchor{filter_complex_option}
1012 @item -filter_complex @var{filtergraph} (@emph{global})
1013 Define a complex filtergraph, i.e. one with arbitrary number of inputs and/or
1014 outputs. For simple graphs -- those with one input and one output of the same
1015 type -- see the @option{-filter} options. @var{filtergraph} is a description of
1016 the filtergraph, as described in the ``Filtergraph syntax'' section of the
1017 ffmpeg-filters manual.
1019 Input link labels must refer to input streams using the
1020 @code{[file_index:stream_specifier]} syntax (i.e. the same as @option{-map}
1021 uses). If @var{stream_specifier} matches multiple streams, the first one will be
1022 used. An unlabeled input will be connected to the first unused input stream of
1025 Output link labels are referred to with @option{-map}. Unlabeled outputs are
1026 added to the first output file.
1028 Note that with this option it is possible to use only lavfi sources without
1031 For example, to overlay an image over video
1033 ffmpeg -i video.mkv -i image.png -filter_complex '[0:v][1:v]overlay[out]' -map
1036 Here @code{[0:v]} refers to the first video stream in the first input file,
1037 which is linked to the first (main) input of the overlay filter. Similarly the
1038 first video stream in the second input is linked to the second (overlay) input
1041 Assuming there is only one video stream in each input file, we can omit input
1042 labels, so the above is equivalent to
1044 ffmpeg -i video.mkv -i image.png -filter_complex 'overlay[out]' -map
1048 Furthermore we can omit the output label and the single output from the filter
1049 graph will be added to the output file automatically, so we can simply write
1051 ffmpeg -i video.mkv -i image.png -filter_complex 'overlay' out.mkv
1054 To generate 5 seconds of pure red video using lavfi @code{color} source:
1056 ffmpeg -filter_complex 'color=c=red' -t 5 out.mkv
1059 @item -lavfi @var{filtergraph} (@emph{global})
1060 Define a complex filtergraph, i.e. one with arbitrary number of inputs and/or
1061 outputs. Equivalent to @option{-filter_complex}.
1063 @item -filter_complex_script @var{filename} (@emph{global})
1064 This option is similar to @option{-filter_complex}, the only difference is that
1065 its argument is the name of the file from which a complex filtergraph
1066 description is to be read.
1068 @item -accurate_seek (@emph{input})
1069 This option enables or disables accurate seeking in input files with the
1070 @option{-ss} option. It is enabled by default, so seeking is accurate when
1071 transcoding. Use @option{-noaccurate_seek} to disable it, which may be useful
1072 e.g. when copying some streams and transcoding the others.
1074 @item -override_ffserver (@emph{global})
1075 Overrides the input specifications from ffserver. Using this option you can
1076 map any input stream to ffserver and control many aspects of the encoding from
1077 ffmpeg. Without this option ffmpeg will transmit to ffserver what is requested by
1079 The option is intended for cases where features are needed that cannot be
1080 specified to ffserver but can be to ffmpeg.
1084 As a special exception, you can use a bitmap subtitle stream as input: it
1085 will be converted into a video with the same size as the largest video in
1086 the file, or 720x576 if no video is present. Note that this is an
1087 experimental and temporary solution. It will be removed once libavfilter has
1088 proper support for subtitles.
1090 For example, to hardcode subtitles on top of a DVB-T recording stored in
1091 MPEG-TS format, delaying the subtitles by 1 second:
1093 ffmpeg -i input.ts -filter_complex \
1094 '[#0x2ef] setpts=PTS+1/TB [sub] ; [#0x2d0] [sub] overlay' \
1095 -sn -map '#0x2dc' output.mkv
1097 (0x2d0, 0x2dc and 0x2ef are the MPEG-TS PIDs of respectively the video,
1098 audio and subtitles streams; 0:0, 0:3 and 0:7 would have worked too)
1100 @section Preset files
1101 A preset file contains a sequence of @var{option}=@var{value} pairs,
1102 one for each line, specifying a sequence of options which would be
1103 awkward to specify on the command line. Lines starting with the hash
1104 ('#') character are ignored and are used to provide comments. Check
1105 the @file{presets} directory in the FFmpeg source tree for examples.
1107 Preset files are specified with the @code{vpre}, @code{apre},
1108 @code{spre}, and @code{fpre} options. The @code{fpre} option takes the
1109 filename of the preset instead of a preset name as input and can be
1110 used for any kind of codec. For the @code{vpre}, @code{apre}, and
1111 @code{spre} options, the options specified in a preset file are
1112 applied to the currently selected codec of the same type as the preset
1115 The argument passed to the @code{vpre}, @code{apre}, and @code{spre}
1116 preset options identifies the preset file to use according to the
1119 First ffmpeg searches for a file named @var{arg}.ffpreset in the
1120 directories @file{$FFMPEG_DATADIR} (if set), and @file{$HOME/.ffmpeg}, and in
1121 the datadir defined at configuration time (usually @file{PREFIX/share/ffmpeg})
1122 or in a @file{ffpresets} folder along the executable on win32,
1123 in that order. For example, if the argument is @code{libvpx-1080p}, it will
1124 search for the file @file{libvpx-1080p.ffpreset}.
1126 If no such file is found, then ffmpeg will search for a file named
1127 @var{codec_name}-@var{arg}.ffpreset in the above-mentioned
1128 directories, where @var{codec_name} is the name of the codec to which
1129 the preset file options will be applied. For example, if you select
1130 the video codec with @code{-vcodec libvpx} and use @code{-vpre 1080p},
1131 then it will search for the file @file{libvpx-1080p.ffpreset}.
1139 For streaming at very low bitrates, use a low frame rate
1140 and a small GOP size. This is especially true for RealVideo where
1141 the Linux player does not seem to be very fast, so it can miss
1142 frames. An example is:
1145 ffmpeg -g 3 -r 3 -t 10 -b:v 50k -s qcif -f rv10 /tmp/b.rm
1149 The parameter 'q' which is displayed while encoding is the current
1150 quantizer. The value 1 indicates that a very good quality could
1151 be achieved. The value 31 indicates the worst quality. If q=31 appears
1152 too often, it means that the encoder cannot compress enough to meet
1153 your bitrate. You must either increase the bitrate, decrease the
1154 frame rate or decrease the frame size.
1157 If your computer is not fast enough, you can speed up the
1158 compression at the expense of the compression ratio. You can use
1159 '-me zero' to speed up motion estimation, and '-g 0' to disable
1160 motion estimation completely (you have only I-frames, which means it
1161 is about as good as JPEG compression).
1164 To have very low audio bitrates, reduce the sampling frequency
1165 (down to 22050 Hz for MPEG audio, 22050 or 11025 for AC-3).
1168 To have a constant quality (but a variable bitrate), use the option
1169 '-qscale n' when 'n' is between 1 (excellent quality) and 31 (worst
1176 @c man begin EXAMPLES
1178 @section Preset files
1180 A preset file contains a sequence of @var{option=value} pairs, one for
1181 each line, specifying a sequence of options which can be specified also on
1182 the command line. Lines starting with the hash ('#') character are ignored and
1183 are used to provide comments. Empty lines are also ignored. Check the
1184 @file{presets} directory in the FFmpeg source tree for examples.
1186 Preset files are specified with the @code{pre} option, this option takes a
1187 preset name as input. FFmpeg searches for a file named @var{preset_name}.avpreset in
1188 the directories @file{$AVCONV_DATADIR} (if set), and @file{$HOME/.ffmpeg}, and in
1189 the data directory defined at configuration time (usually @file{$PREFIX/share/ffmpeg})
1190 in that order. For example, if the argument is @code{libx264-max}, it will
1191 search for the file @file{libx264-max.avpreset}.
1193 @section Video and Audio grabbing
1195 If you specify the input format and device then ffmpeg can grab video
1199 ffmpeg -f oss -i /dev/dsp -f video4linux2 -i /dev/video0 /tmp/out.mpg
1202 Or with an ALSA audio source (mono input, card id 1) instead of OSS:
1204 ffmpeg -f alsa -ac 1 -i hw:1 -f video4linux2 -i /dev/video0 /tmp/out.mpg
1207 Note that you must activate the right video source and channel before
1208 launching ffmpeg with any TV viewer such as
1209 @uref{http://linux.bytesex.org/xawtv/, xawtv} by Gerd Knorr. You also
1210 have to set the audio recording levels correctly with a
1213 @section X11 grabbing
1215 Grab the X11 display with ffmpeg via
1218 ffmpeg -f x11grab -video_size cif -framerate 25 -i :0.0 /tmp/out.mpg
1221 0.0 is display.screen number of your X11 server, same as
1222 the DISPLAY environment variable.
1225 ffmpeg -f x11grab -video_size cif -framerate 25 -i :0.0+10,20 /tmp/out.mpg
1228 0.0 is display.screen number of your X11 server, same as the DISPLAY environment
1229 variable. 10 is the x-offset and 20 the y-offset for the grabbing.
1231 @section Video and Audio file format conversion
1233 Any supported file format and protocol can serve as input to ffmpeg:
1238 You can use YUV files as input:
1241 ffmpeg -i /tmp/test%d.Y /tmp/out.mpg
1244 It will use the files:
1246 /tmp/test0.Y, /tmp/test0.U, /tmp/test0.V,
1247 /tmp/test1.Y, /tmp/test1.U, /tmp/test1.V, etc...
1250 The Y files use twice the resolution of the U and V files. They are
1251 raw files, without header. They can be generated by all decent video
1252 decoders. You must specify the size of the image with the @option{-s} option
1253 if ffmpeg cannot guess it.
1256 You can input from a raw YUV420P file:
1259 ffmpeg -i /tmp/test.yuv /tmp/out.avi
1262 test.yuv is a file containing raw YUV planar data. Each frame is composed
1263 of the Y plane followed by the U and V planes at half vertical and
1264 horizontal resolution.
1267 You can output to a raw YUV420P file:
1270 ffmpeg -i mydivx.avi hugefile.yuv
1274 You can set several input files and output files:
1277 ffmpeg -i /tmp/a.wav -s 640x480 -i /tmp/a.yuv /tmp/a.mpg
1280 Converts the audio file a.wav and the raw YUV video file a.yuv
1284 You can also do audio and video conversions at the same time:
1287 ffmpeg -i /tmp/a.wav -ar 22050 /tmp/a.mp2
1290 Converts a.wav to MPEG audio at 22050 Hz sample rate.
1293 You can encode to several formats at the same time and define a
1294 mapping from input stream to output streams:
1297 ffmpeg -i /tmp/a.wav -map 0:a -b:a 64k /tmp/a.mp2 -map 0:a -b:a 128k /tmp/b.mp2
1300 Converts a.wav to a.mp2 at 64 kbits and to b.mp2 at 128 kbits. '-map
1301 file:index' specifies which input stream is used for each output
1302 stream, in the order of the definition of output streams.
1305 You can transcode decrypted VOBs:
1308 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
1311 This is a typical DVD ripping example; the input is a VOB file, the
1312 output an AVI file with MPEG-4 video and MP3 audio. Note that in this
1313 command we use B-frames so the MPEG-4 stream is DivX5 compatible, and
1314 GOP size is 300 which means one intra frame every 10 seconds for 29.97fps
1315 input video. Furthermore, the audio stream is MP3-encoded so you need
1316 to enable LAME support by passing @code{--enable-libmp3lame} to configure.
1317 The mapping is particularly useful for DVD transcoding
1318 to get the desired audio language.
1320 NOTE: To see the supported input formats, use @code{ffmpeg -formats}.
1323 You can extract images from a video, or create a video from many images:
1325 For extracting images from a video:
1327 ffmpeg -i foo.avi -r 1 -s WxH -f image2 foo-%03d.jpeg
1330 This will extract one video frame per second from the video and will
1331 output them in files named @file{foo-001.jpeg}, @file{foo-002.jpeg},
1332 etc. Images will be rescaled to fit the new WxH values.
1334 If you want to extract just a limited number of frames, you can use the
1335 above command in combination with the -vframes or -t option, or in
1336 combination with -ss to start extracting from a certain point in time.
1338 For creating a video from many images:
1340 ffmpeg -f image2 -i foo-%03d.jpeg -r 12 -s WxH foo.avi
1343 The syntax @code{foo-%03d.jpeg} specifies to use a decimal number
1344 composed of three digits padded with zeroes to express the sequence
1345 number. It is the same syntax supported by the C printf function, but
1346 only formats accepting a normal integer are suitable.
1348 When importing an image sequence, -i also supports expanding
1349 shell-like wildcard patterns (globbing) internally, by selecting the
1350 image2-specific @code{-pattern_type glob} option.
1352 For example, for creating a video from filenames matching the glob pattern
1355 ffmpeg -f image2 -pattern_type glob -i 'foo-*.jpeg' -r 12 -s WxH foo.avi
1359 You can put many streams of the same type in the output:
1362 ffmpeg -i test1.avi -i test2.avi -map 0:3 -map 0:2 -map 0:1 -map 0:0 -c copy test12.nut
1365 The resulting output file @file{test12.avi} will contain first four streams from
1366 the input file in reverse order.
1369 To force CBR video output:
1371 ffmpeg -i myfile.avi -b 4000k -minrate 4000k -maxrate 4000k -bufsize 1835k out.m2v
1375 The four options lmin, lmax, mblmin and mblmax use 'lambda' units,
1376 but you may use the QP2LAMBDA constant to easily convert from 'q' units:
1378 ffmpeg -i src.ext -lmax 21*QP2LAMBDA dst.ext
1384 @include config.texi
1386 @ifset config-avutil
1389 @ifset config-avcodec
1390 @include codecs.texi
1391 @include bitstream_filters.texi
1393 @ifset config-avformat
1394 @include formats.texi
1395 @include protocols.texi
1397 @ifset config-avdevice
1398 @include devices.texi
1400 @ifset config-swresample
1401 @include resampler.texi
1403 @ifset config-swscale
1404 @include scaler.texi
1406 @ifset config-avfilter
1407 @include filters.texi
1415 @url{ffmpeg.html,ffmpeg}
1417 @ifset config-not-all
1418 @url{ffmpeg-all.html,ffmpeg-all},
1420 @url{ffplay.html,ffplay}, @url{ffprobe.html,ffprobe}, @url{ffserver.html,ffserver},
1421 @url{ffmpeg-utils.html,ffmpeg-utils},
1422 @url{ffmpeg-scaler.html,ffmpeg-scaler},
1423 @url{ffmpeg-resampler.html,ffmpeg-resampler},
1424 @url{ffmpeg-codecs.html,ffmpeg-codecs},
1425 @url{ffmpeg-bitstream-filters.html,ffmpeg-bitstream-filters},
1426 @url{ffmpeg-formats.html,ffmpeg-formats},
1427 @url{ffmpeg-devices.html,ffmpeg-devices},
1428 @url{ffmpeg-protocols.html,ffmpeg-protocols},
1429 @url{ffmpeg-filters.html,ffmpeg-filters}
1436 @ifset config-not-all
1439 ffplay(1), ffprobe(1), ffserver(1),
1440 ffmpeg-utils(1), ffmpeg-scaler(1), ffmpeg-resampler(1),
1441 ffmpeg-codecs(1), ffmpeg-bitstream-filters(1), ffmpeg-formats(1),
1442 ffmpeg-devices(1), ffmpeg-protocols(1), ffmpeg-filters(1)
1445 @include authors.texi
1450 @settitle ffmpeg video converter