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 Force interlacing support in encoder (MPEG-2 and MPEG-4 only).
537 Use this option if your input file is interlaced and you want
538 to keep the interlaced format for minimum losses.
539 The alternative is to deinterlace the input stream with
540 @option{-deinterlace}, but deinterlacing introduces losses.
542 Calculate PSNR of compressed frames.
544 Dump video coding statistics to @file{vstats_HHMMSS.log}.
545 @item -vstats_file @var{file}
546 Dump video coding statistics to @var{file}.
547 @item -top[:@var{stream_specifier}] @var{n} (@emph{output,per-stream})
548 top=1/bottom=0/auto=-1 field first
549 @item -dc @var{precision}
551 @item -vtag @var{fourcc/tag} (@emph{output})
552 Force video tag/fourcc. This is an alias for @code{-tag:v}.
553 @item -qphist (@emph{global})
555 @item -vbsf @var{bitstream_filter}
558 @item -force_key_frames[:@var{stream_specifier}] @var{time}[,@var{time}...] (@emph{output,per-stream})
559 @item -force_key_frames[:@var{stream_specifier}] expr:@var{expr} (@emph{output,per-stream})
560 Force key frames at the specified timestamps, more precisely at the first
561 frames after each specified time.
563 If the argument is prefixed with @code{expr:}, the string @var{expr}
564 is interpreted like an expression and is evaluated for each frame. A
565 key frame is forced in case the evaluation is non-zero.
567 If one of the times is "@code{chapters}[@var{delta}]", it is expanded into
568 the time of the beginning of all chapters in the file, shifted by
569 @var{delta}, expressed as a time in seconds.
570 This option can be useful to ensure that a seek point is present at a
571 chapter mark or any other designated place in the output file.
573 For example, to insert a key frame at 5 minutes, plus key frames 0.1 second
574 before the beginning of every chapter:
576 -force_key_frames 0:05:00,chapters-0.1
579 The expression in @var{expr} can contain the following constants:
582 the number of current processed frame, starting from 0
584 the number of forced frames
586 the number of the previous forced frame, it is @code{NAN} when no
587 keyframe was forced yet
589 the time of the previous forced frame, it is @code{NAN} when no
590 keyframe was forced yet
592 the time of the current processed frame
595 For example to force a key frame every 5 seconds, you can specify:
597 -force_key_frames expr:gte(t,n_forced*5)
600 To force a key frame 5 seconds after the time of the last forced one,
601 starting from second 13:
603 -force_key_frames expr:if(isnan(prev_forced_t),gte(t,13),gte(t,prev_forced_t+5))
606 Note that forcing too many keyframes is very harmful for the lookahead
607 algorithms of certain encoders: using fixed-GOP options or similar
608 would be more efficient.
610 @item -copyinkf[:@var{stream_specifier}] (@emph{output,per-stream})
611 When doing stream copy, copy also non-key frames found at the
615 @section Audio Options
618 @item -aframes @var{number} (@emph{output})
619 Set the number of audio frames to record. This is an alias for @code{-frames:a}.
620 @item -ar[:@var{stream_specifier}] @var{freq} (@emph{input/output,per-stream})
621 Set the audio sampling frequency. For output streams it is set by
622 default to the frequency of the corresponding input stream. For input
623 streams this option only makes sense for audio grabbing devices and raw
624 demuxers and is mapped to the corresponding demuxer options.
625 @item -aq @var{q} (@emph{output})
626 Set the audio quality (codec-specific, VBR). This is an alias for -q:a.
627 @item -ac[:@var{stream_specifier}] @var{channels} (@emph{input/output,per-stream})
628 Set the number of audio channels. For output streams it is set by
629 default to the number of input audio channels. For input streams
630 this option only makes sense for audio grabbing devices and raw demuxers
631 and is mapped to the corresponding demuxer options.
632 @item -an (@emph{output})
633 Disable audio recording.
634 @item -acodec @var{codec} (@emph{input/output})
635 Set the audio codec. This is an alias for @code{-codec:a}.
636 @item -sample_fmt[:@var{stream_specifier}] @var{sample_fmt} (@emph{output,per-stream})
637 Set the audio sample format. Use @code{-sample_fmts} to get a list
638 of supported sample formats.
640 @item -af @var{filtergraph} (@emph{output})
641 Create the filtergraph specified by @var{filtergraph} and use it to
644 This is an alias for @code{-filter:a}, see the @ref{filter_option,,-filter option}.
647 @section Advanced Audio options:
650 @item -atag @var{fourcc/tag} (@emph{output})
651 Force audio tag/fourcc. This is an alias for @code{-tag:a}.
652 @item -absf @var{bitstream_filter}
654 @item -guess_layout_max @var{channels} (@emph{input,per-stream})
655 If some input channel layout is not known, try to guess only if it
656 corresponds to at most the specified number of channels. For example, 2
657 tells to @command{ffmpeg} to recognize 1 channel as mono and 2 channels as
658 stereo but not 6 channels as 5.1. The default is to always try to guess. Use
659 0 to disable all guessing.
662 @section Subtitle options:
665 @item -slang @var{code}
666 Set the ISO 639 language code (3 letters) of the current subtitle stream.
667 @item -scodec @var{codec} (@emph{input/output})
668 Set the subtitle codec. This is an alias for @code{-codec:s}.
669 @item -sn (@emph{output})
670 Disable subtitle recording.
671 @item -sbsf @var{bitstream_filter}
675 @section Advanced Subtitle options:
679 @item -fix_sub_duration
680 Fix subtitles durations. For each subtitle, wait for the next packet in the
681 same stream and adjust the duration of the first to avoid overlap. This is
682 necessary with some subtitles codecs, especially DVB subtitles, because the
683 duration in the original packet is only a rough estimate and the end is
684 actually marked by an empty subtitle frame. Failing to use this option when
685 necessary can result in exaggerated durations or muxing failures due to
686 non-monotonic timestamps.
688 Note that this option will delay the output of all data until the next
689 subtitle packet is decoded: it may increase memory consumption and latency a
692 @item -canvas_size @var{size}
693 Set the size of the canvas used to render subtitles.
697 @section Advanced options
700 @item -map [-]@var{input_file_id}[:@var{stream_specifier}][,@var{sync_file_id}[:@var{stream_specifier}]] | @var{[linklabel]} (@emph{output})
702 Designate one or more input streams as a source for the output file. Each input
703 stream is identified by the input file index @var{input_file_id} and
704 the input stream index @var{input_stream_id} within the input
705 file. Both indices start at 0. If specified,
706 @var{sync_file_id}:@var{stream_specifier} sets which input stream
707 is used as a presentation sync reference.
709 The first @code{-map} option on the command line specifies the
710 source for output stream 0, the second @code{-map} option specifies
711 the source for output stream 1, etc.
713 A @code{-} character before the stream identifier creates a "negative" mapping.
714 It disables matching streams from already created mappings.
716 An alternative @var{[linklabel]} form will map outputs from complex filter
717 graphs (see the @option{-filter_complex} option) to the output file.
718 @var{linklabel} must correspond to a defined output link label in the graph.
720 For example, to map ALL streams from the first input file to output
722 ffmpeg -i INPUT -map 0 output
725 For example, if you have two audio streams in the first input file,
726 these streams are identified by "0:0" and "0:1". You can use
727 @code{-map} to select which streams to place in an output file. For
730 ffmpeg -i INPUT -map 0:1 out.wav
732 will map the input stream in @file{INPUT} identified by "0:1" to
733 the (single) output stream in @file{out.wav}.
735 For example, to select the stream with index 2 from input file
736 @file{a.mov} (specified by the identifier "0:2"), and stream with
737 index 6 from input @file{b.mov} (specified by the identifier "1:6"),
738 and copy them to the output file @file{out.mov}:
740 ffmpeg -i a.mov -i b.mov -c copy -map 0:2 -map 1:6 out.mov
743 To select all video and the third audio stream from an input file:
745 ffmpeg -i INPUT -map 0:v -map 0:a:2 OUTPUT
748 To map all the streams except the second audio, use negative mappings
750 ffmpeg -i INPUT -map 0 -map -0:a:1 OUTPUT
753 Note that using this option disables the default mappings for this output file.
755 @item -map_channel [@var{input_file_id}.@var{stream_specifier}.@var{channel_id}|-1][:@var{output_file_id}.@var{stream_specifier}]
756 Map an audio channel from a given input to an output. If
757 @var{output_file_id}.@var{stream_specifier} is not set, the audio channel will
758 be mapped on all the audio streams.
760 Using "-1" instead of
761 @var{input_file_id}.@var{stream_specifier}.@var{channel_id} will map a muted
764 For example, assuming @var{INPUT} is a stereo audio file, you can switch the
765 two audio channels with the following command:
767 ffmpeg -i INPUT -map_channel 0.0.1 -map_channel 0.0.0 OUTPUT
770 If you want to mute the first channel and keep the second:
772 ffmpeg -i INPUT -map_channel -1 -map_channel 0.0.1 OUTPUT
775 The order of the "-map_channel" option specifies the order of the channels in
776 the output stream. The output channel layout is guessed from the number of
777 channels mapped (mono if one "-map_channel", stereo if two, etc.). Using "-ac"
778 in combination of "-map_channel" makes the channel gain levels to be updated if
779 input and output channel layouts don't match (for instance two "-map_channel"
780 options and "-ac 6").
782 You can also extract each channel of an input to specific outputs; the following
783 command extracts two channels of the @var{INPUT} audio stream (file 0, stream 0)
784 to the respective @var{OUTPUT_CH0} and @var{OUTPUT_CH1} outputs:
786 ffmpeg -i INPUT -map_channel 0.0.0 OUTPUT_CH0 -map_channel 0.0.1 OUTPUT_CH1
789 The following example splits the channels of a stereo input into two separate
790 streams, which are put into the same output file:
792 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
795 Note that currently each output stream can only contain channels from a single
796 input stream; you can't for example use "-map_channel" to pick multiple input
797 audio channels contained in different streams (from the same or different files)
798 and merge them into a single output stream. It is therefore not currently
799 possible, for example, to turn two separate mono streams into a single stereo
800 stream. However splitting a stereo stream into two single channel mono streams
803 If you need this feature, a possible workaround is to use the @emph{amerge}
804 filter. For example, if you need to merge a media (here @file{input.mkv}) with 2
805 mono audio streams into one single stereo channel audio stream (and keep the
806 video stream), you can use the following command:
808 ffmpeg -i input.mkv -filter_complex "[0:1] [0:2] amerge" -c:a pcm_s16le -c:v copy output.mkv
811 @item -map_metadata[:@var{metadata_spec_out}] @var{infile}[:@var{metadata_spec_in}] (@emph{output,per-metadata})
812 Set metadata information of the next output file from @var{infile}. Note that
813 those are file indices (zero-based), not filenames.
814 Optional @var{metadata_spec_in/out} parameters specify, which metadata to copy.
815 A metadata specifier can have the following forms:
818 global metadata, i.e. metadata that applies to the whole file
820 @item @var{s}[:@var{stream_spec}]
821 per-stream metadata. @var{stream_spec} is a stream specifier as described
822 in the @ref{Stream specifiers} chapter. In an input metadata specifier, the first
823 matching stream is copied from. In an output metadata specifier, all matching
824 streams are copied to.
826 @item @var{c}:@var{chapter_index}
827 per-chapter metadata. @var{chapter_index} is the zero-based chapter index.
829 @item @var{p}:@var{program_index}
830 per-program metadata. @var{program_index} is the zero-based program index.
832 If metadata specifier is omitted, it defaults to global.
834 By default, global metadata is copied from the first input file,
835 per-stream and per-chapter metadata is copied along with streams/chapters. These
836 default mappings are disabled by creating any mapping of the relevant type. A negative
837 file index can be used to create a dummy mapping that just disables automatic copying.
839 For example to copy metadata from the first stream of the input file to global metadata
842 ffmpeg -i in.ogg -map_metadata 0:s:0 out.mp3
845 To do the reverse, i.e. copy global metadata to all audio streams:
847 ffmpeg -i in.mkv -map_metadata:s:a 0:g out.mkv
849 Note that simple @code{0} would work as well in this example, since global
850 metadata is assumed by default.
852 @item -map_chapters @var{input_file_index} (@emph{output})
853 Copy chapters from input file with index @var{input_file_index} to the next
854 output file. If no chapter mapping is specified, then chapters are copied from
855 the first input file with at least one chapter. Use a negative file index to
856 disable any chapter copying.
858 @item -benchmark (@emph{global})
859 Show benchmarking information at the end of an encode.
860 Shows CPU time used and maximum memory consumption.
861 Maximum memory consumption is not supported on all systems,
862 it will usually display as 0 if not supported.
863 @item -benchmark_all (@emph{global})
864 Show benchmarking information during the encode.
865 Shows CPU time used in various steps (audio/video encode/decode).
866 @item -timelimit @var{duration} (@emph{global})
867 Exit after ffmpeg has been running for @var{duration} seconds.
868 @item -dump (@emph{global})
869 Dump each input packet to stderr.
870 @item -hex (@emph{global})
871 When dumping packets, also dump the payload.
872 @item -re (@emph{input})
873 Read input at native frame rate. Mainly used to simulate a grab device.
874 By default @command{ffmpeg} attempts to read the input(s) as fast as possible.
875 This option will slow down the reading of the input(s) to the native frame rate
876 of the input(s). It is useful for real-time output (e.g. live streaming). If
877 your input(s) is coming from some other live streaming source (through HTTP or
878 UDP for example) the server might already be in real-time, thus the option will
879 likely not be required. On the other hand, this is meaningful if your input(s)
880 is a file you are trying to push in real-time.
882 Loop over the input stream. Currently it works only for image
883 streams. This option is used for automatic FFserver testing.
884 This option is deprecated, use -loop 1.
885 @item -loop_output @var{number_of_times}
886 Repeatedly loop output for formats that support looping such as animated GIF
887 (0 will loop the output infinitely).
888 This option is deprecated, use -loop.
889 @item -vsync @var{parameter}
891 For compatibility reasons old values can be specified as numbers.
892 Newly added values will have to be specified as strings always.
896 Each frame is passed with its timestamp from the demuxer to the muxer.
898 Frames will be duplicated and dropped to achieve exactly the requested
901 Frames are passed through with their timestamp or dropped so as to
902 prevent 2 frames from having the same timestamp.
904 As passthrough but destroys all timestamps, making the muxer generate
905 fresh timestamps based on frame-rate.
907 Chooses between 1 and 2 depending on muxer capabilities. This is the
911 Note that the timestamps may be further modified by the muxer, after this.
912 For example, in the case that the format option @option{avoid_negative_ts}
915 With -map you can select from which stream the timestamps should be
916 taken. You can leave either video or audio unchanged and sync the
917 remaining stream(s) to the unchanged one.
919 @item -async @var{samples_per_second}
920 Audio sync method. "Stretches/squeezes" the audio stream to match the timestamps,
921 the parameter is the maximum samples per second by which the audio is changed.
922 -async 1 is a special case where only the start of the audio stream is corrected
923 without any later correction.
925 Note that the timestamps may be further modified by the muxer, after this.
926 For example, in the case that the format option @option{avoid_negative_ts}
929 This option has been deprecated. Use the @code{aresample} audio filter instead.
932 Do not process input timestamps, but keep their values without trying
933 to sanitize them. In particular, do not remove the initial start time
936 Note that, depending on the @option{vsync} option or on specific muxer
937 processing (e.g. in case the format option @option{avoid_negative_ts}
938 is enabled) the output timestamps may mismatch with the input
939 timestamps even when this option is selected.
941 @item -copytb @var{mode}
942 Specify how to set the encoder timebase when stream copying. @var{mode} is an
943 integer numeric value, and can assume one of the following values:
947 Use the demuxer timebase.
949 The time base is copied to the output encoder from the corresponding input
950 demuxer. This is sometimes required to avoid non monotonically increasing
951 timestamps when copying video streams with variable frame rate.
954 Use the decoder timebase.
956 The time base is copied to the output encoder from the corresponding input
960 Try to make the choice automatically, in order to generate a sane output.
965 @item -shortest (@emph{output})
966 Finish encoding when the shortest input stream ends.
967 @item -dts_delta_threshold
968 Timestamp discontinuity delta threshold.
969 @item -muxdelay @var{seconds} (@emph{input})
970 Set the maximum demux-decode delay.
971 @item -muxpreload @var{seconds} (@emph{input})
972 Set the initial demux-decode delay.
973 @item -streamid @var{output-stream-index}:@var{new-value} (@emph{output})
974 Assign a new stream-id value to an output stream. This option should be
975 specified prior to the output filename to which it applies.
976 For the situation where multiple output files exist, a streamid
977 may be reassigned to a different value.
979 For example, to set the stream 0 PID to 33 and the stream 1 PID to 36 for
980 an output mpegts file:
982 ffmpeg -i infile -streamid 0:33 -streamid 1:36 out.ts
985 @item -bsf[:@var{stream_specifier}] @var{bitstream_filters} (@emph{output,per-stream})
986 Set bitstream filters for matching streams. @var{bitstream_filters} is
987 a comma-separated list of bitstream filters. Use the @code{-bsfs} option
988 to get the list of bitstream filters.
990 ffmpeg -i h264.mp4 -c:v copy -bsf:v h264_mp4toannexb -an out.h264
993 ffmpeg -i file.mov -an -vn -bsf:s mov2textsub -c:s copy -f rawvideo sub.txt
996 @item -tag[:@var{stream_specifier}] @var{codec_tag} (@emph{per-stream})
997 Force a tag/fourcc for matching streams.
999 @item -timecode @var{hh}:@var{mm}:@var{ss}SEP@var{ff}
1000 Specify Timecode for writing. @var{SEP} is ':' for non drop timecode and ';'
1003 ffmpeg -i input.mpg -timecode 01:02:03.04 -r 30000/1001 -s ntsc output.mpg
1006 @anchor{filter_complex_option}
1007 @item -filter_complex @var{filtergraph} (@emph{global})
1008 Define a complex filtergraph, i.e. one with arbitrary number of inputs and/or
1009 outputs. For simple graphs -- those with one input and one output of the same
1010 type -- see the @option{-filter} options. @var{filtergraph} is a description of
1011 the filtergraph, as described in the ``Filtergraph syntax'' section of the
1012 ffmpeg-filters manual.
1014 Input link labels must refer to input streams using the
1015 @code{[file_index:stream_specifier]} syntax (i.e. the same as @option{-map}
1016 uses). If @var{stream_specifier} matches multiple streams, the first one will be
1017 used. An unlabeled input will be connected to the first unused input stream of
1020 Output link labels are referred to with @option{-map}. Unlabeled outputs are
1021 added to the first output file.
1023 Note that with this option it is possible to use only lavfi sources without
1026 For example, to overlay an image over video
1028 ffmpeg -i video.mkv -i image.png -filter_complex '[0:v][1:v]overlay[out]' -map
1031 Here @code{[0:v]} refers to the first video stream in the first input file,
1032 which is linked to the first (main) input of the overlay filter. Similarly the
1033 first video stream in the second input is linked to the second (overlay) input
1036 Assuming there is only one video stream in each input file, we can omit input
1037 labels, so the above is equivalent to
1039 ffmpeg -i video.mkv -i image.png -filter_complex 'overlay[out]' -map
1043 Furthermore we can omit the output label and the single output from the filter
1044 graph will be added to the output file automatically, so we can simply write
1046 ffmpeg -i video.mkv -i image.png -filter_complex 'overlay' out.mkv
1049 To generate 5 seconds of pure red video using lavfi @code{color} source:
1051 ffmpeg -filter_complex 'color=c=red' -t 5 out.mkv
1054 @item -lavfi @var{filtergraph} (@emph{global})
1055 Define a complex filtergraph, i.e. one with arbitrary number of inputs and/or
1056 outputs. Equivalent to @option{-filter_complex}.
1058 @item -filter_complex_script @var{filename} (@emph{global})
1059 This option is similar to @option{-filter_complex}, the only difference is that
1060 its argument is the name of the file from which a complex filtergraph
1061 description is to be read.
1063 @item -override_ffserver (@emph{global})
1064 Overrides the input specifications from ffserver. Using this option you can
1065 map any input stream to ffserver and control many aspects of the encoding from
1066 ffmpeg. Without this option ffmpeg will transmit to ffserver what is requested by
1068 The option is intended for cases where features are needed that cannot be
1069 specified to ffserver but can be to ffmpeg.
1073 As a special exception, you can use a bitmap subtitle stream as input: it
1074 will be converted into a video with the same size as the largest video in
1075 the file, or 720x576 if no video is present. Note that this is an
1076 experimental and temporary solution. It will be removed once libavfilter has
1077 proper support for subtitles.
1079 For example, to hardcode subtitles on top of a DVB-T recording stored in
1080 MPEG-TS format, delaying the subtitles by 1 second:
1082 ffmpeg -i input.ts -filter_complex \
1083 '[#0x2ef] setpts=PTS+1/TB [sub] ; [#0x2d0] [sub] overlay' \
1084 -sn -map '#0x2dc' output.mkv
1086 (0x2d0, 0x2dc and 0x2ef are the MPEG-TS PIDs of respectively the video,
1087 audio and subtitles streams; 0:0, 0:3 and 0:7 would have worked too)
1089 @section Preset files
1090 A preset file contains a sequence of @var{option}=@var{value} pairs,
1091 one for each line, specifying a sequence of options which would be
1092 awkward to specify on the command line. Lines starting with the hash
1093 ('#') character are ignored and are used to provide comments. Check
1094 the @file{presets} directory in the FFmpeg source tree for examples.
1096 Preset files are specified with the @code{vpre}, @code{apre},
1097 @code{spre}, and @code{fpre} options. The @code{fpre} option takes the
1098 filename of the preset instead of a preset name as input and can be
1099 used for any kind of codec. For the @code{vpre}, @code{apre}, and
1100 @code{spre} options, the options specified in a preset file are
1101 applied to the currently selected codec of the same type as the preset
1104 The argument passed to the @code{vpre}, @code{apre}, and @code{spre}
1105 preset options identifies the preset file to use according to the
1108 First ffmpeg searches for a file named @var{arg}.ffpreset in the
1109 directories @file{$FFMPEG_DATADIR} (if set), and @file{$HOME/.ffmpeg}, and in
1110 the datadir defined at configuration time (usually @file{PREFIX/share/ffmpeg})
1111 or in a @file{ffpresets} folder along the executable on win32,
1112 in that order. For example, if the argument is @code{libvpx-1080p}, it will
1113 search for the file @file{libvpx-1080p.ffpreset}.
1115 If no such file is found, then ffmpeg will search for a file named
1116 @var{codec_name}-@var{arg}.ffpreset in the above-mentioned
1117 directories, where @var{codec_name} is the name of the codec to which
1118 the preset file options will be applied. For example, if you select
1119 the video codec with @code{-vcodec libvpx} and use @code{-vpre 1080p},
1120 then it will search for the file @file{libvpx-1080p.ffpreset}.
1128 For streaming at very low bitrate application, use a low frame rate
1129 and a small GOP size. This is especially true for RealVideo where
1130 the Linux player does not seem to be very fast, so it can miss
1131 frames. An example is:
1134 ffmpeg -g 3 -r 3 -t 10 -b:v 50k -s qcif -f rv10 /tmp/b.rm
1138 The parameter 'q' which is displayed while encoding is the current
1139 quantizer. The value 1 indicates that a very good quality could
1140 be achieved. The value 31 indicates the worst quality. If q=31 appears
1141 too often, it means that the encoder cannot compress enough to meet
1142 your bitrate. You must either increase the bitrate, decrease the
1143 frame rate or decrease the frame size.
1146 If your computer is not fast enough, you can speed up the
1147 compression at the expense of the compression ratio. You can use
1148 '-me zero' to speed up motion estimation, and '-g 0' to disable
1149 motion estimation completely (you have only I-frames, which means it
1150 is about as good as JPEG compression).
1153 To have very low audio bitrates, reduce the sampling frequency
1154 (down to 22050 Hz for MPEG audio, 22050 or 11025 for AC-3).
1157 To have a constant quality (but a variable bitrate), use the option
1158 '-qscale n' when 'n' is between 1 (excellent quality) and 31 (worst
1165 @c man begin EXAMPLES
1167 @section Preset files
1169 A preset file contains a sequence of @var{option=value} pairs, one for
1170 each line, specifying a sequence of options which can be specified also on
1171 the command line. Lines starting with the hash ('#') character are ignored and
1172 are used to provide comments. Empty lines are also ignored. Check the
1173 @file{presets} directory in the FFmpeg source tree for examples.
1175 Preset files are specified with the @code{pre} option, this option takes a
1176 preset name as input. FFmpeg searches for a file named @var{preset_name}.avpreset in
1177 the directories @file{$AVCONV_DATADIR} (if set), and @file{$HOME/.ffmpeg}, and in
1178 the data directory defined at configuration time (usually @file{$PREFIX/share/ffmpeg})
1179 in that order. For example, if the argument is @code{libx264-max}, it will
1180 search for the file @file{libx264-max.avpreset}.
1182 @section Video and Audio grabbing
1184 If you specify the input format and device then ffmpeg can grab video
1188 ffmpeg -f oss -i /dev/dsp -f video4linux2 -i /dev/video0 /tmp/out.mpg
1191 Or with an ALSA audio source (mono input, card id 1) instead of OSS:
1193 ffmpeg -f alsa -ac 1 -i hw:1 -f video4linux2 -i /dev/video0 /tmp/out.mpg
1196 Note that you must activate the right video source and channel before
1197 launching ffmpeg with any TV viewer such as
1198 @uref{http://linux.bytesex.org/xawtv/, xawtv} by Gerd Knorr. You also
1199 have to set the audio recording levels correctly with a
1202 @section X11 grabbing
1204 Grab the X11 display with ffmpeg via
1207 ffmpeg -f x11grab -s cif -r 25 -i :0.0 /tmp/out.mpg
1210 0.0 is display.screen number of your X11 server, same as
1211 the DISPLAY environment variable.
1214 ffmpeg -f x11grab -s cif -r 25 -i :0.0+10,20 /tmp/out.mpg
1217 0.0 is display.screen number of your X11 server, same as the DISPLAY environment
1218 variable. 10 is the x-offset and 20 the y-offset for the grabbing.
1220 @section Video and Audio file format conversion
1222 Any supported file format and protocol can serve as input to ffmpeg:
1227 You can use YUV files as input:
1230 ffmpeg -i /tmp/test%d.Y /tmp/out.mpg
1233 It will use the files:
1235 /tmp/test0.Y, /tmp/test0.U, /tmp/test0.V,
1236 /tmp/test1.Y, /tmp/test1.U, /tmp/test1.V, etc...
1239 The Y files use twice the resolution of the U and V files. They are
1240 raw files, without header. They can be generated by all decent video
1241 decoders. You must specify the size of the image with the @option{-s} option
1242 if ffmpeg cannot guess it.
1245 You can input from a raw YUV420P file:
1248 ffmpeg -i /tmp/test.yuv /tmp/out.avi
1251 test.yuv is a file containing raw YUV planar data. Each frame is composed
1252 of the Y plane followed by the U and V planes at half vertical and
1253 horizontal resolution.
1256 You can output to a raw YUV420P file:
1259 ffmpeg -i mydivx.avi hugefile.yuv
1263 You can set several input files and output files:
1266 ffmpeg -i /tmp/a.wav -s 640x480 -i /tmp/a.yuv /tmp/a.mpg
1269 Converts the audio file a.wav and the raw YUV video file a.yuv
1273 You can also do audio and video conversions at the same time:
1276 ffmpeg -i /tmp/a.wav -ar 22050 /tmp/a.mp2
1279 Converts a.wav to MPEG audio at 22050 Hz sample rate.
1282 You can encode to several formats at the same time and define a
1283 mapping from input stream to output streams:
1286 ffmpeg -i /tmp/a.wav -map 0:a -b:a 64k /tmp/a.mp2 -map 0:a -b:a 128k /tmp/b.mp2
1289 Converts a.wav to a.mp2 at 64 kbits and to b.mp2 at 128 kbits. '-map
1290 file:index' specifies which input stream is used for each output
1291 stream, in the order of the definition of output streams.
1294 You can transcode decrypted VOBs:
1297 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
1300 This is a typical DVD ripping example; the input is a VOB file, the
1301 output an AVI file with MPEG-4 video and MP3 audio. Note that in this
1302 command we use B-frames so the MPEG-4 stream is DivX5 compatible, and
1303 GOP size is 300 which means one intra frame every 10 seconds for 29.97fps
1304 input video. Furthermore, the audio stream is MP3-encoded so you need
1305 to enable LAME support by passing @code{--enable-libmp3lame} to configure.
1306 The mapping is particularly useful for DVD transcoding
1307 to get the desired audio language.
1309 NOTE: To see the supported input formats, use @code{ffmpeg -formats}.
1312 You can extract images from a video, or create a video from many images:
1314 For extracting images from a video:
1316 ffmpeg -i foo.avi -r 1 -s WxH -f image2 foo-%03d.jpeg
1319 This will extract one video frame per second from the video and will
1320 output them in files named @file{foo-001.jpeg}, @file{foo-002.jpeg},
1321 etc. Images will be rescaled to fit the new WxH values.
1323 If you want to extract just a limited number of frames, you can use the
1324 above command in combination with the -vframes or -t option, or in
1325 combination with -ss to start extracting from a certain point in time.
1327 For creating a video from many images:
1329 ffmpeg -f image2 -i foo-%03d.jpeg -r 12 -s WxH foo.avi
1332 The syntax @code{foo-%03d.jpeg} specifies to use a decimal number
1333 composed of three digits padded with zeroes to express the sequence
1334 number. It is the same syntax supported by the C printf function, but
1335 only formats accepting a normal integer are suitable.
1337 When importing an image sequence, -i also supports expanding
1338 shell-like wildcard patterns (globbing) internally, by selecting the
1339 image2-specific @code{-pattern_type glob} option.
1341 For example, for creating a video from filenames matching the glob pattern
1344 ffmpeg -f image2 -pattern_type glob -i 'foo-*.jpeg' -r 12 -s WxH foo.avi
1348 You can put many streams of the same type in the output:
1351 ffmpeg -i test1.avi -i test2.avi -map 0:3 -map 0:2 -map 0:1 -map 0:0 -c copy test12.nut
1354 The resulting output file @file{test12.avi} will contain first four streams from
1355 the input file in reverse order.
1358 To force CBR video output:
1360 ffmpeg -i myfile.avi -b 4000k -minrate 4000k -maxrate 4000k -bufsize 1835k out.m2v
1364 The four options lmin, lmax, mblmin and mblmax use 'lambda' units,
1365 but you may use the QP2LAMBDA constant to easily convert from 'q' units:
1367 ffmpeg -i src.ext -lmax 21*QP2LAMBDA dst.ext
1373 @include config.texi
1375 @ifset config-avutil
1378 @ifset config-avcodec
1379 @include codecs.texi
1380 @include bitstream_filters.texi
1382 @ifset config-avformat
1383 @include formats.texi
1384 @include protocols.texi
1386 @ifset config-avdevice
1387 @include devices.texi
1389 @ifset config-swresample
1390 @include resampler.texi
1392 @ifset config-swscale
1393 @include scaler.texi
1395 @ifset config-avfilter
1396 @include filters.texi
1404 @url{ffmpeg.html,ffmpeg}
1406 @ifset config-not-all
1407 @url{ffmpeg-all.html,ffmpeg-all},
1409 @url{ffplay.html,ffplay}, @url{ffprobe.html,ffprobe}, @url{ffserver.html,ffserver},
1410 @url{ffmpeg-utils.html,ffmpeg-utils},
1411 @url{ffmpeg-scaler.html,ffmpeg-scaler},
1412 @url{ffmpeg-resampler.html,ffmpeg-resampler},
1413 @url{ffmpeg-codecs.html,ffmpeg-codecs},
1414 @url{ffmpeg-bitstream-filters.html,ffmpeg-bitstream-filters},
1415 @url{ffmpeg-formats.html,ffmpeg-formats},
1416 @url{ffmpeg-devices.html,ffmpeg-devices},
1417 @url{ffmpeg-protocols.html,ffmpeg-protocols},
1418 @url{ffmpeg-filters.html,ffmpeg-filters}
1425 @ifset config-not-all
1428 ffplay(1), ffprobe(1), ffserver(1),
1429 ffmpeg-utils(1), ffmpeg-scaler(1), ffmpeg-resampler(1),
1430 ffmpeg-codecs(1), ffmpeg-bitstream-filters(1), ffmpeg-formats(1),
1431 ffmpeg-devices(1), ffmpeg-protocols(1), ffmpeg-filters(1)
1434 @include authors.texi
1439 @settitle ffmpeg video converter