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 avtools-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}. When used as an output option (before an output filename),
276 decodes but discards input until the timestamps reach @var{position}. This is
277 slower, but more accurate.
279 @var{position} may be either in seconds or in @code{hh:mm:ss[.xxx]} form.
281 @item -itsoffset @var{offset} (@emph{input})
282 Set the input time offset in seconds.
283 @code{[-]hh:mm:ss[.xxx]} syntax is also supported.
284 The offset is added to the timestamps of the input files.
285 Specifying a positive offset means that the corresponding
286 streams are delayed by @var{offset} seconds.
288 @item -timestamp @var{time} (@emph{output})
289 Set the recording timestamp in the container.
290 The syntax for @var{time} is:
292 now|([(YYYY-MM-DD|YYYYMMDD)[T|t| ]]((HH:MM:SS[.m...])|(HHMMSS[.m...]))[Z|z])
294 If the value is "now" it takes the current time.
295 Time is local time unless 'Z' or 'z' is appended, in which case it is
297 If the year-month-day part is not specified it takes the current
300 @item -metadata[:metadata_specifier] @var{key}=@var{value} (@emph{output,per-metadata})
301 Set a metadata key/value pair.
303 An optional @var{metadata_specifier} may be given to set metadata
304 on streams or chapters. See @code{-map_metadata} documentation for
307 This option overrides metadata set with @code{-map_metadata}. It is
308 also possible to delete metadata by using an empty value.
310 For example, for setting the title in the output file:
312 ffmpeg -i in.avi -metadata title="my title" out.flv
315 To set the language of the first audio stream:
317 ffmpeg -i INPUT -metadata:s:a:1 language=eng OUTPUT
320 @item -target @var{type} (@emph{output})
321 Specify target file type (@code{vcd}, @code{svcd}, @code{dvd}, @code{dv},
322 @code{dv50}). @var{type} may be prefixed with @code{pal-}, @code{ntsc-} or
323 @code{film-} to use the corresponding standard. All the format options
324 (bitrate, codecs, buffer sizes) are then set automatically. You can just type:
327 ffmpeg -i myfile.avi -target vcd /tmp/vcd.mpg
330 Nevertheless you can specify additional options as long as you know
331 they do not conflict with the standard, as in:
334 ffmpeg -i myfile.avi -target vcd -bf 2 /tmp/vcd.mpg
337 @item -dframes @var{number} (@emph{output})
338 Set the number of data frames to record. This is an alias for @code{-frames:d}.
340 @item -frames[:@var{stream_specifier}] @var{framecount} (@emph{output,per-stream})
341 Stop writing to the stream after @var{framecount} frames.
343 @item -q[:@var{stream_specifier}] @var{q} (@emph{output,per-stream})
344 @itemx -qscale[:@var{stream_specifier}] @var{q} (@emph{output,per-stream})
345 Use fixed quality scale (VBR). The meaning of @var{q} is
348 @anchor{filter_option}
349 @item -filter[:@var{stream_specifier}] @var{filtergraph} (@emph{output,per-stream})
350 Create the filtergraph specified by @var{filtergraph} and use it to
353 @var{filtergraph} is a description of the filtergraph to apply to
354 the stream, and must have a single input and a single output of the
355 same type of the stream. In the filtergraph, the input is associated
356 to the label @code{in}, and the output to the label @code{out}. See
357 the ffmpeg-filters manual for more information about the filtergraph
360 See the @ref{filter_complex_option,,-filter_complex option} if you
361 want to create filtergraphs with multiple inputs and/or outputs.
363 @item -filter_script[:@var{stream_specifier}] @var{filename} (@emph{output,per-stream})
364 This option is similar to @option{-filter}, the only difference is that its
365 argument is the name of the file from which a filtergraph description is to be
368 @item -pre[:@var{stream_specifier}] @var{preset_name} (@emph{output,per-stream})
369 Specify the preset for matching stream(s).
371 @item -stats (@emph{global})
372 Print encoding progress/statistics. It is on by default, to explicitly
373 disable it you need to specify @code{-nostats}.
375 @item -progress @var{url} (@emph{global})
376 Send program-friendly progress information to @var{url}.
378 Progress information is written approximately every second and at the end of
379 the encoding process. It is made of "@var{key}=@var{value}" lines. @var{key}
380 consists of only alphanumeric characters. The last key of a sequence of
381 progress information is always "progress".
384 Enable interaction on standard input. On by default unless standard input is
385 used as an input. To explicitly disable interaction you need to specify
388 Disabling interaction on standard input is useful, for example, if
389 ffmpeg is in the background process group. Roughly the same result can
390 be achieved with @code{ffmpeg ... < /dev/null} but it requires a
393 @item -debug_ts (@emph{global})
394 Print timestamp information. It is off by default. This option is
395 mostly useful for testing and debugging purposes, and the output
396 format may change from one version to another, so it should not be
397 employed by portable scripts.
399 See also the option @code{-fdebug ts}.
401 @item -attach @var{filename} (@emph{output})
402 Add an attachment to the output file. This is supported by a few formats
403 like Matroska for e.g. fonts used in rendering subtitles. Attachments
404 are implemented as a specific type of stream, so this option will add
405 a new stream to the file. It is then possible to use per-stream options
406 on this stream in the usual way. Attachment streams created with this
407 option will be created after all the other streams (i.e. those created
408 with @code{-map} or automatic mappings).
410 Note that for Matroska you also have to set the mimetype metadata tag:
412 ffmpeg -i INPUT -attach DejaVuSans.ttf -metadata:s:2 mimetype=application/x-truetype-font out.mkv
414 (assuming that the attachment stream will be third in the output file).
416 @item -dump_attachment[:@var{stream_specifier}] @var{filename} (@emph{input,per-stream})
417 Extract the matching attachment stream into a file named @var{filename}. If
418 @var{filename} is empty, then the value of the @code{filename} metadata tag
421 E.g. to extract the first attachment to a file named 'out.ttf':
423 ffmpeg -dump_attachment:t:0 out.ttf -i INPUT
425 To extract all attachments to files determined by the @code{filename} tag:
427 ffmpeg -dump_attachment:t "" -i INPUT
430 Technical note -- attachments are implemented as codec extradata, so this
431 option can actually be used to extract extradata from any stream, not just
436 @section Video Options
439 @item -vframes @var{number} (@emph{output})
440 Set the number of video frames to record. This is an alias for @code{-frames:v}.
441 @item -r[:@var{stream_specifier}] @var{fps} (@emph{input/output,per-stream})
442 Set frame rate (Hz value, fraction or abbreviation).
444 As an input option, ignore any timestamps stored in the file and instead
445 generate timestamps assuming constant frame rate @var{fps}.
447 As an output option, duplicate or drop input frames to achieve constant output
448 frame rate @var{fps}.
450 @item -s[:@var{stream_specifier}] @var{size} (@emph{input/output,per-stream})
453 As an input option, this is a shortcut for the @option{video_size} private
454 option, recognized by some demuxers for which the frame size is either not
455 stored in the file or is configurable -- e.g. raw video or video grabbers.
457 As an output option, this inserts the @code{scale} video filter to the
458 @emph{end} of the corresponding filtergraph. Please use the @code{scale} filter
459 directly to insert it at the beginning or some other place.
461 The format is @samp{wxh} (default - same as source).
463 @item -aspect[:@var{stream_specifier}] @var{aspect} (@emph{output,per-stream})
464 Set the video display aspect ratio specified by @var{aspect}.
466 @var{aspect} can be a floating point number string, or a string of the
467 form @var{num}:@var{den}, where @var{num} and @var{den} are the
468 numerator and denominator of the aspect ratio. For example "4:3",
469 "16:9", "1.3333", and "1.7777" are valid argument values.
471 If used together with @option{-vcodec copy}, it will affect the aspect ratio
472 stored at container level, but not the aspect ratio stored in encoded
473 frames, if it exists.
475 @item -vn (@emph{output})
476 Disable video recording.
478 @item -vcodec @var{codec} (@emph{output})
479 Set the video codec. This is an alias for @code{-codec:v}.
481 @item -pass[:@var{stream_specifier}] @var{n} (@emph{output,per-stream})
482 Select the pass number (1 or 2). It is used to do two-pass
483 video encoding. The statistics of the video are recorded in the first
484 pass into a log file (see also the option -passlogfile),
485 and in the second pass that log file is used to generate the video
486 at the exact requested bitrate.
487 On pass 1, you may just deactivate audio and set output to null,
488 examples for Windows and Unix:
490 ffmpeg -i foo.mov -c:v libxvid -pass 1 -an -f rawvideo -y NUL
491 ffmpeg -i foo.mov -c:v libxvid -pass 1 -an -f rawvideo -y /dev/null
494 @item -passlogfile[:@var{stream_specifier}] @var{prefix} (@emph{output,per-stream})
495 Set two-pass log file name prefix to @var{prefix}, the default file name
496 prefix is ``ffmpeg2pass''. The complete file name will be
497 @file{PREFIX-N.log}, where N is a number specific to the output
500 @item -vlang @var{code}
501 Set the ISO 639 language code (3 letters) of the current video stream.
503 @item -vf @var{filtergraph} (@emph{output})
504 Create the filtergraph specified by @var{filtergraph} and use it to
507 This is an alias for @code{-filter:v}, see the @ref{filter_option,,-filter option}.
510 @section Advanced Video Options
513 @item -pix_fmt[:@var{stream_specifier}] @var{format} (@emph{input/output,per-stream})
514 Set pixel format. Use @code{-pix_fmts} to show all the supported
516 If the selected pixel format can not be selected, ffmpeg will print a
517 warning and select the best pixel format supported by the encoder.
518 If @var{pix_fmt} is prefixed by a @code{+}, ffmpeg will exit with an error
519 if the requested pixel format can not be selected, and automatic conversions
520 inside filtergraphs are disabled.
521 If @var{pix_fmt} is a single @code{+}, ffmpeg selects the same pixel format
522 as the input (or graph output) and automatic conversions are disabled.
524 @item -sws_flags @var{flags} (@emph{input/output})
529 @item -rc_override[:@var{stream_specifier}] @var{override} (@emph{output,per-stream})
530 Rate control override for specific intervals, formatted as "int,int,int"
531 list separated with slashes. Two first values are the beginning and
532 end frame numbers, last one is quantizer to use if positive, or quality
536 Deinterlace pictures.
537 This option is deprecated since the deinterlacing is very low quality.
538 Use the yadif filter with @code{-filter:v yadif}.
540 Force interlacing support in encoder (MPEG-2 and MPEG-4 only).
541 Use this option if your input file is interlaced and you want
542 to keep the interlaced format for minimum losses.
543 The alternative is to deinterlace the input stream with
544 @option{-deinterlace}, but deinterlacing introduces losses.
546 Calculate PSNR of compressed frames.
548 Dump video coding statistics to @file{vstats_HHMMSS.log}.
549 @item -vstats_file @var{file}
550 Dump video coding statistics to @var{file}.
551 @item -top[:@var{stream_specifier}] @var{n} (@emph{output,per-stream})
552 top=1/bottom=0/auto=-1 field first
553 @item -dc @var{precision}
555 @item -vtag @var{fourcc/tag} (@emph{output})
556 Force video tag/fourcc. This is an alias for @code{-tag:v}.
557 @item -qphist (@emph{global})
559 @item -vbsf @var{bitstream_filter}
562 @item -force_key_frames[:@var{stream_specifier}] @var{time}[,@var{time}...] (@emph{output,per-stream})
563 @item -force_key_frames[:@var{stream_specifier}] expr:@var{expr} (@emph{output,per-stream})
564 Force key frames at the specified timestamps, more precisely at the first
565 frames after each specified time.
567 If the argument is prefixed with @code{expr:}, the string @var{expr}
568 is interpreted like an expression and is evaluated for each frame. A
569 key frame is forced in case the evaluation is non-zero.
571 If one of the times is "@code{chapters}[@var{delta}]", it is expanded into
572 the time of the beginning of all chapters in the file, shifted by
573 @var{delta}, expressed as a time in seconds.
574 This option can be useful to ensure that a seek point is present at a
575 chapter mark or any other designated place in the output file.
577 For example, to insert a key frame at 5 minutes, plus key frames 0.1 second
578 before the beginning of every chapter:
580 -force_key_frames 0:05:00,chapters-0.1
583 The expression in @var{expr} can contain the following constants:
586 the number of current processed frame, starting from 0
588 the number of forced frames
590 the number of the previous forced frame, it is @code{NAN} when no
591 keyframe was forced yet
593 the time of the previous forced frame, it is @code{NAN} when no
594 keyframe was forced yet
596 the time of the current processed frame
599 For example to force a key frame every 5 seconds, you can specify:
601 -force_key_frames expr:gte(t,n_forced*5)
604 To force a key frame 5 seconds after the time of the last forced one,
605 starting from second 13:
607 -force_key_frames expr:if(isnan(prev_forced_t),gte(t,13),gte(t,prev_forced_t+5))
610 Note that forcing too many keyframes is very harmful for the lookahead
611 algorithms of certain encoders: using fixed-GOP options or similar
612 would be more efficient.
614 @item -copyinkf[:@var{stream_specifier}] (@emph{output,per-stream})
615 When doing stream copy, copy also non-key frames found at the
619 @section Audio Options
622 @item -aframes @var{number} (@emph{output})
623 Set the number of audio frames to record. This is an alias for @code{-frames:a}.
624 @item -ar[:@var{stream_specifier}] @var{freq} (@emph{input/output,per-stream})
625 Set the audio sampling frequency. For output streams it is set by
626 default to the frequency of the corresponding input stream. For input
627 streams this option only makes sense for audio grabbing devices and raw
628 demuxers and is mapped to the corresponding demuxer options.
629 @item -aq @var{q} (@emph{output})
630 Set the audio quality (codec-specific, VBR). This is an alias for -q:a.
631 @item -ac[:@var{stream_specifier}] @var{channels} (@emph{input/output,per-stream})
632 Set the number of audio channels. For output streams it is set by
633 default to the number of input audio channels. For input streams
634 this option only makes sense for audio grabbing devices and raw demuxers
635 and is mapped to the corresponding demuxer options.
636 @item -an (@emph{output})
637 Disable audio recording.
638 @item -acodec @var{codec} (@emph{input/output})
639 Set the audio codec. This is an alias for @code{-codec:a}.
640 @item -sample_fmt[:@var{stream_specifier}] @var{sample_fmt} (@emph{output,per-stream})
641 Set the audio sample format. Use @code{-sample_fmts} to get a list
642 of supported sample formats.
644 @item -af @var{filtergraph} (@emph{output})
645 Create the filtergraph specified by @var{filtergraph} and use it to
648 This is an alias for @code{-filter:a}, see the @ref{filter_option,,-filter option}.
651 @section Advanced Audio options:
654 @item -atag @var{fourcc/tag} (@emph{output})
655 Force audio tag/fourcc. This is an alias for @code{-tag:a}.
656 @item -absf @var{bitstream_filter}
658 @item -guess_layout_max @var{channels} (@emph{input,per-stream})
659 If some input channel layout is not known, try to guess only if it
660 corresponds to at most the specified number of channels. For example, 2
661 tells to @command{ffmpeg} to recognize 1 channel as mono and 2 channels as
662 stereo but not 6 channels as 5.1. The default is to always try to guess. Use
663 0 to disable all guessing.
666 @section Subtitle options:
669 @item -slang @var{code}
670 Set the ISO 639 language code (3 letters) of the current subtitle stream.
671 @item -scodec @var{codec} (@emph{input/output})
672 Set the subtitle codec. This is an alias for @code{-codec:s}.
673 @item -sn (@emph{output})
674 Disable subtitle recording.
675 @item -sbsf @var{bitstream_filter}
679 @section Advanced Subtitle options:
683 @item -fix_sub_duration
684 Fix subtitles durations. For each subtitle, wait for the next packet in the
685 same stream and adjust the duration of the first to avoid overlap. This is
686 necessary with some subtitles codecs, especially DVB subtitles, because the
687 duration in the original packet is only a rough estimate and the end is
688 actually marked by an empty subtitle frame. Failing to use this option when
689 necessary can result in exaggerated durations or muxing failures due to
690 non-monotonic timestamps.
692 Note that this option will delay the output of all data until the next
693 subtitle packet is decoded: it may increase memory consumption and latency a
696 @item -canvas_size @var{size}
697 Set the size of the canvas used to render subtitles.
701 @section Advanced options
704 @item -map [-]@var{input_file_id}[:@var{stream_specifier}][,@var{sync_file_id}[:@var{stream_specifier}]] | @var{[linklabel]} (@emph{output})
706 Designate one or more input streams as a source for the output file. Each input
707 stream is identified by the input file index @var{input_file_id} and
708 the input stream index @var{input_stream_id} within the input
709 file. Both indices start at 0. If specified,
710 @var{sync_file_id}:@var{stream_specifier} sets which input stream
711 is used as a presentation sync reference.
713 The first @code{-map} option on the command line specifies the
714 source for output stream 0, the second @code{-map} option specifies
715 the source for output stream 1, etc.
717 A @code{-} character before the stream identifier creates a "negative" mapping.
718 It disables matching streams from already created mappings.
720 An alternative @var{[linklabel]} form will map outputs from complex filter
721 graphs (see the @option{-filter_complex} option) to the output file.
722 @var{linklabel} must correspond to a defined output link label in the graph.
724 For example, to map ALL streams from the first input file to output
726 ffmpeg -i INPUT -map 0 output
729 For example, if you have two audio streams in the first input file,
730 these streams are identified by "0:0" and "0:1". You can use
731 @code{-map} to select which streams to place in an output file. For
734 ffmpeg -i INPUT -map 0:1 out.wav
736 will map the input stream in @file{INPUT} identified by "0:1" to
737 the (single) output stream in @file{out.wav}.
739 For example, to select the stream with index 2 from input file
740 @file{a.mov} (specified by the identifier "0:2"), and stream with
741 index 6 from input @file{b.mov} (specified by the identifier "1:6"),
742 and copy them to the output file @file{out.mov}:
744 ffmpeg -i a.mov -i b.mov -c copy -map 0:2 -map 1:6 out.mov
747 To select all video and the third audio stream from an input file:
749 ffmpeg -i INPUT -map 0:v -map 0:a:2 OUTPUT
752 To map all the streams except the second audio, use negative mappings
754 ffmpeg -i INPUT -map 0 -map -0:a:1 OUTPUT
757 Note that using this option disables the default mappings for this output file.
759 @item -map_channel [@var{input_file_id}.@var{stream_specifier}.@var{channel_id}|-1][:@var{output_file_id}.@var{stream_specifier}]
760 Map an audio channel from a given input to an output. If
761 @var{output_file_id}.@var{stream_specifier} is not set, the audio channel will
762 be mapped on all the audio streams.
764 Using "-1" instead of
765 @var{input_file_id}.@var{stream_specifier}.@var{channel_id} will map a muted
768 For example, assuming @var{INPUT} is a stereo audio file, you can switch the
769 two audio channels with the following command:
771 ffmpeg -i INPUT -map_channel 0.0.1 -map_channel 0.0.0 OUTPUT
774 If you want to mute the first channel and keep the second:
776 ffmpeg -i INPUT -map_channel -1 -map_channel 0.0.1 OUTPUT
779 The order of the "-map_channel" option specifies the order of the channels in
780 the output stream. The output channel layout is guessed from the number of
781 channels mapped (mono if one "-map_channel", stereo if two, etc.). Using "-ac"
782 in combination of "-map_channel" makes the channel gain levels to be updated if
783 input and output channel layouts don't match (for instance two "-map_channel"
784 options and "-ac 6").
786 You can also extract each channel of an input to specific outputs; the following
787 command extracts two channels of the @var{INPUT} audio stream (file 0, stream 0)
788 to the respective @var{OUTPUT_CH0} and @var{OUTPUT_CH1} outputs:
790 ffmpeg -i INPUT -map_channel 0.0.0 OUTPUT_CH0 -map_channel 0.0.1 OUTPUT_CH1
793 The following example splits the channels of a stereo input into two separate
794 streams, which are put into the same output file:
796 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
799 Note that currently each output stream can only contain channels from a single
800 input stream; you can't for example use "-map_channel" to pick multiple input
801 audio channels contained in different streams (from the same or different files)
802 and merge them into a single output stream. It is therefore not currently
803 possible, for example, to turn two separate mono streams into a single stereo
804 stream. However splitting a stereo stream into two single channel mono streams
807 If you need this feature, a possible workaround is to use the @emph{amerge}
808 filter. For example, if you need to merge a media (here @file{input.mkv}) with 2
809 mono audio streams into one single stereo channel audio stream (and keep the
810 video stream), you can use the following command:
812 ffmpeg -i input.mkv -filter_complex "[0:1] [0:2] amerge" -c:a pcm_s16le -c:v copy output.mkv
815 @item -map_metadata[:@var{metadata_spec_out}] @var{infile}[:@var{metadata_spec_in}] (@emph{output,per-metadata})
816 Set metadata information of the next output file from @var{infile}. Note that
817 those are file indices (zero-based), not filenames.
818 Optional @var{metadata_spec_in/out} parameters specify, which metadata to copy.
819 A metadata specifier can have the following forms:
822 global metadata, i.e. metadata that applies to the whole file
824 @item @var{s}[:@var{stream_spec}]
825 per-stream metadata. @var{stream_spec} is a stream specifier as described
826 in the @ref{Stream specifiers} chapter. In an input metadata specifier, the first
827 matching stream is copied from. In an output metadata specifier, all matching
828 streams are copied to.
830 @item @var{c}:@var{chapter_index}
831 per-chapter metadata. @var{chapter_index} is the zero-based chapter index.
833 @item @var{p}:@var{program_index}
834 per-program metadata. @var{program_index} is the zero-based program index.
836 If metadata specifier is omitted, it defaults to global.
838 By default, global metadata is copied from the first input file,
839 per-stream and per-chapter metadata is copied along with streams/chapters. These
840 default mappings are disabled by creating any mapping of the relevant type. A negative
841 file index can be used to create a dummy mapping that just disables automatic copying.
843 For example to copy metadata from the first stream of the input file to global metadata
846 ffmpeg -i in.ogg -map_metadata 0:s:0 out.mp3
849 To do the reverse, i.e. copy global metadata to all audio streams:
851 ffmpeg -i in.mkv -map_metadata:s:a 0:g out.mkv
853 Note that simple @code{0} would work as well in this example, since global
854 metadata is assumed by default.
856 @item -map_chapters @var{input_file_index} (@emph{output})
857 Copy chapters from input file with index @var{input_file_index} to the next
858 output file. If no chapter mapping is specified, then chapters are copied from
859 the first input file with at least one chapter. Use a negative file index to
860 disable any chapter copying.
862 @item -benchmark (@emph{global})
863 Show benchmarking information at the end of an encode.
864 Shows CPU time used and maximum memory consumption.
865 Maximum memory consumption is not supported on all systems,
866 it will usually display as 0 if not supported.
867 @item -benchmark_all (@emph{global})
868 Show benchmarking information during the encode.
869 Shows CPU time used in various steps (audio/video encode/decode).
870 @item -timelimit @var{duration} (@emph{global})
871 Exit after ffmpeg has been running for @var{duration} seconds.
872 @item -dump (@emph{global})
873 Dump each input packet to stderr.
874 @item -hex (@emph{global})
875 When dumping packets, also dump the payload.
876 @item -re (@emph{input})
877 Read input at native frame rate. Mainly used to simulate a grab device.
878 By default @command{ffmpeg} attempts to read the input(s) as fast as possible.
879 This option will slow down the reading of the input(s) to the native frame rate
880 of the input(s). It is useful for real-time output (e.g. live streaming). If
881 your input(s) is coming from some other live streaming source (through HTTP or
882 UDP for example) the server might already be in real-time, thus the option will
883 likely not be required. On the other hand, this is meaningful if your input(s)
884 is a file you are trying to push in real-time.
886 Loop over the input stream. Currently it works only for image
887 streams. This option is used for automatic FFserver testing.
888 This option is deprecated, use -loop 1.
889 @item -loop_output @var{number_of_times}
890 Repeatedly loop output for formats that support looping such as animated GIF
891 (0 will loop the output infinitely).
892 This option is deprecated, use -loop.
893 @item -vsync @var{parameter}
895 For compatibility reasons old values can be specified as numbers.
896 Newly added values will have to be specified as strings always.
900 Each frame is passed with its timestamp from the demuxer to the muxer.
902 Frames will be duplicated and dropped to achieve exactly the requested
905 Frames are passed through with their timestamp or dropped so as to
906 prevent 2 frames from having the same timestamp.
908 As passthrough but destroys all timestamps, making the muxer generate
909 fresh timestamps based on frame-rate.
911 Chooses between 1 and 2 depending on muxer capabilities. This is the
915 Note that the timestamps may be further modified by the muxer, after this.
916 For example, in the case that the format option @option{avoid_negative_ts}
919 With -map you can select from which stream the timestamps should be
920 taken. You can leave either video or audio unchanged and sync the
921 remaining stream(s) to the unchanged one.
923 @item -async @var{samples_per_second}
924 Audio sync method. "Stretches/squeezes" the audio stream to match the timestamps,
925 the parameter is the maximum samples per second by which the audio is changed.
926 -async 1 is a special case where only the start of the audio stream is corrected
927 without any later correction.
929 Note that the timestamps may be further modified by the muxer, after this.
930 For example, in the case that the format option @option{avoid_negative_ts}
933 This option has been deprecated. Use the @code{aresample} audio filter instead.
936 Do not process input timestamps, but keep their values without trying
937 to sanitize them. In particular, do not remove the initial start time
940 Note that, depending on the @option{vsync} option or on specific muxer
941 processing (e.g. in case the format option @option{avoid_negative_ts}
942 is enabled) the output timestamps may mismatch with the input
943 timestamps even when this option is selected.
945 @item -copytb @var{mode}
946 Specify how to set the encoder timebase when stream copying. @var{mode} is an
947 integer numeric value, and can assume one of the following values:
951 Use the demuxer timebase.
953 The time base is copied to the output encoder from the corresponding input
954 demuxer. This is sometimes required to avoid non monotonically increasing
955 timestamps when copying video streams with variable frame rate.
958 Use the decoder timebase.
960 The time base is copied to the output encoder from the corresponding input
964 Try to make the choice automatically, in order to generate a sane output.
969 @item -shortest (@emph{output})
970 Finish encoding when the shortest input stream ends.
971 @item -dts_delta_threshold
972 Timestamp discontinuity delta threshold.
973 @item -muxdelay @var{seconds} (@emph{input})
974 Set the maximum demux-decode delay.
975 @item -muxpreload @var{seconds} (@emph{input})
976 Set the initial demux-decode delay.
977 @item -streamid @var{output-stream-index}:@var{new-value} (@emph{output})
978 Assign a new stream-id value to an output stream. This option should be
979 specified prior to the output filename to which it applies.
980 For the situation where multiple output files exist, a streamid
981 may be reassigned to a different value.
983 For example, to set the stream 0 PID to 33 and the stream 1 PID to 36 for
984 an output mpegts file:
986 ffmpeg -i infile -streamid 0:33 -streamid 1:36 out.ts
989 @item -bsf[:@var{stream_specifier}] @var{bitstream_filters} (@emph{output,per-stream})
990 Set bitstream filters for matching streams. @var{bitstream_filters} is
991 a comma-separated list of bitstream filters. Use the @code{-bsfs} option
992 to get the list of bitstream filters.
994 ffmpeg -i h264.mp4 -c:v copy -bsf:v h264_mp4toannexb -an out.h264
997 ffmpeg -i file.mov -an -vn -bsf:s mov2textsub -c:s copy -f rawvideo sub.txt
1000 @item -tag[:@var{stream_specifier}] @var{codec_tag} (@emph{per-stream})
1001 Force a tag/fourcc for matching streams.
1003 @item -timecode @var{hh}:@var{mm}:@var{ss}SEP@var{ff}
1004 Specify Timecode for writing. @var{SEP} is ':' for non drop timecode and ';'
1007 ffmpeg -i input.mpg -timecode 01:02:03.04 -r 30000/1001 -s ntsc output.mpg
1010 @anchor{filter_complex_option}
1011 @item -filter_complex @var{filtergraph} (@emph{global})
1012 Define a complex filtergraph, i.e. one with arbitrary number of inputs and/or
1013 outputs. For simple graphs -- those with one input and one output of the same
1014 type -- see the @option{-filter} options. @var{filtergraph} is a description of
1015 the filtergraph, as described in the ``Filtergraph syntax'' section of the
1016 ffmpeg-filters manual.
1018 Input link labels must refer to input streams using the
1019 @code{[file_index:stream_specifier]} syntax (i.e. the same as @option{-map}
1020 uses). If @var{stream_specifier} matches multiple streams, the first one will be
1021 used. An unlabeled input will be connected to the first unused input stream of
1024 Output link labels are referred to with @option{-map}. Unlabeled outputs are
1025 added to the first output file.
1027 Note that with this option it is possible to use only lavfi sources without
1030 For example, to overlay an image over video
1032 ffmpeg -i video.mkv -i image.png -filter_complex '[0:v][1:v]overlay[out]' -map
1035 Here @code{[0:v]} refers to the first video stream in the first input file,
1036 which is linked to the first (main) input of the overlay filter. Similarly the
1037 first video stream in the second input is linked to the second (overlay) input
1040 Assuming there is only one video stream in each input file, we can omit input
1041 labels, so the above is equivalent to
1043 ffmpeg -i video.mkv -i image.png -filter_complex 'overlay[out]' -map
1047 Furthermore we can omit the output label and the single output from the filter
1048 graph will be added to the output file automatically, so we can simply write
1050 ffmpeg -i video.mkv -i image.png -filter_complex 'overlay' out.mkv
1053 To generate 5 seconds of pure red video using lavfi @code{color} source:
1055 ffmpeg -filter_complex 'color=c=red' -t 5 out.mkv
1058 @item -lavfi @var{filtergraph} (@emph{global})
1059 Define a complex filtergraph, i.e. one with arbitrary number of inputs and/or
1060 outputs. Equivalent to @option{-filter_complex}.
1062 @item -filter_complex_script @var{filename} (@emph{global})
1063 This option is similar to @option{-filter_complex}, the only difference is that
1064 its argument is the name of the file from which a complex filtergraph
1065 description is to be read.
1069 As a special exception, you can use a bitmap subtitle stream as input: it
1070 will be converted into a video with the same size as the largest video in
1071 the file, or 720x576 if no video is present. Note that this is an
1072 experimental and temporary solution. It will be removed once libavfilter has
1073 proper support for subtitles.
1075 For example, to hardcode subtitles on top of a DVB-T recording stored in
1076 MPEG-TS format, delaying the subtitles by 1 second:
1078 ffmpeg -i input.ts -filter_complex \
1079 '[#0x2ef] setpts=PTS+1/TB [sub] ; [#0x2d0] [sub] overlay' \
1080 -sn -map '#0x2dc' output.mkv
1082 (0x2d0, 0x2dc and 0x2ef are the MPEG-TS PIDs of respectively the video,
1083 audio and subtitles streams; 0:0, 0:3 and 0:7 would have worked too)
1085 @section Preset files
1086 A preset file contains a sequence of @var{option}=@var{value} pairs,
1087 one for each line, specifying a sequence of options which would be
1088 awkward to specify on the command line. Lines starting with the hash
1089 ('#') character are ignored and are used to provide comments. Check
1090 the @file{presets} directory in the FFmpeg source tree for examples.
1092 Preset files are specified with the @code{vpre}, @code{apre},
1093 @code{spre}, and @code{fpre} options. The @code{fpre} option takes the
1094 filename of the preset instead of a preset name as input and can be
1095 used for any kind of codec. For the @code{vpre}, @code{apre}, and
1096 @code{spre} options, the options specified in a preset file are
1097 applied to the currently selected codec of the same type as the preset
1100 The argument passed to the @code{vpre}, @code{apre}, and @code{spre}
1101 preset options identifies the preset file to use according to the
1104 First ffmpeg searches for a file named @var{arg}.ffpreset in the
1105 directories @file{$FFMPEG_DATADIR} (if set), and @file{$HOME/.ffmpeg}, and in
1106 the datadir defined at configuration time (usually @file{PREFIX/share/ffmpeg})
1107 or in a @file{ffpresets} folder along the executable on win32,
1108 in that order. For example, if the argument is @code{libvpx-1080p}, it will
1109 search for the file @file{libvpx-1080p.ffpreset}.
1111 If no such file is found, then ffmpeg will search for a file named
1112 @var{codec_name}-@var{arg}.ffpreset in the above-mentioned
1113 directories, where @var{codec_name} is the name of the codec to which
1114 the preset file options will be applied. For example, if you select
1115 the video codec with @code{-vcodec libvpx} and use @code{-vpre 1080p},
1116 then it will search for the file @file{libvpx-1080p.ffpreset}.
1124 For streaming at very low bitrate application, use a low frame rate
1125 and a small GOP size. This is especially true for RealVideo where
1126 the Linux player does not seem to be very fast, so it can miss
1127 frames. An example is:
1130 ffmpeg -g 3 -r 3 -t 10 -b:v 50k -s qcif -f rv10 /tmp/b.rm
1134 The parameter 'q' which is displayed while encoding is the current
1135 quantizer. The value 1 indicates that a very good quality could
1136 be achieved. The value 31 indicates the worst quality. If q=31 appears
1137 too often, it means that the encoder cannot compress enough to meet
1138 your bitrate. You must either increase the bitrate, decrease the
1139 frame rate or decrease the frame size.
1142 If your computer is not fast enough, you can speed up the
1143 compression at the expense of the compression ratio. You can use
1144 '-me zero' to speed up motion estimation, and '-g 0' to disable
1145 motion estimation completely (you have only I-frames, which means it
1146 is about as good as JPEG compression).
1149 To have very low audio bitrates, reduce the sampling frequency
1150 (down to 22050 Hz for MPEG audio, 22050 or 11025 for AC-3).
1153 To have a constant quality (but a variable bitrate), use the option
1154 '-qscale n' when 'n' is between 1 (excellent quality) and 31 (worst
1161 @c man begin EXAMPLES
1163 @section Preset files
1165 A preset file contains a sequence of @var{option=value} pairs, one for
1166 each line, specifying a sequence of options which can be specified also on
1167 the command line. Lines starting with the hash ('#') character are ignored and
1168 are used to provide comments. Empty lines are also ignored. Check the
1169 @file{presets} directory in the FFmpeg source tree for examples.
1171 Preset files are specified with the @code{pre} option, this option takes a
1172 preset name as input. FFmpeg searches for a file named @var{preset_name}.avpreset in
1173 the directories @file{$AVCONV_DATADIR} (if set), and @file{$HOME/.ffmpeg}, and in
1174 the data directory defined at configuration time (usually @file{$PREFIX/share/ffmpeg})
1175 in that order. For example, if the argument is @code{libx264-max}, it will
1176 search for the file @file{libx264-max.avpreset}.
1178 @section Video and Audio grabbing
1180 If you specify the input format and device then ffmpeg can grab video
1184 ffmpeg -f oss -i /dev/dsp -f video4linux2 -i /dev/video0 /tmp/out.mpg
1187 Or with an ALSA audio source (mono input, card id 1) instead of OSS:
1189 ffmpeg -f alsa -ac 1 -i hw:1 -f video4linux2 -i /dev/video0 /tmp/out.mpg
1192 Note that you must activate the right video source and channel before
1193 launching ffmpeg with any TV viewer such as
1194 @uref{http://linux.bytesex.org/xawtv/, xawtv} by Gerd Knorr. You also
1195 have to set the audio recording levels correctly with a
1198 @section X11 grabbing
1200 Grab the X11 display with ffmpeg via
1203 ffmpeg -f x11grab -s cif -r 25 -i :0.0 /tmp/out.mpg
1206 0.0 is display.screen number of your X11 server, same as
1207 the DISPLAY environment variable.
1210 ffmpeg -f x11grab -s cif -r 25 -i :0.0+10,20 /tmp/out.mpg
1213 0.0 is display.screen number of your X11 server, same as the DISPLAY environment
1214 variable. 10 is the x-offset and 20 the y-offset for the grabbing.
1216 @section Video and Audio file format conversion
1218 Any supported file format and protocol can serve as input to ffmpeg:
1223 You can use YUV files as input:
1226 ffmpeg -i /tmp/test%d.Y /tmp/out.mpg
1229 It will use the files:
1231 /tmp/test0.Y, /tmp/test0.U, /tmp/test0.V,
1232 /tmp/test1.Y, /tmp/test1.U, /tmp/test1.V, etc...
1235 The Y files use twice the resolution of the U and V files. They are
1236 raw files, without header. They can be generated by all decent video
1237 decoders. You must specify the size of the image with the @option{-s} option
1238 if ffmpeg cannot guess it.
1241 You can input from a raw YUV420P file:
1244 ffmpeg -i /tmp/test.yuv /tmp/out.avi
1247 test.yuv is a file containing raw YUV planar data. Each frame is composed
1248 of the Y plane followed by the U and V planes at half vertical and
1249 horizontal resolution.
1252 You can output to a raw YUV420P file:
1255 ffmpeg -i mydivx.avi hugefile.yuv
1259 You can set several input files and output files:
1262 ffmpeg -i /tmp/a.wav -s 640x480 -i /tmp/a.yuv /tmp/a.mpg
1265 Converts the audio file a.wav and the raw YUV video file a.yuv
1269 You can also do audio and video conversions at the same time:
1272 ffmpeg -i /tmp/a.wav -ar 22050 /tmp/a.mp2
1275 Converts a.wav to MPEG audio at 22050 Hz sample rate.
1278 You can encode to several formats at the same time and define a
1279 mapping from input stream to output streams:
1282 ffmpeg -i /tmp/a.wav -map 0:a -b:a 64k /tmp/a.mp2 -map 0:a -b:a 128k /tmp/b.mp2
1285 Converts a.wav to a.mp2 at 64 kbits and to b.mp2 at 128 kbits. '-map
1286 file:index' specifies which input stream is used for each output
1287 stream, in the order of the definition of output streams.
1290 You can transcode decrypted VOBs:
1293 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
1296 This is a typical DVD ripping example; the input is a VOB file, the
1297 output an AVI file with MPEG-4 video and MP3 audio. Note that in this
1298 command we use B-frames so the MPEG-4 stream is DivX5 compatible, and
1299 GOP size is 300 which means one intra frame every 10 seconds for 29.97fps
1300 input video. Furthermore, the audio stream is MP3-encoded so you need
1301 to enable LAME support by passing @code{--enable-libmp3lame} to configure.
1302 The mapping is particularly useful for DVD transcoding
1303 to get the desired audio language.
1305 NOTE: To see the supported input formats, use @code{ffmpeg -formats}.
1308 You can extract images from a video, or create a video from many images:
1310 For extracting images from a video:
1312 ffmpeg -i foo.avi -r 1 -s WxH -f image2 foo-%03d.jpeg
1315 This will extract one video frame per second from the video and will
1316 output them in files named @file{foo-001.jpeg}, @file{foo-002.jpeg},
1317 etc. Images will be rescaled to fit the new WxH values.
1319 If you want to extract just a limited number of frames, you can use the
1320 above command in combination with the -vframes or -t option, or in
1321 combination with -ss to start extracting from a certain point in time.
1323 For creating a video from many images:
1325 ffmpeg -f image2 -i foo-%03d.jpeg -r 12 -s WxH foo.avi
1328 The syntax @code{foo-%03d.jpeg} specifies to use a decimal number
1329 composed of three digits padded with zeroes to express the sequence
1330 number. It is the same syntax supported by the C printf function, but
1331 only formats accepting a normal integer are suitable.
1333 When importing an image sequence, -i also supports expanding
1334 shell-like wildcard patterns (globbing) internally, by selecting the
1335 image2-specific @code{-pattern_type glob} option.
1337 For example, for creating a video from filenames matching the glob pattern
1340 ffmpeg -f image2 -pattern_type glob -i 'foo-*.jpeg' -r 12 -s WxH foo.avi
1344 You can put many streams of the same type in the output:
1347 ffmpeg -i test1.avi -i test2.avi -map 0:3 -map 0:2 -map 0:1 -map 0:0 -c copy test12.nut
1350 The resulting output file @file{test12.avi} will contain first four streams from
1351 the input file in reverse order.
1354 To force CBR video output:
1356 ffmpeg -i myfile.avi -b 4000k -minrate 4000k -maxrate 4000k -bufsize 1835k out.m2v
1360 The four options lmin, lmax, mblmin and mblmax use 'lambda' units,
1361 but you may use the QP2LAMBDA constant to easily convert from 'q' units:
1363 ffmpeg -i src.ext -lmax 21*QP2LAMBDA dst.ext
1369 @include config.texi
1371 @ifset config-avutil
1374 @ifset config-avcodec
1375 @include codecs.texi
1376 @include bitstream_filters.texi
1378 @ifset config-avformat
1379 @include formats.texi
1380 @include protocols.texi
1382 @ifset config-avdevice
1383 @include devices.texi
1385 @ifset config-swresample
1386 @include resampler.texi
1388 @ifset config-swscale
1389 @include scaler.texi
1391 @ifset config-avfilter
1392 @include filters.texi
1400 @url{ffmpeg.html,ffmpeg}
1402 @ifset config-not-all
1403 @url{ffmpeg-all.html,ffmpeg-all},
1405 @url{ffplay.html,ffplay}, @url{ffprobe.html,ffprobe}, @url{ffserver.html,ffserver},
1406 @url{ffmpeg-utils.html,ffmpeg-utils},
1407 @url{ffmpeg-scaler.html,ffmpeg-scaler},
1408 @url{ffmpeg-resampler.html,ffmpeg-resampler},
1409 @url{ffmpeg-codecs.html,ffmpeg-codecs},
1410 @url{ffmpeg-bitstream-filters.html,ffmpeg-bitstream-filters},
1411 @url{ffmpeg-formats.html,ffmpeg-formats},
1412 @url{ffmpeg-devices.html,ffmpeg-devices},
1413 @url{ffmpeg-protocols.html,ffmpeg-protocols},
1414 @url{ffmpeg-filters.html,ffmpeg-filters}
1421 @ifset config-not-all
1424 ffplay(1), ffprobe(1), ffserver(1),
1425 ffmpeg-utils(1), ffmpeg-scaler(1), ffmpeg-resampler(1),
1426 ffmpeg-codecs(1), ffmpeg-bitstream-filters(1), ffmpeg-formats(1),
1427 ffmpeg-devices(1), ffmpeg-protocols(1), ffmpeg-filters(1)
1430 @include authors.texi
1435 @settitle ffmpeg video converter