ffmpeg.texi 42 KB

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  1. \input texinfo @c -*- texinfo -*-
  2. @settitle ffmpeg Documentation
  3. @titlepage
  4. @center @titlefont{ffmpeg Documentation}
  5. @end titlepage
  6. @top
  7. @contents
  8. @chapter Synopsis
  9. The generic syntax is:
  10. @example
  11. @c man begin SYNOPSIS
  12. ffmpeg [global options] [[infile options][@option{-i} @var{infile}]]... @{[outfile options] @var{outfile}@}...
  13. @c man end
  14. @end example
  15. @chapter Description
  16. @c man begin DESCRIPTION
  17. ffmpeg is a very fast video and audio converter that can also grab from
  18. a live audio/video source. It can also convert between arbitrary sample
  19. rates and resize video on the fly with a high quality polyphase filter.
  20. ffmpeg reads from an arbitrary number of input "files" (which can be regular
  21. files, pipes, network streams, grabbing devices, etc.), specified by the
  22. @code{-i} option, and writes to an arbitrary number of output "files", which are
  23. specified by a plain output filename. Anything found on the command line which
  24. cannot be interpreted as an option is considered to be an output filename.
  25. Each input or output file can in principle contain any number of streams of
  26. different types (video/audio/subtitle/attachment/data). Allowed number and/or
  27. types of streams can be limited by the container format. Selecting, which
  28. streams from which inputs go into output, is done either automatically or with
  29. the @code{-map} option (see the Stream selection chapter).
  30. To refer to input files in options, you must use their indices (0-based). E.g.
  31. the first input file is @code{0}, the second is @code{1} etc. Similarly, streams
  32. within a file are referred to by their indices. E.g. @code{2:3} refers to the
  33. fourth stream in the third input file. See also the Stream specifiers chapter.
  34. As a general rule, options are applied to the next specified
  35. file. Therefore, order is important, and you can have the same
  36. option on the command line multiple times. Each occurrence is
  37. then applied to the next input or output file.
  38. Exceptions from this rule are the global options (e.g. verbosity level),
  39. which should be specified first.
  40. Do not mix input and output files -- first specify all input files, then all
  41. output files. Also do not mix options which belong to different files. All
  42. options apply ONLY to the next input or output file and are reset between files.
  43. @itemize
  44. @item
  45. To set the video bitrate of the output file to 64kbit/s:
  46. @example
  47. ffmpeg -i input.avi -b:v 64k output.avi
  48. @end example
  49. @item
  50. To force the frame rate of the output file to 24 fps:
  51. @example
  52. ffmpeg -i input.avi -r 24 output.avi
  53. @end example
  54. @item
  55. To force the frame rate of the input file (valid for raw formats only)
  56. to 1 fps and the frame rate of the output file to 24 fps:
  57. @example
  58. ffmpeg -r 1 -i input.m2v -r 24 output.avi
  59. @end example
  60. @end itemize
  61. The format option may be needed for raw input files.
  62. @c man end DESCRIPTION
  63. @chapter Stream selection
  64. @c man begin STREAM SELECTION
  65. By default ffmpeg includes only one stream of each type (video, audio, subtitle)
  66. present in the input files and adds them to each output file. It picks the
  67. "best" of each based upon the following criteria; for video it is the stream
  68. with the highest resolution, for audio the stream with the most channels, for
  69. subtitle it's the first subtitle stream. In the case where several streams of
  70. the same type rate equally, the lowest numbered stream is chosen.
  71. You can disable some of those defaults by using @code{-vn/-an/-sn} options. For
  72. full manual control, use the @code{-map} option, which disables the defaults just
  73. described.
  74. @c man end STREAM SELECTION
  75. @chapter Options
  76. @c man begin OPTIONS
  77. @include avtools-common-opts.texi
  78. @section Main options
  79. @table @option
  80. @item -f @var{fmt} (@emph{input/output})
  81. Force input or output file format. The format is normally auto detected for input
  82. files and guessed from file extension for output files, so this option is not
  83. needed in most cases.
  84. @item -i @var{filename} (@emph{input})
  85. input file name
  86. @item -y (@emph{global})
  87. Overwrite output files without asking.
  88. @item -n (@emph{global})
  89. Do not overwrite output files but exit if file exists.
  90. @item -c[:@var{stream_specifier}] @var{codec} (@emph{input/output,per-stream})
  91. @itemx -codec[:@var{stream_specifier}] @var{codec} (@emph{input/output,per-stream})
  92. Select an encoder (when used before an output file) or a decoder (when used
  93. before an input file) for one or more streams. @var{codec} is the name of a
  94. decoder/encoder or a special value @code{copy} (output only) to indicate that
  95. the stream is not to be re-encoded.
  96. For example
  97. @example
  98. ffmpeg -i INPUT -map 0 -c:v libx264 -c:a copy OUTPUT
  99. @end example
  100. encodes all video streams with libx264 and copies all audio streams.
  101. For each stream, the last matching @code{c} option is applied, so
  102. @example
  103. ffmpeg -i INPUT -map 0 -c copy -c:v:1 libx264 -c:a:137 libvorbis OUTPUT
  104. @end example
  105. will copy all the streams except the second video, which will be encoded with
  106. libx264, and the 138th audio, which will be encoded with libvorbis.
  107. @item -t @var{duration} (@emph{output})
  108. Stop writing the output after its duration reaches @var{duration}.
  109. @var{duration} may be a number in seconds, or in @code{hh:mm:ss[.xxx]} form.
  110. @item -fs @var{limit_size} (@emph{output})
  111. Set the file size limit, expressed in bytes.
  112. @item -ss @var{position} (@emph{input/output})
  113. When used as an input option (before @code{-i}), seeks in this input file to
  114. @var{position}. When used as an output option (before an output filename),
  115. decodes but discards input until the timestamps reach @var{position}. This is
  116. slower, but more accurate.
  117. @var{position} may be either in seconds or in @code{hh:mm:ss[.xxx]} form.
  118. @item -itsoffset @var{offset} (@emph{input})
  119. Set the input time offset in seconds.
  120. @code{[-]hh:mm:ss[.xxx]} syntax is also supported.
  121. The offset is added to the timestamps of the input files.
  122. Specifying a positive offset means that the corresponding
  123. streams are delayed by @var{offset} seconds.
  124. @item -timestamp @var{time} (@emph{output})
  125. Set the recording timestamp in the container.
  126. The syntax for @var{time} is:
  127. @example
  128. now|([(YYYY-MM-DD|YYYYMMDD)[T|t| ]]((HH:MM:SS[.m...])|(HHMMSS[.m...]))[Z|z])
  129. @end example
  130. If the value is "now" it takes the current time.
  131. Time is local time unless 'Z' or 'z' is appended, in which case it is
  132. interpreted as UTC.
  133. If the year-month-day part is not specified it takes the current
  134. year-month-day.
  135. @item -metadata[:metadata_specifier] @var{key}=@var{value} (@emph{output,per-metadata})
  136. Set a metadata key/value pair.
  137. An optional @var{metadata_specifier} may be given to set metadata
  138. on streams or chapters. See @code{-map_metadata} documentation for
  139. details.
  140. This option overrides metadata set with @code{-map_metadata}. It is
  141. also possible to delete metadata by using an empty value.
  142. For example, for setting the title in the output file:
  143. @example
  144. ffmpeg -i in.avi -metadata title="my title" out.flv
  145. @end example
  146. To set the language of the first audio stream:
  147. @example
  148. ffmpeg -i INPUT -metadata:s:a:1 language=eng OUTPUT
  149. @end example
  150. @item -target @var{type} (@emph{output})
  151. Specify target file type (@code{vcd}, @code{svcd}, @code{dvd}, @code{dv},
  152. @code{dv50}). @var{type} may be prefixed with @code{pal-}, @code{ntsc-} or
  153. @code{film-} to use the corresponding standard. All the format options
  154. (bitrate, codecs, buffer sizes) are then set automatically. You can just type:
  155. @example
  156. ffmpeg -i myfile.avi -target vcd /tmp/vcd.mpg
  157. @end example
  158. Nevertheless you can specify additional options as long as you know
  159. they do not conflict with the standard, as in:
  160. @example
  161. ffmpeg -i myfile.avi -target vcd -bf 2 /tmp/vcd.mpg
  162. @end example
  163. @item -dframes @var{number} (@emph{output})
  164. Set the number of data frames to record. This is an alias for @code{-frames:d}.
  165. @item -frames[:@var{stream_specifier}] @var{framecount} (@emph{output,per-stream})
  166. Stop writing to the stream after @var{framecount} frames.
  167. @item -q[:@var{stream_specifier}] @var{q} (@emph{output,per-stream})
  168. @itemx -qscale[:@var{stream_specifier}] @var{q} (@emph{output,per-stream})
  169. Use fixed quality scale (VBR). The meaning of @var{q} is
  170. codec-dependent.
  171. @item -filter[:@var{stream_specifier}] @var{filter_graph} (@emph{output,per-stream})
  172. @var{filter_graph} is a description of the filter graph to apply to
  173. the stream. Use @code{-filters} to show all the available filters
  174. (including also sources and sinks).
  175. See also the @option{-filter_complex} option if you want to create filter graphs
  176. with multiple inputs and/or outputs.
  177. @item -pre[:@var{stream_specifier}] @var{preset_name} (@emph{output,per-stream})
  178. Specify the preset for matching stream(s).
  179. @item -stats (@emph{global})
  180. Print encoding progress/statistics. On by default.
  181. @item -debug_ts (@emph{global})
  182. Print timestamp information. It is off by default. This option is
  183. mostly useful for testing and debugging purposes, and the output
  184. format may change from one version to another, so it should not be
  185. employed by portable scripts.
  186. See also the option @code{-fdebug ts}.
  187. @item -attach @var{filename} (@emph{output})
  188. Add an attachment to the output file. This is supported by a few formats
  189. like Matroska for e.g. fonts used in rendering subtitles. Attachments
  190. are implemented as a specific type of stream, so this option will add
  191. a new stream to the file. It is then possible to use per-stream options
  192. on this stream in the usual way. Attachment streams created with this
  193. option will be created after all the other streams (i.e. those created
  194. with @code{-map} or automatic mappings).
  195. Note that for Matroska you also have to set the mimetype metadata tag:
  196. @example
  197. ffmpeg -i INPUT -attach DejaVuSans.ttf -metadata:s:2 mimetype=application/x-truetype-font out.mkv
  198. @end example
  199. (assuming that the attachment stream will be third in the output file).
  200. @item -dump_attachment[:@var{stream_specifier}] @var{filename} (@emph{input,per-stream})
  201. Extract the matching attachment stream into a file named @var{filename}. If
  202. @var{filename} is empty, then the value of the @code{filename} metadata tag
  203. will be used.
  204. E.g. to extract the first attachment to a file named 'out.ttf':
  205. @example
  206. ffmpeg -dump_attachment:t:0 out.ttf INPUT
  207. @end example
  208. To extract all attachments to files determined by the @code{filename} tag:
  209. @example
  210. ffmpeg -dump_attachment:t "" INPUT
  211. @end example
  212. Technical note -- attachments are implemented as codec extradata, so this
  213. option can actually be used to extract extradata from any stream, not just
  214. attachments.
  215. @end table
  216. @section Video Options
  217. @table @option
  218. @item -vframes @var{number} (@emph{output})
  219. Set the number of video frames to record. This is an alias for @code{-frames:v}.
  220. @item -r[:@var{stream_specifier}] @var{fps} (@emph{input/output,per-stream})
  221. Set frame rate (Hz value, fraction or abbreviation), (default = 25). For output
  222. streams implies @code{-vsync cfr}.
  223. @item -s[:@var{stream_specifier}] @var{size} (@emph{input/output,per-stream})
  224. Set frame size. The format is @samp{wxh} (default - same as source).
  225. @item -aspect[:@var{stream_specifier}] @var{aspect} (@emph{output,per-stream})
  226. Set the video display aspect ratio specified by @var{aspect}.
  227. @var{aspect} can be a floating point number string, or a string of the
  228. form @var{num}:@var{den}, where @var{num} and @var{den} are the
  229. numerator and denominator of the aspect ratio. For example "4:3",
  230. "16:9", "1.3333", and "1.7777" are valid argument values.
  231. @item -croptop @var{size}
  232. @item -cropbottom @var{size}
  233. @item -cropleft @var{size}
  234. @item -cropright @var{size}
  235. All the crop options have been removed. Use -vf
  236. crop=width:height:x:y instead.
  237. @item -padtop @var{size}
  238. @item -padbottom @var{size}
  239. @item -padleft @var{size}
  240. @item -padright @var{size}
  241. @item -padcolor @var{hex_color}
  242. All the pad options have been removed. Use -vf
  243. pad=width:height:x:y:color instead.
  244. @item -vn (@emph{output})
  245. Disable video recording.
  246. @item -vcodec @var{codec} (@emph{output})
  247. Set the video codec. This is an alias for @code{-codec:v}.
  248. @item -same_quant
  249. Use same quantizer as source (implies VBR).
  250. Note that this is NOT SAME QUALITY. Do not use this option unless you know you
  251. need it.
  252. @item -pass @var{n}
  253. Select the pass number (1 or 2). It is used to do two-pass
  254. video encoding. The statistics of the video are recorded in the first
  255. pass into a log file (see also the option -passlogfile),
  256. and in the second pass that log file is used to generate the video
  257. at the exact requested bitrate.
  258. On pass 1, you may just deactivate audio and set output to null,
  259. examples for Windows and Unix:
  260. @example
  261. ffmpeg -i foo.mov -c:v libxvid -pass 1 -an -f rawvideo -y NUL
  262. ffmpeg -i foo.mov -c:v libxvid -pass 1 -an -f rawvideo -y /dev/null
  263. @end example
  264. @item -passlogfile @var{prefix} (@emph{global})
  265. Set two-pass log file name prefix to @var{prefix}, the default file name
  266. prefix is ``ffmpeg2pass''. The complete file name will be
  267. @file{PREFIX-N.log}, where N is a number specific to the output
  268. stream
  269. Note that this option is overwritten by a local option of the same name
  270. when using @code{-vcodec libx264}. That option maps to the x264 option stats
  271. which has a different syntax.
  272. @item -vlang @var{code}
  273. Set the ISO 639 language code (3 letters) of the current video stream.
  274. @item -vf @var{filter_graph} (@emph{output})
  275. @var{filter_graph} is a description of the filter graph to apply to
  276. the input video.
  277. Use the option "-filters" to show all the available filters (including
  278. also sources and sinks). This is an alias for @code{-filter:v}.
  279. @end table
  280. @section Advanced Video Options
  281. @table @option
  282. @item -pix_fmt[:@var{stream_specifier}] @var{format} (@emph{input/output,per-stream})
  283. Set pixel format. Use @code{-pix_fmts} to show all the supported
  284. pixel formats.
  285. If the selected pixel format can not be selected, ffmpeg will print a
  286. warning and select the best pixel format supported by the encoder.
  287. If @var{pix_fmt} is prefixed by a @code{+}, ffmpeg will exit with an error
  288. if the requested pixel format can not be selected, and automatic conversions
  289. inside filter graphs are disabled.
  290. If @var{pix_fmt} is a single @code{+}, ffmpeg selects the same pixel format
  291. as the input (or graph output) and automatic conversions are disabled.
  292. @item -sws_flags @var{flags} (@emph{input/output})
  293. Set SwScaler flags.
  294. @item -vdt @var{n}
  295. Discard threshold.
  296. @item -rc_override[:@var{stream_specifier}] @var{override} (@emph{output,per-stream})
  297. Rate control override for specific intervals, formatted as "int,int,int"
  298. list separated with slashes. Two first values are the beginning and
  299. end frame numbers, last one is quantizer to use if positive, or quality
  300. factor if negative.
  301. @item -deinterlace
  302. Deinterlace pictures.
  303. This option is deprecated since the deinterlacing is very low quality.
  304. Use the yadif filter with @code{-filter:v yadif}.
  305. @item -ilme
  306. Force interlacing support in encoder (MPEG-2 and MPEG-4 only).
  307. Use this option if your input file is interlaced and you want
  308. to keep the interlaced format for minimum losses.
  309. The alternative is to deinterlace the input stream with
  310. @option{-deinterlace}, but deinterlacing introduces losses.
  311. @item -psnr
  312. Calculate PSNR of compressed frames.
  313. @item -vstats
  314. Dump video coding statistics to @file{vstats_HHMMSS.log}.
  315. @item -vstats_file @var{file}
  316. Dump video coding statistics to @var{file}.
  317. @item -top[:@var{stream_specifier}] @var{n} (@emph{output,per-stream})
  318. top=1/bottom=0/auto=-1 field first
  319. @item -dc @var{precision}
  320. Intra_dc_precision.
  321. @item -vtag @var{fourcc/tag} (@emph{output})
  322. Force video tag/fourcc. This is an alias for @code{-tag:v}.
  323. @item -qphist (@emph{global})
  324. Show QP histogram
  325. @item -vbsf @var{bitstream_filter}
  326. Deprecated see -bsf
  327. @item -force_key_frames[:@var{stream_specifier}] @var{time}[,@var{time}...] (@emph{output,per-stream})
  328. Force key frames at the specified timestamps, more precisely at the first
  329. frames after each specified time.
  330. This option can be useful to ensure that a seek point is present at a
  331. chapter mark or any other designated place in the output file.
  332. The timestamps must be specified in ascending order.
  333. @item -copyinkf[:@var{stream_specifier}] (@emph{output,per-stream})
  334. When doing stream copy, copy also non-key frames found at the
  335. beginning.
  336. @end table
  337. @section Audio Options
  338. @table @option
  339. @item -aframes @var{number} (@emph{output})
  340. Set the number of audio frames to record. This is an alias for @code{-frames:a}.
  341. @item -ar[:@var{stream_specifier}] @var{freq} (@emph{input/output,per-stream})
  342. Set the audio sampling frequency. For output streams it is set by
  343. default to the frequency of the corresponding input stream. For input
  344. streams this option only makes sense for audio grabbing devices and raw
  345. demuxers and is mapped to the corresponding demuxer options.
  346. @item -aq @var{q} (@emph{output})
  347. Set the audio quality (codec-specific, VBR). This is an alias for -q:a.
  348. @item -ac[:@var{stream_specifier}] @var{channels} (@emph{input/output,per-stream})
  349. Set the number of audio channels. For output streams it is set by
  350. default to the number of input audio channels. For input streams
  351. this option only makes sense for audio grabbing devices and raw demuxers
  352. and is mapped to the corresponding demuxer options.
  353. @item -an (@emph{output})
  354. Disable audio recording.
  355. @item -acodec @var{codec} (@emph{input/output})
  356. Set the audio codec. This is an alias for @code{-codec:a}.
  357. @item -sample_fmt[:@var{stream_specifier}] @var{sample_fmt} (@emph{output,per-stream})
  358. Set the audio sample format. Use @code{-sample_fmts} to get a list
  359. of supported sample formats.
  360. @item -af @var{filter_graph} (@emph{output})
  361. @var{filter_graph} is a description of the filter graph to apply to
  362. the input audio.
  363. Use the option "-filters" to show all the available filters (including
  364. also sources and sinks). This is an alias for @code{-filter:a}.
  365. @end table
  366. @section Advanced Audio options:
  367. @table @option
  368. @item -atag @var{fourcc/tag} (@emph{output})
  369. Force audio tag/fourcc. This is an alias for @code{-tag:a}.
  370. @item -absf @var{bitstream_filter}
  371. Deprecated, see -bsf
  372. @end table
  373. @section Subtitle options:
  374. @table @option
  375. @item -slang @var{code}
  376. Set the ISO 639 language code (3 letters) of the current subtitle stream.
  377. @item -scodec @var{codec} (@emph{input/output})
  378. Set the subtitle codec. This is an alias for @code{-codec:s}.
  379. @item -sn (@emph{output})
  380. Disable subtitle recording.
  381. @item -sbsf @var{bitstream_filter}
  382. Deprecated, see -bsf
  383. @end table
  384. @section Audio/Video grab options
  385. @table @option
  386. @item -isync (@emph{global})
  387. Synchronize read on input.
  388. @end table
  389. @section Advanced options
  390. @table @option
  391. @item -map [-]@var{input_file_id}[:@var{stream_specifier}][,@var{sync_file_id}[:@var{stream_specifier}]] | @var{[linklabel]} (@emph{output})
  392. Designate one or more input streams as a source for the output file. Each input
  393. stream is identified by the input file index @var{input_file_id} and
  394. the input stream index @var{input_stream_id} within the input
  395. file. Both indices start at 0. If specified,
  396. @var{sync_file_id}:@var{stream_specifier} sets which input stream
  397. is used as a presentation sync reference.
  398. The first @code{-map} option on the command line specifies the
  399. source for output stream 0, the second @code{-map} option specifies
  400. the source for output stream 1, etc.
  401. A @code{-} character before the stream identifier creates a "negative" mapping.
  402. It disables matching streams from already created mappings.
  403. An alternative @var{[linklabel]} form will map outputs from complex filter
  404. graphs (see the @option{-filter_complex} option) to the output file.
  405. @var{linklabel} must correspond to a defined output link label in the graph.
  406. For example, to map ALL streams from the first input file to output
  407. @example
  408. ffmpeg -i INPUT -map 0 output
  409. @end example
  410. For example, if you have two audio streams in the first input file,
  411. these streams are identified by "0:0" and "0:1". You can use
  412. @code{-map} to select which streams to place in an output file. For
  413. example:
  414. @example
  415. ffmpeg -i INPUT -map 0:1 out.wav
  416. @end example
  417. will map the input stream in @file{INPUT} identified by "0:1" to
  418. the (single) output stream in @file{out.wav}.
  419. For example, to select the stream with index 2 from input file
  420. @file{a.mov} (specified by the identifier "0:2"), and stream with
  421. index 6 from input @file{b.mov} (specified by the identifier "1:6"),
  422. and copy them to the output file @file{out.mov}:
  423. @example
  424. ffmpeg -i a.mov -i b.mov -c copy -map 0:2 -map 1:6 out.mov
  425. @end example
  426. To select all video and the third audio stream from an input file:
  427. @example
  428. ffmpeg -i INPUT -map 0:v -map 0:a:2 OUTPUT
  429. @end example
  430. To map all the streams except the second audio, use negative mappings
  431. @example
  432. ffmpeg -i INPUT -map 0 -map -0:a:1 OUTPUT
  433. @end example
  434. Note that using this option disables the default mappings for this output file.
  435. @item -map_channel [@var{input_file_id}.@var{stream_specifier}.@var{channel_id}|-1][:@var{output_file_id}.@var{stream_specifier}]
  436. Map an audio channel from a given input to an output. If
  437. @var{output_file_id}.@var{stream_specifier} is not set, the audio channel will
  438. be mapped on all the audio streams.
  439. Using "-1" instead of
  440. @var{input_file_id}.@var{stream_specifier}.@var{channel_id} will map a muted
  441. channel.
  442. For example, assuming @var{INPUT} is a stereo audio file, you can switch the
  443. two audio channels with the following command:
  444. @example
  445. ffmpeg -i INPUT -map_channel 0.0.1 -map_channel 0.0.0 OUTPUT
  446. @end example
  447. If you want to mute the first channel and keep the second:
  448. @example
  449. ffmpeg -i INPUT -map_channel -1 -map_channel 0.0.1 OUTPUT
  450. @end example
  451. The order of the "-map_channel" option specifies the order of the channels in
  452. the output stream. The output channel layout is guessed from the number of
  453. channels mapped (mono if one "-map_channel", stereo if two, etc.). Using "-ac"
  454. in combination of "-map_channel" makes the channel gain levels to be updated if
  455. input and output channel layouts don't match (for instance two "-map_channel"
  456. options and "-ac 6").
  457. You can also extract each channel of an input to specific outputs; the following
  458. command extracts two channels of the @var{INPUT} audio stream (file 0, stream 0)
  459. to the respective @var{OUTPUT_CH0} and @var{OUTPUT_CH1} outputs:
  460. @example
  461. ffmpeg -i INPUT -map_channel 0.0.0 OUTPUT_CH0 -map_channel 0.0.1 OUTPUT_CH1
  462. @end example
  463. The following example splits the channels of a stereo input into two separate
  464. streams, which are put into the same output file:
  465. @example
  466. 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
  467. @end example
  468. Note that currently each output stream can only contain channels from a single
  469. input stream; you can't for example use "-map_channel" to pick multiple input
  470. audio channels contained in different streams (from the same or different files)
  471. and merge them into a single output stream. It is therefore not currently
  472. possible, for example, to turn two separate mono streams into a single stereo
  473. stream. However splitting a stereo stream into two single channel mono streams
  474. is possible.
  475. If you need this feature, a possible workaround is to use the @emph{amerge}
  476. filter. For example, if you need to merge a media (here @file{input.mkv}) with 2
  477. mono audio streams into one single stereo channel audio stream (and keep the
  478. video stream), you can use the following command:
  479. @example
  480. ffmpeg -i input.mkv -f lavfi -i "
  481. amovie=input.mkv:si=1 [a1];
  482. amovie=input.mkv:si=2 [a2];
  483. [a1][a2] amerge" -c:a pcm_s16le -c:v copy output.mkv
  484. @end example
  485. @item -map_metadata[:@var{metadata_spec_out}] @var{infile}[:@var{metadata_spec_in}] (@emph{output,per-metadata})
  486. Set metadata information of the next output file from @var{infile}. Note that
  487. those are file indices (zero-based), not filenames.
  488. Optional @var{metadata_spec_in/out} parameters specify, which metadata to copy.
  489. A metadata specifier can have the following forms:
  490. @table @option
  491. @item @var{g}
  492. global metadata, i.e. metadata that applies to the whole file
  493. @item @var{s}[:@var{stream_spec}]
  494. per-stream metadata. @var{stream_spec} is a stream specifier as described
  495. in the @ref{Stream specifiers} chapter. In an input metadata specifier, the first
  496. matching stream is copied from. In an output metadata specifier, all matching
  497. streams are copied to.
  498. @item @var{c}:@var{chapter_index}
  499. per-chapter metadata. @var{chapter_index} is the zero-based chapter index.
  500. @item @var{p}:@var{program_index}
  501. per-program metadata. @var{program_index} is the zero-based program index.
  502. @end table
  503. If metadata specifier is omitted, it defaults to global.
  504. By default, global metadata is copied from the first input file,
  505. per-stream and per-chapter metadata is copied along with streams/chapters. These
  506. default mappings are disabled by creating any mapping of the relevant type. A negative
  507. file index can be used to create a dummy mapping that just disables automatic copying.
  508. For example to copy metadata from the first stream of the input file to global metadata
  509. of the output file:
  510. @example
  511. ffmpeg -i in.ogg -map_metadata 0:s:0 out.mp3
  512. @end example
  513. To do the reverse, i.e. copy global metadata to all audio streams:
  514. @example
  515. ffmpeg -i in.mkv -map_metadata:s:a 0:g out.mkv
  516. @end example
  517. Note that simple @code{0} would work as well in this example, since global
  518. metadata is assumed by default.
  519. @item -map_chapters @var{input_file_index} (@emph{output})
  520. Copy chapters from input file with index @var{input_file_index} to the next
  521. output file. If no chapter mapping is specified, then chapters are copied from
  522. the first input file with at least one chapter. Use a negative file index to
  523. disable any chapter copying.
  524. @item -debug @var{category}
  525. Print specific debug info.
  526. @var{category} is a number or a string containing one of the following values:
  527. @table @samp
  528. @item bitstream
  529. @item buffers
  530. picture buffer allocations
  531. @item bugs
  532. @item dct_coeff
  533. @item er
  534. error recognition
  535. @item mb_type
  536. macroblock (MB) type
  537. @item mmco
  538. memory management control operations (H.264)
  539. @item mv
  540. motion vector
  541. @item pict
  542. picture info
  543. @item pts
  544. @item qp
  545. per-block quantization parameter (QP)
  546. @item rc
  547. rate control
  548. @item skip
  549. @item startcode
  550. @item thread_ops
  551. threading operations
  552. @item vis_mb_type
  553. visualize block types
  554. @item vis_qp
  555. visualize quantization parameter (QP), lower QP are tinted greener
  556. @end table
  557. @item -benchmark (@emph{global})
  558. Show benchmarking information at the end of an encode.
  559. Shows CPU time used and maximum memory consumption.
  560. Maximum memory consumption is not supported on all systems,
  561. it will usually display as 0 if not supported.
  562. @item -benchmark_all (@emph{global})
  563. Show benchmarking information during the encode.
  564. Shows CPU time used in various steps (audio/video encode/decode).
  565. @item -timelimit @var{duration} (@emph{global})
  566. Exit after ffmpeg has been running for @var{duration} seconds.
  567. @item -dump (@emph{global})
  568. Dump each input packet to stderr.
  569. @item -hex (@emph{global})
  570. When dumping packets, also dump the payload.
  571. @item -re (@emph{input})
  572. Read input at native frame rate. Mainly used to simulate a grab device.
  573. @item -loop_input
  574. Loop over the input stream. Currently it works only for image
  575. streams. This option is used for automatic FFserver testing.
  576. This option is deprecated, use -loop 1.
  577. @item -loop_output @var{number_of_times}
  578. Repeatedly loop output for formats that support looping such as animated GIF
  579. (0 will loop the output infinitely).
  580. This option is deprecated, use -loop.
  581. @item -vsync @var{parameter}
  582. Video sync method.
  583. For compatibility reasons old values can be specified as numbers.
  584. Newly added values will have to be specified as strings always.
  585. @table @option
  586. @item 0, passthrough
  587. Each frame is passed with its timestamp from the demuxer to the muxer.
  588. @item 1, cfr
  589. Frames will be duplicated and dropped to achieve exactly the requested
  590. constant framerate.
  591. @item 2, vfr
  592. Frames are passed through with their timestamp or dropped so as to
  593. prevent 2 frames from having the same timestamp.
  594. @item drop
  595. As passthrough but destroys all timestamps, making the muxer generate
  596. fresh timestamps based on frame-rate.
  597. @item -1, auto
  598. Chooses between 1 and 2 depending on muxer capabilities. This is the
  599. default method.
  600. @end table
  601. With -map you can select from which stream the timestamps should be
  602. taken. You can leave either video or audio unchanged and sync the
  603. remaining stream(s) to the unchanged one.
  604. @item -async @var{samples_per_second}
  605. Audio sync method. "Stretches/squeezes" the audio stream to match the timestamps,
  606. the parameter is the maximum samples per second by which the audio is changed.
  607. -async 1 is a special case where only the start of the audio stream is corrected
  608. without any later correction.
  609. This option has been deprecated. Use the @code{asyncts} audio filter instead.
  610. @item -copyts
  611. Copy timestamps from input to output.
  612. @item -copytb @var{mode}
  613. Specify how to set the encoder timebase when stream copying. @var{mode} is an
  614. integer numeric value, and can assume one of the following values:
  615. @table @option
  616. @item 1
  617. Use the demuxer timebase.
  618. The time base is copied to the output encoder from the corresponding input
  619. demuxer. This is sometimes required to avoid non monotonically increasing
  620. timestamps when copying video streams with variable frame rate.
  621. @item 0
  622. Use the decoder timebase.
  623. The time base is copied to the output encoder from the corresponding input
  624. decoder.
  625. @item -1
  626. Try to make the choice automatically, in order to generate a sane output.
  627. @end table
  628. Default value is -1.
  629. @item -shortest
  630. Finish encoding when the shortest input stream ends.
  631. @item -dts_delta_threshold
  632. Timestamp discontinuity delta threshold.
  633. @item -muxdelay @var{seconds} (@emph{input})
  634. Set the maximum demux-decode delay.
  635. @item -muxpreload @var{seconds} (@emph{input})
  636. Set the initial demux-decode delay.
  637. @item -streamid @var{output-stream-index}:@var{new-value} (@emph{output})
  638. Assign a new stream-id value to an output stream. This option should be
  639. specified prior to the output filename to which it applies.
  640. For the situation where multiple output files exist, a streamid
  641. may be reassigned to a different value.
  642. For example, to set the stream 0 PID to 33 and the stream 1 PID to 36 for
  643. an output mpegts file:
  644. @example
  645. ffmpeg -i infile -streamid 0:33 -streamid 1:36 out.ts
  646. @end example
  647. @item -bsf[:@var{stream_specifier}] @var{bitstream_filters} (@emph{output,per-stream})
  648. Set bitstream filters for matching streams. @var{bistream_filters} is
  649. a comma-separated list of bitstream filters. Use the @code{-bsfs} option
  650. to get the list of bitstream filters.
  651. @example
  652. ffmpeg -i h264.mp4 -c:v copy -bsf:v h264_mp4toannexb -an out.h264
  653. @end example
  654. @example
  655. ffmpeg -i file.mov -an -vn -bsf:s mov2textsub -c:s copy -f rawvideo sub.txt
  656. @end example
  657. @item -tag[:@var{stream_specifier}] @var{codec_tag} (@emph{per-stream})
  658. Force a tag/fourcc for matching streams.
  659. @item -timecode @var{hh}:@var{mm}:@var{ss}SEP@var{ff}
  660. Specify Timecode for writing. @var{SEP} is ':' for non drop timecode and ';'
  661. (or '.') for drop.
  662. @example
  663. ffmpeg -i input.mpg -timecode 01:02:03.04 -r 30000/1001 -s ntsc output.mpg
  664. @end example
  665. @item -filter_complex @var{filtergraph} (@emph{global})
  666. Define a complex filter graph, i.e. one with arbitrary number of inputs and/or
  667. outputs. For simple graphs -- those with one input and one output of the same
  668. type -- see the @option{-filter} options. @var{filtergraph} is a description of
  669. the filter graph, as described in @ref{Filtergraph syntax}.
  670. Input link labels must refer to input streams using the
  671. @code{[file_index:stream_specifier]} syntax (i.e. the same as @option{-map}
  672. uses). If @var{stream_specifier} matches multiple streams, the first one will be
  673. used. An unlabeled input will be connected to the first unused input stream of
  674. the matching type.
  675. Output link labels are referred to with @option{-map}. Unlabeled outputs are
  676. added to the first output file.
  677. For example, to overlay an image over video
  678. @example
  679. ffmpeg -i video.mkv -i image.png -filter_complex '[0:v][1:v]overlay[out]' -map
  680. '[out]' out.mkv
  681. @end example
  682. Here @code{[0:v]} refers to the first video stream in the first input file,
  683. which is linked to the first (main) input of the overlay filter. Similarly the
  684. first video stream in the second input is linked to the second (overlay) input
  685. of overlay.
  686. Assuming there is only one video stream in each input file, we can omit input
  687. labels, so the above is equivalent to
  688. @example
  689. ffmpeg -i video.mkv -i image.png -filter_complex 'overlay[out]' -map
  690. '[out]' out.mkv
  691. @end example
  692. Furthermore we can omit the output label and the single output from the filter
  693. graph will be added to the output file automatically, so we can simply write
  694. @example
  695. ffmpeg -i video.mkv -i image.png -filter_complex 'overlay' out.mkv
  696. @end example
  697. @end table
  698. @section Preset files
  699. A preset file contains a sequence of @var{option}=@var{value} pairs,
  700. one for each line, specifying a sequence of options which would be
  701. awkward to specify on the command line. Lines starting with the hash
  702. ('#') character are ignored and are used to provide comments. Check
  703. the @file{presets} directory in the FFmpeg source tree for examples.
  704. Preset files are specified with the @code{vpre}, @code{apre},
  705. @code{spre}, and @code{fpre} options. The @code{fpre} option takes the
  706. filename of the preset instead of a preset name as input and can be
  707. used for any kind of codec. For the @code{vpre}, @code{apre}, and
  708. @code{spre} options, the options specified in a preset file are
  709. applied to the currently selected codec of the same type as the preset
  710. option.
  711. The argument passed to the @code{vpre}, @code{apre}, and @code{spre}
  712. preset options identifies the preset file to use according to the
  713. following rules:
  714. First ffmpeg searches for a file named @var{arg}.ffpreset in the
  715. directories @file{$FFMPEG_DATADIR} (if set), and @file{$HOME/.ffmpeg}, and in
  716. the datadir defined at configuration time (usually @file{PREFIX/share/ffmpeg})
  717. or in a @file{ffpresets} folder along the executable on win32,
  718. in that order. For example, if the argument is @code{libx264-max}, it will
  719. search for the file @file{libx264-max.ffpreset}.
  720. If no such file is found, then ffmpeg will search for a file named
  721. @var{codec_name}-@var{arg}.ffpreset in the above-mentioned
  722. directories, where @var{codec_name} is the name of the codec to which
  723. the preset file options will be applied. For example, if you select
  724. the video codec with @code{-vcodec libx264} and use @code{-vpre max},
  725. then it will search for the file @file{libx264-max.ffpreset}.
  726. @c man end OPTIONS
  727. @chapter Tips
  728. @c man begin TIPS
  729. @itemize
  730. @item
  731. For streaming at very low bitrate application, use a low frame rate
  732. and a small GOP size. This is especially true for RealVideo where
  733. the Linux player does not seem to be very fast, so it can miss
  734. frames. An example is:
  735. @example
  736. ffmpeg -g 3 -r 3 -t 10 -b:v 50k -s qcif -f rv10 /tmp/b.rm
  737. @end example
  738. @item
  739. The parameter 'q' which is displayed while encoding is the current
  740. quantizer. The value 1 indicates that a very good quality could
  741. be achieved. The value 31 indicates the worst quality. If q=31 appears
  742. too often, it means that the encoder cannot compress enough to meet
  743. your bitrate. You must either increase the bitrate, decrease the
  744. frame rate or decrease the frame size.
  745. @item
  746. If your computer is not fast enough, you can speed up the
  747. compression at the expense of the compression ratio. You can use
  748. '-me zero' to speed up motion estimation, and '-g 0' to disable
  749. motion estimation completely (you have only I-frames, which means it
  750. is about as good as JPEG compression).
  751. @item
  752. To have very low audio bitrates, reduce the sampling frequency
  753. (down to 22050 Hz for MPEG audio, 22050 or 11025 for AC-3).
  754. @item
  755. To have a constant quality (but a variable bitrate), use the option
  756. '-qscale n' when 'n' is between 1 (excellent quality) and 31 (worst
  757. quality).
  758. @end itemize
  759. @c man end TIPS
  760. @chapter Examples
  761. @c man begin EXAMPLES
  762. @section Preset files
  763. A preset file contains a sequence of @var{option=value} pairs, one for
  764. each line, specifying a sequence of options which can be specified also on
  765. the command line. Lines starting with the hash ('#') character are ignored and
  766. are used to provide comments. Empty lines are also ignored. Check the
  767. @file{presets} directory in the FFmpeg source tree for examples.
  768. Preset files are specified with the @code{pre} option, this option takes a
  769. preset name as input. FFmpeg searches for a file named @var{preset_name}.avpreset in
  770. the directories @file{$AVCONV_DATADIR} (if set), and @file{$HOME/.ffmpeg}, and in
  771. the data directory defined at configuration time (usually @file{$PREFIX/share/ffmpeg})
  772. in that order. For example, if the argument is @code{libx264-max}, it will
  773. search for the file @file{libx264-max.avpreset}.
  774. @section Video and Audio grabbing
  775. If you specify the input format and device then ffmpeg can grab video
  776. and audio directly.
  777. @example
  778. ffmpeg -f oss -i /dev/dsp -f video4linux2 -i /dev/video0 /tmp/out.mpg
  779. @end example
  780. Or with an ALSA audio source (mono input, card id 1) instead of OSS:
  781. @example
  782. ffmpeg -f alsa -ac 1 -i hw:1 -f video4linux2 -i /dev/video0 /tmp/out.mpg
  783. @end example
  784. Note that you must activate the right video source and channel before
  785. launching ffmpeg with any TV viewer such as
  786. @uref{http://linux.bytesex.org/xawtv/, xawtv} by Gerd Knorr. You also
  787. have to set the audio recording levels correctly with a
  788. standard mixer.
  789. @section X11 grabbing
  790. Grab the X11 display with ffmpeg via
  791. @example
  792. ffmpeg -f x11grab -s cif -r 25 -i :0.0 /tmp/out.mpg
  793. @end example
  794. 0.0 is display.screen number of your X11 server, same as
  795. the DISPLAY environment variable.
  796. @example
  797. ffmpeg -f x11grab -s cif -r 25 -i :0.0+10,20 /tmp/out.mpg
  798. @end example
  799. 0.0 is display.screen number of your X11 server, same as the DISPLAY environment
  800. variable. 10 is the x-offset and 20 the y-offset for the grabbing.
  801. @section Video and Audio file format conversion
  802. Any supported file format and protocol can serve as input to ffmpeg:
  803. Examples:
  804. @itemize
  805. @item
  806. You can use YUV files as input:
  807. @example
  808. ffmpeg -i /tmp/test%d.Y /tmp/out.mpg
  809. @end example
  810. It will use the files:
  811. @example
  812. /tmp/test0.Y, /tmp/test0.U, /tmp/test0.V,
  813. /tmp/test1.Y, /tmp/test1.U, /tmp/test1.V, etc...
  814. @end example
  815. The Y files use twice the resolution of the U and V files. They are
  816. raw files, without header. They can be generated by all decent video
  817. decoders. You must specify the size of the image with the @option{-s} option
  818. if ffmpeg cannot guess it.
  819. @item
  820. You can input from a raw YUV420P file:
  821. @example
  822. ffmpeg -i /tmp/test.yuv /tmp/out.avi
  823. @end example
  824. test.yuv is a file containing raw YUV planar data. Each frame is composed
  825. of the Y plane followed by the U and V planes at half vertical and
  826. horizontal resolution.
  827. @item
  828. You can output to a raw YUV420P file:
  829. @example
  830. ffmpeg -i mydivx.avi hugefile.yuv
  831. @end example
  832. @item
  833. You can set several input files and output files:
  834. @example
  835. ffmpeg -i /tmp/a.wav -s 640x480 -i /tmp/a.yuv /tmp/a.mpg
  836. @end example
  837. Converts the audio file a.wav and the raw YUV video file a.yuv
  838. to MPEG file a.mpg.
  839. @item
  840. You can also do audio and video conversions at the same time:
  841. @example
  842. ffmpeg -i /tmp/a.wav -ar 22050 /tmp/a.mp2
  843. @end example
  844. Converts a.wav to MPEG audio at 22050 Hz sample rate.
  845. @item
  846. You can encode to several formats at the same time and define a
  847. mapping from input stream to output streams:
  848. @example
  849. ffmpeg -i /tmp/a.wav -map 0:a -b:a 64k /tmp/a.mp2 -map 0:a -b:a 128k /tmp/b.mp2
  850. @end example
  851. Converts a.wav to a.mp2 at 64 kbits and to b.mp2 at 128 kbits. '-map
  852. file:index' specifies which input stream is used for each output
  853. stream, in the order of the definition of output streams.
  854. @item
  855. You can transcode decrypted VOBs:
  856. @example
  857. 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
  858. @end example
  859. This is a typical DVD ripping example; the input is a VOB file, the
  860. output an AVI file with MPEG-4 video and MP3 audio. Note that in this
  861. command we use B-frames so the MPEG-4 stream is DivX5 compatible, and
  862. GOP size is 300 which means one intra frame every 10 seconds for 29.97fps
  863. input video. Furthermore, the audio stream is MP3-encoded so you need
  864. to enable LAME support by passing @code{--enable-libmp3lame} to configure.
  865. The mapping is particularly useful for DVD transcoding
  866. to get the desired audio language.
  867. NOTE: To see the supported input formats, use @code{ffmpeg -formats}.
  868. @item
  869. You can extract images from a video, or create a video from many images:
  870. For extracting images from a video:
  871. @example
  872. ffmpeg -i foo.avi -r 1 -s WxH -f image2 foo-%03d.jpeg
  873. @end example
  874. This will extract one video frame per second from the video and will
  875. output them in files named @file{foo-001.jpeg}, @file{foo-002.jpeg},
  876. etc. Images will be rescaled to fit the new WxH values.
  877. If you want to extract just a limited number of frames, you can use the
  878. above command in combination with the -vframes or -t option, or in
  879. combination with -ss to start extracting from a certain point in time.
  880. For creating a video from many images:
  881. @example
  882. ffmpeg -f image2 -i foo-%03d.jpeg -r 12 -s WxH foo.avi
  883. @end example
  884. The syntax @code{foo-%03d.jpeg} specifies to use a decimal number
  885. composed of three digits padded with zeroes to express the sequence
  886. number. It is the same syntax supported by the C printf function, but
  887. only formats accepting a normal integer are suitable.
  888. When importing an image sequence, -i also supports expanding shell-like
  889. wildcard patterns (globbing) internally. To lower the chance of interfering
  890. with your actual file names and the shell's glob expansion, you are required
  891. to activate glob meta characters by prefixing them with a single @code{%}
  892. character, like in @code{foo-%*.jpeg}, @code{foo-%?%?%?.jpeg} or
  893. @code{foo-00%[234%]%*.jpeg}.
  894. If your filename actually contains a character sequence of a @code{%} character
  895. followed by a glob character, you must double the @code{%} character to escape
  896. it. Imagine your files begin with @code{%?-foo-}, then you could use a glob
  897. pattern like @code{%%?-foo-%*.jpeg}. For input patterns that could be both a
  898. printf or a glob pattern, ffmpeg will assume it is a glob pattern.
  899. @item
  900. You can put many streams of the same type in the output:
  901. @example
  902. ffmpeg -i test1.avi -i test2.avi -map 0.3 -map 0.2 -map 0.1 -map 0.0 -c copy test12.nut
  903. @end example
  904. The resulting output file @file{test12.avi} will contain first four streams from
  905. the input file in reverse order.
  906. @item
  907. To force CBR video output:
  908. @example
  909. ffmpeg -i myfile.avi -b 4000k -minrate 4000k -maxrate 4000k -bufsize 1835k out.m2v
  910. @end example
  911. @item
  912. The four options lmin, lmax, mblmin and mblmax use 'lambda' units,
  913. but you may use the QP2LAMBDA constant to easily convert from 'q' units:
  914. @example
  915. ffmpeg -i src.ext -lmax 21*QP2LAMBDA dst.ext
  916. @end example
  917. @end itemize
  918. @c man end EXAMPLES
  919. @include syntax.texi
  920. @include eval.texi
  921. @include decoders.texi
  922. @include encoders.texi
  923. @include demuxers.texi
  924. @include muxers.texi
  925. @include indevs.texi
  926. @include outdevs.texi
  927. @include protocols.texi
  928. @include bitstream_filters.texi
  929. @include filters.texi
  930. @include metadata.texi
  931. @ignore
  932. @setfilename ffmpeg
  933. @settitle ffmpeg video converter
  934. @c man begin SEEALSO
  935. ffplay(1), ffprobe(1), ffserver(1) and the FFmpeg HTML documentation
  936. @c man end
  937. @c man begin AUTHORS
  938. See git history
  939. @c man end
  940. @end ignore
  941. @bye