# X264参考手册

x264 [options] -o outfile infile

ffmpeg [options] [[infile options] -i infile]... {[outfile options] outfile}…

## 输入

x264.exe --output NUL C:\input.avs
x264 --output /dev/null ~/input.y4m


x264.exe --output NUL --fps 25 --input-res 1280x720 D:\input.yuv
x264 --output /dev/null --fps 30000/1001 --input-res 640x480 ~/input.yuv


## 预设值Presets

### profile

Limit the profile of the output stream. If you specify a profile, it overrides all other settings, so if you use it, you will be guaranteed a compatible stream. If you set this option, you cannot use lossless encoding (--qp 0 or --crf 0).

You should set this if you know your playback device only supports a certain profile. Most decoders support High profile, so there's no need to set this.

Values available: baseline, main, high, high10, high422, high444.

### preset

Change options to trade off compression efficiency against encoding speed. If you specify a preset, the changes it makes will be applied before all other parameters are applied.

You should generally set this option to the slowest you can bear.

Values available: ultrafast, superfast, veryfast, faster, fast, medium, slow, slower, veryslow, placebo.

### tune

Tune options to further optimize them for your input content. If you specify a tuning, the changes will be applied after --preset but before all other parameters.

If your source content matches one of the available tunings you can use this, otherwise leave unset.

Values available: film, animation, grain, stillimage, psnr, ssim, fastdecode, zerolatency.

### slow-firstpass

Using --pass 1 applies the following settings at the end of parsing the command line:

• --ref 1
• --no-8x8dct
• --partitions i4x4 (if originally enabled, else none)
• --me dia
• --subme MIN( 2, subme )
• --trellis 0

You can set --slow-firstpass to disable this.

Note: --preset placebo enables --slow-firstpass.

See also: --pass.

## 帧类型选项Frame-type options

### keyint

Sets the maximum interval between IDR-frames (又叫做keyframes) in x264's output. You can specify "infinite" to never insert non-scenecut IDR-frames.

IDR-frames are 'delimiters' in the stream - no frame can reference data from the other side of the IDR-frame. As well as this, IDR-frames are also I-frames, so they don't reference data from any other frame. This means they can be used as seek points in a video.

Note that I-frames are generally significantly larger than P/B-frames (often 10x or more in low motion scenes), so they can play havoc with ratecontrol when combined with aggressively low VBV settings (eg, sub-second buffer sizes). In these cases, investigate --intra-refresh.

The default setting is fine for most videos. When encoding for Blu-ray, broadcast, live streaming or certain other specialist scenarios you may require a significantly smaller GOP length (often ~1x fps).

IDR帧是视频流的“分隔符”，所有帧都不可以使用越过关键帧的帧作为参考帧。IDR帧是I帧的一种，它们不参照其它帧。这意味着它们可以作为视频的搜索（seek）点。

I帧通常明显大于P/B帧（在低动态场景通常为10倍大或更多），所以当它们与极低的VBV设定合并使用时会打乱码率控制。在这些情况下，请研究--intra-refresh。

See also: --min-keyint--scenecut--intra-refresh

### min-keyint

Sets the minimum length between IDR-frames.

See --keyint for an explanation of IDR-frames. Very small keyint ranges can cause "incorrect" IDR-frame placement (for example, a strobing scene). This option limits the minimum length in frames after each IDR-frame before another can be placed.

The maximum allowed value for min-keyint is --keyint/2+1

min-keyint允许的最大值是--keyint/2+1。

See also: --keyint--scenecut

### no-scenecut

See also: --scenecut

### scenecut

Sets the threshold for I/IDR frame placement (read: scene change detection).

x264 calculates a metric for every frame to estimate how different it is from the previous frame. If the value is lower than scenecut, a 'scenecut' is detected. An I-frame is placed if it has been less than --min-keyint frames since the last IDR-frame, otherwise an IDR-frame is placed. Higher values of scenecut increase the number of scenecuts detected. For more information on how the scenecut comparison works, seehttp://forum.doom9.org/showthread.php?t=121116.

Setting scenecut to 0 is equivalent to setting --no-scenecut.

x264为每一帧计算一个度量值，来估计与前一帧的不同程度。如果该值低于scenecut，那么就算检测到一个“场景变换”。如果此时与前一个IDR帧的距离低于--min-keyint则插入一个I帧，否则放置一个IDR帧。越大的scenecut值会增加侦测到场景变更的次数。

See also: --keyint--min-keyint--no-scenecut

### intra-refresh

Disables IDR-frames, instead x264 uses intra coding for each macroblock in the frame every --keyint frames. Blocks are refreshed in a horizontally scrolling column - the 'refresh wave'. This benefits low-latency streaming by making it possible to achieve more constant frame sizes than is possible with standard IDR-frames. It also increases the resilience of the video stream to packet loss. This option does reduce compression efficiency, hence only use it when needed.

Fun facts:

• The first frame is still an IDR frame.
• Intra-blocks are placed only in P-frames - the refresh wave is wider in the first P-frame after one or more B-frames.
• The loss in compression efficiency comes primarily from the fact macroblocks on the 'new' (left) side of the refresh wave can't refer to data on the 'old' (right) side.

• 第一帧仍然是IDR帧。
• 内部区块只在P帧中存在，刷新波在一个或多个B帧后的P帧中广泛存在。
• 压缩效率的损失主要来自于在刷新波上左侧（新）的宏块无法参照右侧（旧）的宏块。

### bframes

Sets the maximum number of concurrent B-frames that x264 can use.

Without B-frames, a typical x264 stream has frame types like so: IPPPPP...PI. With --bframes 2, up to two consecutive P-frames can be replaced with B-frames, like: IBPBBPBPPPB...PI.

B-frames are similar to P-frames, except they can use motion prediction from future frames as well. This can lead to significantly better efficiency in terms of compression ratio. Their average quality is controlled by --pbratio.

Fun facts:

• x264 also occasionally distinguishes between two different sorts of B-frames. A 'B' can refer to a B-frame that is used as a reference by other frames (see --b-pyramid, while 'b' can refer to a B-frame that is not. If you see a mix of 'B' and 'b', it's usually related to the above. When the difference is not important, just 'B' is generally used to refer to all B-frames.
• For more information about the choices x264 makes between P or B frames for each candidate frame, see this ffmpeg-devel mail. In this case, frame types will look like this (in display order) (assuming --bframes 3): IBBBPBBBPBPI.

B帧和P帧的区别在于它可以参照它之后的帧，这个特点让它可以显著地提升压缩率。他们的平均品质受 –pbratio选项的控制。

• 1、x264还区分两种不同类型的B帧。大写的"B"是可以被其他帧作为参照帧的B帧（参阅--b-pyramid），而"b"则代表一个不能被其他帧作为参照帧的B帧。如果看到一段混合的"B"和"b"，原因通常与上述有关。当差别并不重要时，通常就以大"B"代表所有B帧。
• 2、x264如何将每个候选帧选为P帧或B帧可参阅http://article.gmane.org/gmane.comp.video.ffmpeg.devel/29064。在此情况下，帧类型看起来会像这样（假设--bframes 3）：IBBBPBBBPBPI。

See also: --no-b-adapt--b-bias--b-pyramid--ref--pbratio--partitions--weightb

Set the adaptive B-frame placement decision algorithm. This setting controls how x264 decides between placing a P- or B-frame.

0. Disabled. Pick B-frames always. This is the same as what the older no-b-adapt setting did.
1. 'Fast' algorithm, faster, speed slightly increases with higher --b-frames setting. When using this mode, you basically always want to use --bframes 16.
2. 'Optimal' algorithm, slower, speed significantly decreases with higher --b-frames setting.

Note: For a multi-pass encode, this option is only needed for the first pass where frame types are decided.

• 1 —— ‘快速’算法。较快，–b-frames值越大速度越快。当使用此模式时，建议搭配--bframes 16使用。
• 2 —— ‘最佳’算法，较慢，–b-frames值越大速度越慢；

### b-bias

Controls the likelihood of B-frames being used instead of P-frames. Values greater than 0 increase the weighting towards B-frames, while values less than 0 do the opposite. This number is an arbitrary metric. The range is from -100 to 100. A value of 100/-100 does not guarantee every/no P-frame will be converted (use --b-adapt 0 for that).

Only use this if you think you make better ratecontrol decisions than x264.

See also: --b-frames--ipratio

### b-pyramid

Allow the use of B-frames as references for other frames. Without this setting, frames can only reference I- or P-frames. Although I/P-frames are more valued as references because of their higher quality, B-frames can also be useful. B-frames designated as references will get a quantizer halfway between P-frames and normal B-frames. You need to use at least two B-frames before B-pyramid will work.

If you're encoding for Blu-ray, use 'none' or 'strict'.

• none: do not allow B-frames to be used as references.
• strict: allow one B-frame per minigop to be used as reference; enforces restrictions imposed by the Blu-ray standard.
• normal: allow numerous B-frames per minigop to be used as references.

• none：不允许B帧作为参照帧。
• strict：每minigop只允许一个B帧作为参照帧，这是蓝光标准强制执行的限制。
• normal：每minigop允许多个B帧作为参照帧。

See also: --bframes--refs--no-mixed-refs

### open-gop

Open-GOP is an encoding technique which increases efficiency. Some decoders don't fully support open-GOP streams, which is why it hasn't been enabled by default. You should test with all decoders your streams will be played on, or (if that's impossible) wait until support is generally available.

Open-GOP是一个提升压缩效率的编码技术。某些解码器不完全支持open-gop流，这也是为什么它默认没有启用的原因。你应该测试所有可能用来播放此流的解码器。

### no-cabac

Disables CABAC (Context Adaptive Binary Arithmetic Coder) stream compression and falls back to the less efficient CAVLC (Context Adaptive Variable Length Coder) system. Significantly reduces both the compression efficiency (10-20% typically) and the decoding requirements.

### ref

Controls the size of the DPB (Decoded Picture Buffer). The range is from 0-16. In short, this value is the number of previous frames each P-frame can use as references. (B-frames can use one or two fewer, depending on if they are used as references or not.) The minimum number of refs that can be referenced is 1.

Also note that the H.264 spec limits DPB size for each level. If adhering to Level 4.1 specs, the maximum refs for 720p and 1080p video are 9 and 4 respectively. You can read more about levels and 4.1 in particular under --level.

See also: --b-pyramid--no-mixed-refs--level

### no-deblock

Completely disables the loop filter. Not Recommended.完全停用循环滤镜。不建议。

See Also: --deblock

### deblock

Controls the loop filter (aka inloop deblocker), which is part of the H.264 standard. It is very efficient in terms of encoding time vs. quality gained.

You can find a good description of how the loop filter parameters work in this doom9 thread (看楼主和akupenguin的回复).

See Also: --no-deblock

### slices

Sets the number of slices per frame, and forces rectangular slices. (Overridden by either --slice-max-size or --slice-max-mbs if they are set.)

If you are encoding for Blu-ray, set this to four. Otherwise, don't use this unless you know you need to.

See Also: --slice-max-size--slice-max-mbs.

### slice-max-size

Sets the maximum slice size in bytes, including estimated NAL overhead. (Currently is not compatible with --interlaced.)

See Also: --slices

### slice-max-mbs

Sets the maximum slice size in macroblocks. (Currently is not compatible with --interlaced.)

See Also: --slices

### tff

Enable interlaced encoding and specify the top field is first. x264's interlaced encoding uses MBAFF, and is inherently less efficient than progressive encoding. For that reason, you should only encode interlaced if you intend to display the video on an interlaced display (or can't deinterlace the video before sending it to x264). Implies --pic-struct.

### bff

Enable interlaced encoding and specify the bottom field is first. See --tff for more info.

### no-interlaced

Forces x264 to output in progressive mode.

### constrained-intra

Enable constrained intra prediction, which is required for the base layer of SVC encodes. Since EveryoneTM ignores SVC you can likewise ignore this switch.

### pulldown

Signal soft telecine for your (progressive, constant framerate) input stream using one of a few preset modes. Soft telecine is explained in more detail on the HandBrake wiki. The available presets are: none, 22, 32, 64, double, triple and euro.

Specifying any mode but none implies --pic-struct.

### fake-interlaced

Mark a stream as interlaced even when not encoding as interlaced. Allows encoding of 25p and 30p Blu-ray compliant videos.

### frame-packing

If you're encoding 3d video, this parameter sets a bitstream flag that tells your decoder how the 3d video was packed. The values and what they mean can be found in x264 --fullhelp.

## 码率控制Ratecontrol

### qp

The first of three possible ratecontrol methods. Set x264 to encode the movie in Constant Quantizer mode. The number you give here specifies the P-frame quantizer. The quantizer used for I- and B-frames is derived from --ipratio and --pbratio. CQ mode targets a certain quantizer, which means final filesize is not known (although it can be reasonably accurately estimated with some methods). A setting of 0 will produce lossless output. qp produces larger files than --crf for the same visual quality. qp mode also disables adaptive quantization, since by definition 'constant quantizer' implies no adaptive quantization.

This option is mutually exclusive with --bitrate and --crf. See this article for more information on the various ratecontrol systems.

You should generally use --crf instead, although qp doesn't require lookahead to run and thus can be faster.

See also: --bitrate--crf--ipratio--pbratio

### bitrate

The second of three ratecontrol methods. Encode the video in target bitrate mode. Target bitrate mode means the final filesize is known, but the final quality is not. x264 will attempt to encode the video to target the given bitrate as the overall average. The parameter given is the bitrate in kilobits/sec. (8bits = 1byte and so on). Note that 1 kilobit is 1000, not 1024 bits.

This setting is often used in conjunction with --pass for two-pass encoding.

This option is mutually exclusive with --qp and --crf.

See also: --qp--crf--ratetol--pass--stats

### crf

The final ratecontrol method: Constant Ratefactor. While qp targets a certain quantizer, and bitrate targets a certain filesize, crf targets a certain 'quality'. The idea is for crf n to give the same perceptual quality as qp n, just in a smaller space. The arbitrary unit of measure for crf values is the "ratefactor".

CRF achieves this by reducing the quality of 'less important' frames. In this context, 'less important' means frames in complex or high-motion scenes, where quality is either more expensive (in terms of bits) or less visible, will have their quantizer increased. The bits saved in frames like these are redistributed to frames where they will be more effective.

CRF will take less time than a 2pass bitrate encode, because the 'first pass' from a 2pass encode was skipped. On the other hand, it's impossible to predict the bitrate a CRF encode will come out to. It's up to you to decide which rate-control mode is better for your circumstances.

This option is mutually exclusive with qp and bitrate.

crf是通过降低那些“不那么重要”的帧的质量来达到此目的的。“不那么重要”的意思是那些过于耗费码率又难以用肉眼察觉的帧，比如复杂或者高速运行的场景。省下来的码率会用在其它更有效的帧里。

crf编码比2趟编码快，因为它相当于省略了第1趟编码。所以crf的最终码率也是不可预测的。你需要根据具体的应用场景来选择码率控制方式。

See also: --qp--bitrate

Sets the number of frames to use for mb-tree ratecontrol and vbv-lookahead. The maximum allowed value is 250.

For the mb-tree portion of this, increasing the frame count generates better results but is also slower. The maximum buffer value used by mb-tree is the MIN( rc-lookahead, --keyint )

For the vbv-lookahead portion of this, increasing the frame count generates better stability and accuracy when using vbv. The maximum value used by vbv-lookahead is:

MIN(rc-lookahead, MAX(keyint, MAX(vbv-maxrate, bitrate) / vbv-bufsize * fps))


See Also: --no-mbtree--vbv-bufsize--vbv-maxrate--sync-lookahead

### vbv-maxrate

Sets the maximum rate the VBV buffer should be assumed to refill at.

VBV reduces quality, so you should only use this if you're encoding for a playback scenario that requires it.

See also: --vbv-bufsize--vbv-init

### vbv-bufsize

Sets the size of the VBV buffer in kilobits.

VBV reduces quality, so you should only use this if you're encoding for a playback scenario that requires it.

See also: --vbv-maxrate--vbv-init

### vbv-init

Sets how full the VBV Buffer must be before playback starts.

If it is less than 1, the the initial fill is: vbv-init * vbv-bufsize. Otherwise it is interpreted as the initial fill in kbits.

See also: --vbv-maxrate--vbv-bufsize

### crf-max

A similar setting to --qpmax except instead of specifying a maximum quantizer you're specifying a maximum ratefactor. This option only works when you are using CRF and have VBV enabled. It prevents x264 from reducing the ratefactor (aka "quality") below the given value even when doing so would violate VBV constraints. This setting is mostly applicable to custom streaming servers. More information can be found here.

See Also: --crf--vbv-maxrate--vbv-bufsize

### qpmin

Defines the minimum quantizer that x264 will ever use. The lower the quantizer, the closer the output is to the input. At some point, the output of x264 will look the same as the input, even though it is not exactly the same. Usually there is no reason to allow x264 to spend more bits than this on any particular macroblock.

With adaptive quantization enabled (the default), raising qpmin is discouraged because this could reduce the quality of flat background areas of the frame.

See also: --qpmax--ipratio

### qpmax

The opposite of qpmin, above. Defines the maximum quantizer that x264 can use. The default of 51 is the highest quantizer available for use in the H.264 spec, and is extremely low quality. This default effectively disables qpmax. You may want to set this lower (values in the 30-40 range are generally as low as you'd go) if you want to cap the minimum quality x264 can output, but adjusting it is generally not recommended.

See also: --qpmin--pbratio--crf-max

### qpstep

Sets the maximum change in quantizer between two frames.

### ratetol

This is a dual purpose parameter:

• In 1-pass bitrate encodes, this settings controls the percentage that x264 can miss the target average bitrate by. You can set this to 'inf' to disable this overflow detection completely. The lowest you can set this is to 0.01. The higher you set this to the better x264 can react to complex scenes near the end of the movie. The unit of measure for this purpose is percent (eg, 1.0 = 1% bitrate deviation allowed).
Many movies (any action movie, for instance) are most complex at the climatic finale. As a 1pass encode doesn't know this, the number of bits required for the end is usually underestimated. A ratetol of inf can mitigate this by allowing the encode to function more like a --crf encode, but the filesize will blow out.
• When VBV is activated (ie, you're specified --vbv-* options), this setting also affects VBV aggressiveness. Setting this higher allows VBV to fluctuate more at the risk of possibly violating the VBV settings. For this purpose, the unit of measure is arbitrary.

• 1、在1-pass编码时，这个参数控制x264可以偏离给定的平均目标比特率的百分比。可以设置为inf完全关闭码率溢出侦测。可以设定的最小值是0.01。较高的值可以让x264更好地处理影片结束部分的复杂场景。对于这个目的而言单位是百分比（1.0意味着允许1%的bitrate偏差）。

• 2、当开启了vbv时（只要使用了任何以–vbv-开头的选项就会开启），此设定也会影响VBV的强度。更高的值意味着在设定的vbv值上下允许更大的波动。在这个含义时，对于这个目的而言，可以使用任意的度量单位。

### ipratio

Modifies the target average increase in quantizer for I-frames as compared to P-frames. Higher values increase the quality of I-frames generated.

See also: --pbratio

### pbratio

Modifies the target average decrease in quantizer for B-frames as compared to P-frames. Higher values decrease the quality of B-frames generated. Not used with mbtree (enabled by default), which calculates the optimum value automatically.

See also: --ipratio

### chroma-qp-offset

Add an offset to the quantizer of chroma planes when encoding. The offset can be negative.

When using psy options are enabled (psy-rd, psy-trellis), x264 automatically subtracts 2 from this value to compensate for these optimisations overly favouring luma detail by default.

Note: x264 only encodes the luma and chroma planes at the same quantizer up to quantizer 29. After this, chroma is progressively quantized by a lower amount than luma until you end with luma at q51 and chroma at q39. This behavior is required by the H.264 standard.

### aq-mode

Without AQ, x264 tends to underallocate bits to less-detailed sections. AQ is used to better distribute the available bits between all macroblocks in the video. This setting changes what scope AQ re-arranges bits in:

• 0: Do not use AQ at all.
• 1: Allow AQ to redistribute bits across the whole video and within frames.
• 2: Auto-variance AQ (experimental) which attempts to adapt strength per-frame.

• 0 ：完全关闭自适应量化器
• 1 ：允许自适应量化器在所有视频帧内部分配比特。
• 2 ：自动变化AQ，尝试对每帧调整强度。

See also: --aq-strength

### aq-strength

Sets the strength of AQ bias towards low detail ('flat') macroblocks. Negative values are not allowed. Values outside the range 0.0 - 2.0 are probably a bad idea.

### pass

This is an important setting for 2pass encoding. It controls what x264 will do with the --stats file. It has three settings:

• 1: Create a new stats file. Use this on the first pass.
• 2: Read the stats file. Use this on the final pass.
• 3: Read the stats file, and update it as well.

The stats file contains information about every input frame, which can be input to x264 in order to improve the output. The idea is you run a first pass to generate the stats file, and the second pass will create an optimized encode of the video. The improvement is mostly gained from better ratecontrol.

• 值为1 ：建立一个新的stats文件，用于第一趟编码。
• 值为2 ：读取stats文件，用于最后一趟编码。
• 值为3 ：读取stats文件，并且更新它。

stats文件包含了每个输入帧的信息，x264可以读取这些信息来改善输出。你可以先跑第一趟编码生成stats文件，然后第二趟编码就可以使用这个文件优化编码。视频质量会得到很大的提升，大部分原因是因为进行了更好的码率控制。

See also: --stats--bitrate--slow-firstpass

### stats

Set the location that x264 will read/write the --pass to/from.

See also: --pass

### no-mbtree

Disable macroblock tree ratecontrol. Using macroblock tree ratecontrol overall improves the compression by keeping track of temporal propagation across frames and weighting accordingly. Requires a new large statsfile in addition to the already existing for multipass encodes.

See Also: --rc-lookahead

### qcomp

Quantizer curve compression factor. 0.0 => Constant Bitrate, 1.0 => Constant Quantizer.

When used with mbtree, it affects the strength of mbtree. (Higher qcomp = weaker mbtree).

See Also: --cplxblur--qblur

### cplxblur

Apply a gaussian blur with the given radius to the quantizer curve. This means that the quantizer assigned to each frame is blurred temporally with its neighbours to limit quantizer fluctuations.

See also: --qcomp--qblur

### qblur

Apply a gaussian blur with the given radius to the quantizer curve, after curve compression. Not a very important setting.

See also: --qcomp--cplxblur

### zones

Tweak settings for specific sections of the video. You can modify most x264 options per-zone.

• A single zone takes the form of <start frame>,<end frame>,<options>
• Multiple zones are separated from each other with a '/'

Options:

These two options are special. You can only set one per zone, and if you set one, it must be the first option listed for the zone:

• b=<float> applies a bitrate multiplier on the zone. Useful for extra tweaking of high- and low-action scenes.
• q=<int> applies a constant quantizer on the zone. Useful for applying to a range of frames.

• 一个单独的zone使用<start frame>,<end frame>,<options>的形式表达。
• 多个zone用’/'分隔。

• b=<float> 使zone内的bitrate乘上给定的系数。在调整快速和慢速场景时很有用。
• q=<int> 使zone内使用给定的量化器。在应用于一段范围内的帧时很有用。

The other available options are as follows:

• ref=<integer>
• b-bias=<integer>
• scenecut=<integer>
• no-deblock
• deblock=<integer>:<integer>
• direct=<string>
• merange=<integer>
• nr=<integer>
• subme=<integer>
• trellis=<integer>
• (no-)chroma-me
• (no-)dct-decimate
• (no-)fast-pskip
• (no-)mixed-refs
• psy-rd=<float>:<float>
• me=<string>
• no-8x8dct
• b-pyramid=<string>
• crf=<float>

Limitations:

• The number of reference frames for a zone can never exceed what was specified with --ref
• Scenecut can not be turned on and off; only varied if originally active (>0)
• Merange can not exceed what was originally specified if --me esa/tesa
• Subme can't be changed if the original commandline specified it as 0.
• You can't set me to esa or tesa if --me was originally specified as dia, hex, or umh

Example: 0,1000,b=2/1001,2000,q=20,me=3,b-bias=-1000

• 一个zone的参考帧数量不能超过ref定义的值。
• 无法开启或关闭scenecut；如果scenecut最初为开启（>0），则只能改变scenecut的大小。
• 如果使用--me esa/tesa，merange无法超过最初所指定的大小。
• Subme如果原本被设置为0则不能修改。
• 如果--me最初指定为dia、hex或umh，则无法将me设为esa或tesa。

### qpfile

Manual override to standard ratecontrol. Specify a file that gives the quantizer and frametype for specified frames. The format is 'framenum frametype quantizer'. For example:

0 I 18 < IDR (key) I-frame
1 P 18 < P-frame
2 B 18 < Referenced B-frame
3 i 18 < Non-IDR (non-key) I-frame
4 b 18 < Non-referenced B-frame
5 K 18 < Keyframe*

• You don't need to specify every frame
• Using -1 as the desired quantizer allows x264 to choose the optimal quantizer value, useful when only needing to set the frametype
• Having a large number of specified frame types and quantizers while still letting x264 choose intermittently decreases x264's performance
• 'Keyframe' is a generic keyframe/seekpoint type that equates to a IDR I-Frame if --open-gop is none, otherwise it equates to a Non-IDR I-Frame flagged with the Recovery Point SEI
• 不需要指定每个帧。
• 使用-1作为量化值允许x264自行选择最佳的量化值，在只需设定帧类型时很有用。
• 在指定了大量的帧类型和量化值时仍然让x264间歇地进行自行选择，会降低x264的性能。
• "Keyframe"是一个泛用关键帧／搜寻点类型，如果--open-gop未启用则等同于一个IDR I帧，否则等同于一个加上Recovery Point SEI标志的非IDR的I帧。

## Analysis

### partitions

H.264 video is split up into 16x16 macroblocks during compression. These blocks can be further split up into smaller partitions, which is what this option controls.

With this option, you enable individual partitions. Partitions are enabled per-frametype (i.e., I, P, B). The available partitions are p8x8, p4x4, b8x8, i8x8, and i4x4.

• I: i8x8, i4x4
• P: p8x8 (also enables p16x8/p8x16), p4x4 (also enables p8x4/p4x8)
• B: b8x8 (also enables b16x8/b8x16)

You can also set 'none' or 'all'.

p4x4 is generally not very useful and has an extremely high ratio of speed cost to resulting quality gain.

H.264在压缩过程中会被切分为16×16大小的宏块。这些块可以进一步切分为更小的块，这就是此选项要控制的部分。

See also: --no-8x8dct

### direct

Set prediction mode for 'direct' motion vectors. There are two modes available: spatial and temporal. You can also select none to disable direct MVs, and auto to allow x264 to swap between them as it sees fit. If you set auto, x264 outputs information on the usage at the end of the encode. 'auto' works best in a 2pass encode, but will work in single-pass encodes too. In first-pass auto mode, x264 keeps a running average of how well each method has so far performed, and picks the next prediction mode from that. Note that you should only enable auto on the second pass if it was enabled on the first pass; if it wasn't, the second pass will default to temporal. Direct none wastes bits and is strongly discouraged.

### no-weightb

H.264 allows you to 'weight' references in B-frames, which allows you to change how much each reference affects the predicted picture. This disables that feature.

H.264允许给可参考B帧加上影响预测图像的权重，此选项会关闭此特性。

### weightp

Enables use of explicit weighted prediction to improve compression in P-frames. Also improves quality in fades. Higher modes are slower.

NOTE: When encoding for Adobe Flash set this to 1 - its decoder generates artifacts otherwise. Flash 10.1 fixes this bug.

Modes:

• 0. Disabled.
• 1. Simple: fade analysis, but no reference duplication.
• 2. Smart: fade analysis and reference duplication.

• 为0时：停用。
• 为1时：简易：分析淡入／淡出，但不分析重复参照帧。
• 为2时：智慧：分析淡入／淡出和重复参照帧

### me

Set the full-pixel motion estimation method. There are five choices:

• dia (diamond) is the simplest search, consisting of starting at the best predictor, checking the motion vectors at one pixel upwards, left, down, and to the right, picking the best, and repeating the process until it no longer finds any better motion vector.
• hex (hexagon) consists of a similar strategy, except it uses a range-2 search of 6 surrounding points, thus the name. It is considerably more efficient than dia and hardly any slower, and therefore makes a good choice for general-use encoding.
• umh (uneven multi-hex) is considerably slower than hex, but searches a complex multi-hexagon pattern in order to avoid missing harder-to-find motion vectors. Unlike hex and dia, the merange parameter directly controls umh's search radius, allowing one to increase or decrease the size of the wide search.
• esa (exhaustive) is a highly optimized intelligent search of the entire motion search space within merange of the best predictor. It is mathematically equivalent to the bruteforce method of searching every single motion vector in that area, though faster. However, it is still considerably slower than UMH, with not too much benefit, so is not particularly useful for everyday encoding.
• tesa (transformed exhaustive) is an algorithm which attempts to approximate the effect of running a Hadamard transform comparison at each motion vector; like exhaustive, but a little bit better and a little bit slower.

• dia（四边形搜索）:最简单的搜寻方法，起始于最佳预测器，在运动矢量的上下左右分别偏移一个像素进行对比，选择其中最好的一个，重复此过程直到找不到更好的运动矢量为止。
• hex（六边形搜索）：和菱形差不多的策略，不同的是，它在6边形的6个顶点上进行范围为2的搜索，它比dia更有效率且几乎没有变慢，因此作为一般用途的编码是个不错的选择。
• umh（不均匀的多六边形搜索）：比hex更慢，但它尝试进行复杂多六边形的搜索，以避免错过那些难以找到的运动矢量。不像hex和dia，merange参数可以直接控制umh的搜寻半径，允许增加或减少广域搜寻的大小。
• esa（全局搜索）：高度优化的全局智能搜索，在最佳预测器的merange范围内进行运动搜索。数学上相当于搜寻该区域每个单一动态向量的暴力方法，因此速度较快。不过，它仍然比umh还要慢，而且没有带来很大的好处，所以对于日常的编码不是特别有用。

See also: --merange

### merange

merange controls the max range of the motion search in pixels. For hex and dia, the range is clamped to 4-16, with a default of 16. For umh and esa, it can be increased beyond the default 16 to allow for a wider-range motion search, which is useful on HD footage and for high-motion footage. Note that for umh, esa, and tesa, increasing merange will significantly slow down encoding.

Extremely high merange (e.g. >64) is unlikely to find any new motion vectors that are useful, so it may very slightly decrease compression in some cases by picking motion vector deltas so large that they even worsen prediction of future motion vectors in the rare cases they're locally useful, making them worse than useless.

The effect is so small as to be near-negligible, though, and you shouldn't be using such insane settings.see this post

merange控制运动搜索的最大像素范围。对于hex和dia，范围在4-16像素，默认为16。对于umh和esa，可以超过默认的16像素进行大范围的运行搜索，这对HD视频和高动态镜头而言很有用。注意，对于umh、esa和tesa，增加merange会大幅减慢编码速度。

See also: --me

### mvrange

Set the maximum (vertical) range of any one motion vector in pixels. The default value is level-dependent:

• Level 1/1b: 64
• Level 1.1-2.0: 128
• Level 2.1-3.0: 256
• Level 3.1+: 512

Note: if you want to manually override the mvrange, subtract 0.25 from the above values when setting (eg --mvrange 127.75).

Set the minimum motion vector buffer between threads. Don't touch it.

### subme

Set the subpixel estimation complexity. Higher numbers are better. Levels 1-5 simply control the subpixel refinement strength. Level 6 enables RDO for mode decision, and level 8 enables RDO for motion vectors and intra prediction modes. RDO levels are significantly slower than the previous levels.

Using a value less than 2 will enable a faster, and lower quality lookahead mode, as well as cause poorer --scenecut decisions to be made, and thus it is not recommended.

Possible Values:

0. fullpel only
2. QPel SATD 2 iterations
3. HPel on MB then QPel
4. Always QPel
5. Multi QPel + bi-directional motion estimation
6. RD on I/P frames
7. RD on all frames
8. RD refinement on I/P frames
9. RD refinement on all frames
10. QP-RD (requires --trellis=2, --aq-mode > 0)
11. Full RD [1][2]

### subq

Alias of --subme

### psy-rd

The first number is the strength of Psy-RDO to use (requires subme>=6 to activate). The second number is the strength of Psy-Trellis (requires trellis>=1 to activate). Note that Trellis is still considered 'experimental', and almost certainly is a Bad Thing for at least cartoons.

See this thread on doom9 for an explanation of psy-rd.

Life is short, and this article saved valubale time on this Earth.

### no-mixed-refs

Mixed refs will select refs on a per-8x8 partition, rather than per-macroblock basis. This improves quality when using multiple reference frames, albeit at some speed cost. Setting this option will disable it.

See also: --ref

### no-chroma-me

Normally, motion estimation works off both the luma and chroma planes. This disables chroma motion estimation for a small speed boost.

### no-8x8dct

Adaptive 8x8 DCT enables the intelligent adaptive use of 8x8 transforms in I-frames. This disables the feature.

### trellis

Performs Trellis quantization to increase efficiency.

0. Disabled
1. Enabled only on the final encode of a macroblock
2. Enabled on all mode decisions

On Macroblock provides a good compromise between speed and efficiency. On all decisions reduces speed further.

Note: Requires --cabac

• 0：停用。
• 1：只在一个宏区块的最终编码上启用。
• 2：在所有模式决策上启用。

### no-fast-pskip

Disables early skip detection on P-frames. At low bitrates, provides a moderate quality increase for a large speed cost. At high bitrates, has negligible effect on both speed and quality.

### no-dct-decimate

DCT Decimation will drop DCT blocks it deems "unnecessary". This will improve coding efficiency, with a usually negligible loss in quality. Setting this option will disable it.

DCT抽样会丢弃它认为“不必要的DCT块。这会改善编码效率，通常质量损失可以忽略。此选项关闭此特性。

### nr

Performs fast noise reduction. Estimates film noise based on this value and attempts to remove it by dropping small details before quantization. This may not match the quality of a good external noise reduction filter, but it performs very fast.

Set the size of the inter/intra luma quantization deadzone. Deadzones should be in the range of 0 to 32. The deadzone value sets the level of fine detail that x264 will arbitrarily drop without attempting to preserve. Very fine detail is both hard to see and expensive to encode, dropping this detail without attempting to preserve it stops wasting bits on such a low-return section of the video. Deadzone is incompatible with Trellis.

### cqm

Sets all custom quantization matrices to those of a built-in preset. The built-in presets are flat or JVT.

See also: --cqmfile

### cqmfile

Sets custom quantization matrices from a specified JM-compatible file. Overrides any other --cqm* options.

See also: --cqm

### cqm4* / cqm8*

• --cqm4: Set all 4x4 quant matrices. Takes a comma-separated list of 16 integers.设定所有4x4量化矩阵。需要16个以逗号分隔的整数（1-255）清单。
• --cqm8: Set all 8x8 quant matrices. Takes a comma-separated list of 64 integers.设定所有8x8量化矩阵。需要64个以逗号分隔的整数清单。
• --cqm4i--cqm4p--cqm8i--cqm8p: Set both luma and chroma quant matrices 同时设置色度和亮度（i为帧内、p为帧间）矩阵
• --cqm4iy--cqm4ic--cqm4py--cqm4pc: Set individual quant matrices. Same switches exist for cqm8.设置色度或亮度矩阵（y为亮度、c为色度），这样的参数cqm8也有同样的4个。

## 视频可用性信息Video Usability Info

These options set a flag in the output stream that can be read by the decoding application and possibly acted on. It's worth noting that most of these options in most scenarios are pointless, and are usually ignored by software decoders.

### overscan

How to handle overscan. Overscan is used here in the sense of a device only displaying part of an image.

Possible Values:

• undef - Undefined.
• show - Indicate to show the entire image. Theoretically must be respected if set.显示全部图像。理论上如果设了此值则解码器必须遵守。
• crop - Indicate that the image is suitable for playback on devices with overscan. Not necessarily respected.指示此影像适合在有溢出扫描功能的装置上播放。解码器不一定遵守。

### videoformat

Indicates what the video was before encoding/digitizing.

Possible Values:

• component
• pal
• ntsc
• secam
• mac
• undef

### range

Indicates whether the output range of luma and chroma levels should be limited or full. If set to TV, the limited ranges will be used. If set to auto, use the same range as input.
NOTE: If range and --input-range differ, then a range conversion will occur!如果range和--input-range不同，则会进行范围转换。

See also: --input-range

### colorprim

Set what color primaries for converting to RGB.设置转换到RGB的原色

Possible Values:

• undef
• bt709
• bt470m
• bt470bg
• smpte170m
• smpte240m
• film

See: RGB and YCrCb

### transfer

Set the opto-electronic transfer characteristics to use. (Sets the gamma curve to use for correction.)设定要使用的光电子传输特性（设置用于修正的伽马曲线）。

Possible Values

• undef
• bt709
• bt470m
• bt470bg
• linear
• log100
• log316
• smpte170m
• smpte240m

### colormatrix

Set the matrix coefficients used in deriving the luma and chroma from the RGB primaries.

Possible Values

• undef
• bt709
• fcc
• bt470bg
• smpte170m
• smpte240m
• GBR
• YCgCo

See: YCbCr

### chromaloc

Sets the chroma sample location. (as defined in Annex E of the ITU-T Specification).

Values range from 0 to 5.

• If you transcode from MPEG1 with proper subsampled 4:2:0, and don't do any color space conversion, you should set this option to 1.如果你以MPEG1源为输入做4:2:0采样的转码，而且没作任何色彩空间转换，应该设置为1；
• If you transcode from MPEG2 with proper subsampled 4:2:0, and don't do any color space conversion, you should set this option to 0.
• If you transcode from MPEG4 with proper subsampled 4:2:0, and don't do any color space conversion, you should set this option to 0.
• Otherwise, default.

### nal-hrd

Signal HRD information. Required for Blu-ray streams, television broadcast and a few other specialist areas. Acceptable values are:

• none Specify no HRD information
• vbr Specify HRD information
• cbr Specify HRD information and pack the bitstream to the bitrate specified by bitrate. Requires bitrate mode ratecontrol.设置HRD信息，而且把流限制在bitrate参数定义的码率内。需要bitrate码率控制方式。

See also: --vbv-bufsize--vbv-maxrate--aud

### pic-struct

Force sending pic_struct in Picture Timing SEI.

Implied when you use --pulldown or --tff/--bff.

### crop-rect

Specify a bitstream-level cropping rectangle. You can use this if you want the decoder to crop on playback, but don't want to crop the video x264 encodes for some reason. Specify the value in pixels that should be cropped on playback.

## 输入输出Input/Output

### output

Specifies output filename. The extension you specify determines the output format of your video. If the extension is not recognised the default output format is the raw video stream (generally stored with the .264 extension).

The special location NUL (Windows) or /dev/null (Unix) specifies the output should be discarded. This is particularly useful when using --pass 1, as the only output you care about is that from --stats.

### muxer

Specifies what format to write to.指定输出格式。

Possible Values

• auto
• raw
• mkv
• flv
• mp4

The 'auto' option will pick a muxer based on the supplied output filename.

‘auto’选项将根据提供的文件名选择相应的封装器。

See also: --output

### demuxer

Sets what demuxer and decoder x264 uses for parsing the input video.

Possible Values

• auto
• raw
• y4m
• avs
• lavf
• ffms

If the input file has an extension of raw, y4m or avs, x264 will use the relevant demuxer to read the file. Standard input uses the raw demuxer. Otherwise, x264 will attempt to open the file with ffms, then lavf, and then fail.

The 'lavf' and 'ffms' options require x264 to be compiled with the respective libraries. If either is used, x264 will carry over the timecodes from the input file, provided you don't output to raw. This effectively makes x264 VFR-aware. The other options can have a constant framerate specified with --fps or a variable framerate with --tcfile-in.

‘lavf’和‘ffms’参数需要用其它的库文件编译x264。如果使用两者之一，而且输出不是raw 的话，x264会从输入文件中带入时间码。这将使x264有效的感知VFR。其它选项可以通过指定--fps为固定帧率，或者通过指定--tcfile-in为可变帧率。

See also: --input--muxer

### input-csp

Tell x264 what colourspace your raw video input is with this switch. Supported colourspaces are listed in x264 --fullhelp.

See Also: --input-res--fps

### output-csp

Tell x264 what colourspace you want out. Supported colourspaces are listed in x264 --fullhelp.

Possible Values

• i420
• i422
• i444
• rgb

See Also: --input-csp

### input-range

Indicates the source's range of luma and chroma levels. Can be set to TV for limited ranges or PC for full ranges.
NOTE: If --range and input-range differ, then a range conversion will occur!

See also: --range

### input-res

Specify the input resolution of raw video input. Use the syntax --input-res 720x576.

See Also: --input-csp--fps

### index

An optional setting that only takes effect when using the ffms --demuxer. Specifies a file for ffms to write out indexing data for the input file to, which can be referred to in a future encode to remove the need to reindex the video. Generally not needed -- indexing is not a slow process relative to video encoding.

See also: --demuxerFFMS2 API Documentation

### sar

Specifies the input video's Sample Aspect Ratio (SAR) to be used by the encoder in width:height.

This in conjunction with frame dimensions can be used to encode an anamorphic output by determining the Display Aspect Ratio (DAR) via the formula: DAR = SAR x width/height

See Main Article here

“可变形”是种特殊应用，可参考细说DVD的画面比例

### fps

Specifies video framerate as either a float (29.970) a rational (30000/1001), or an integer (2997/100) value. x264 detects and uses the framerate from the input stream header when available (y4m, avs, ffms and lavf demuxer), otherwise uses 25. Setting this implies --force-cfr.

If you are using raw YUV input and --bitrate-based ratecontrol, you need to specify the correct framerate using this parameter or --tcfile-in. x264 won't hit your target bitrate otherwise.

### seek

Specifies the first frame to encode, allowing the encode to begin at any point in the source.

### frames

Specifies the maximum number of frames to encode, allowing the encode to finish at any point before the end of the source.

### level

Sets the level flag in the output bitstream (as defined by Annex A of the H.264 standard). Permissible levels are:

1 1b 1.1 1.2 1.3 2 2.1 2.2 3 3.1 3.2 4 4.1 4.2 5 5.1

If you do not specify --level on the commandline, x264 will attempt to autodetect the level. This detection is not perfect and may underestimate the level if you are not using VBV. x264 will also automatically limit the DPB size (see --ref) to remain in compliance with the level you select (unless you also manually specify --ref). Note: specifying the level does not automatically set the --vbv-maxrate or --vbv-bufsize, however it will warn if the level specific properties are exceeded.

What Level Do I Pick?

Level 4.1 is often considered the highest level you can rely on desktop consumer hardware to support. Blu-ray Discs only support level 4.1, and many non-mobile devices like the Xbox 360 specify level 4.1 as the highest they officially support. Mobile devices like the iPhone/Android are a totally different story.

Wikipedia has a nice chart detailing the restrictions for each level, if you want to read it.

Level 4.1 常常是桌面型硬件能支持的最高等级。蓝光碟仅支持 Level 4.1，许多非手机类设备，像 Xbox 360，指定 Level 4.1 为其官方支持的最高等级。手机设备，像 iPhone/Android 则是完全不同的处理方式。

### bluray-compat

Modify x264's options to ensure better compatibility with all Blu-Ray players. Only neccessary if your video will be played by Blu-Ray hardware players.

This setting makes some option changes:

• Cap --weightp at 1
• Set --min-keyint to 1
• Disable --intra-refresh
• etc...

• 限制--weightp不超过1
• 设定--min-keyint为1
• 停用--intra-refresh等等

It also enables some internal x264 hacks to produce more hardware-player-friendly streams. For example:

• GOP/mini-GOP tweaks to size and reference lists.

### verbose

Displays statistics for each encoded frame.

### no-progress

Disables the progress indicator while encoding.

### quiet

Enables Quiet Mode, silencing status messages from x264.

### log-level

Manually specify the logging level of both x264cli and libx264.

Possible Values

• none
• error
• warning
• info
• debug

### psnr

Enables PSNR calculations that are reported on completion at the cost of a small decrease in speed.

### ssim

Enables SSIM calculations that are reported on completion at the cost of a small decrease in speed.

Enables parallel encoding by using more than 1 thread to increase speed on multi-core systems. The quality loss from multiple threads is mostly negligible unless using very high numbers of threads (say, above 16). The speed gain should be slightly less than linear until you start using more than 1 thread per 40px of vertical video, at which point the gain from additional threads sharply decreases.

x264 currently has an internal limit on the number of threads set at 128, realistically you should never set it this high.

See also: --sliced-threads--thread-input

Enables slice-based threading. This threading method produces lower quality results than the default method both compression and efficiency-wise, but adds no encoding latency.

The maximum number of sliced threads is MIN( (height+15)/16 / 4, 128 )

Decodes the input video in a separate thread to the encoding process.

Sets the number of frames to be used as a buffer for threaded lookahead. Maximum Value is 250. Automatically disabled during the 2nd or greater pass or when using sliced threads.

Setting this to 0 disables threaded lookahead, which allows lower latency at the cost of reduced performance.

### non-deterministic

Slightly improve quality when encoding with --threads > 1, at the cost of non-deterministic output encodes. This enables multi-threaded mv and uses the entire lookahead buffer in slicetype decisions when slicetype is threaded -- rather than just the minimum amount known to be available.

Not for general use.一般不用。

### asm

Override automatic CPU detection. Useful for debugging or troubleshooting.不理会自动 CPU 检测。用于调试或排除故障。

### no-asm

Disables all CPU optimisations. Useful for debugging or troubleshooting.关闭所有 CPU 优化。用于调试或排除故障。

### visualize

Enables Macroblock Type visualizations over the encoded video. Useful for frame by frame debugging or analysis.

Requires compile time support, and an X11 windowing system.

### dump-yuv

Dumps the reconstructed YUV frames to the specified file. Useful mostly for debugging. Not for general use.

### sps-id

Set SPS (sequence parameter set) and PPS (picture parameter set) id numbers. Not for general use.设置序列参数集和图像参数集id号。一般不用。

### aud

Use access unit delimiters.设置访问单元分隔符。

### force-cfr

If using ffms2 or lavf demuxers, timecodes are copied from the input file, provided the output file is not raw. This option disables this, and forces x264 to generate its own. When using this you probably also want to set --fps.

### tcfile-in

Specify a timecodes file which should be used to interpret the framerate of the input video. The timecode file can be in either v1 or v2 format which are described in the mkvmerge documentation.

See Also: --tcfile-out--force-cfr--fps

### tcfile-out

Output a timecode file (v2 format) based on the input timestamps. For use when you're encoding a VFR input video and want to dump the timecodes. For details on the file format, see --tcfile-in.

### timebase

Allows you to set a custom timebase.

The numerator is 'seconds', and the denominator is 'ticks'. Means how many seconds one tick takes.

• If passed a rational, it will set the numerator and denominator accordingly.
• If passed an integer, and an input timecodes file is set via --tcfile-in, it will use the value passed as the numerator, and generate the denominator accordingly.
• If passed an integer, and no input timecodes file is set, it will use the value passed as the denominator and generate the 'ticks per frame' from the input video.

Not compatible with --force-cfr mode.

• 如果为有理数，将相应的设置分子和分母。
• 如果为整数，并且通过 tcfile-in 设置了时间码文件，将使用此值做分子，并相应的生成分母。
• 如果为整数，并且没有设置时间码文件，将使用此值作为分母并从视频源生成每帧‘ticks’数。

### dts-compress

A hack, implemented for FLV and MP4 containers only, that can work around buggy decoders that expect all DTSs to be positive. As per the commit message for this change, use at your own risk.

Note: DTS refers to Decode TimeStamp. Each frame is allocated a DTS that reflects its position in the 'coded order' of the stream, as opposed to the 'display order' of the stream, which is specified by the Presentation TimeStamp. The order frames are stored in the stream is different to the order they are displayed due to compression techniques such as B-frames, which result in frames requiring data from frames that will be displayed after.

## 滤镜或特效Filtering

### video-filter

The x264 filtering system is used to process the input video before encoding. Multiple filters can also be applied sequentially to the input video.x264过滤系统会在视频源被编码前处理它们。可以顺序使用多个过滤器(滤波器)。

The basic syntax to apply a filter is this:

--video-filter <filter>


You can apply multiple filters sequentially by delimiting them with a /连续使用多个过滤器时用 / 分隔

--video-filter <filter1>/<filter2>


You can 'chain' as many filter operations as you like together.你可以按自己喜欢的方式链式使用多个过滤器。

The available filters are:

#### crop

Syntax: crop:left,top,right,bottom

Remove pixels from the edges of the frame.从帧的边缘移去像素，就是常说的剪裁。

• You must crop height in multiples of 4 when using yv12i, i420i, or nv12i format video input
• You must crop height in multiples of 2 when using yv12p, i420p, nv12p, or any other interlaced format video input not specified above.
• You must crop width in multiples of 2 when using i420, i422, yv12, yv16, nv12, or nv16 format video input.当视频源是这几种格式时，在宽度方向剪裁的像素必须是2的倍数。

#### resize

Syntax: resize:[width,height][,sar][,fittobox][,csp][,method]

Resizes frames and/or converts frames between different colorspaces. Requires x264 to be compiled with libswscale.

There are a few possible modes on how to resize frames:

• Resolution only: Resizes frames to the specified resolution and changes the SAR to avoid stretching.
• SAR only: Sets the SAR and resizes frames to a new resolution to avoid stretching.
• Resolution + SAR: Resizes frames to the specified resolution and sets SAR to the specified value, potentially allowing stretching.
• Fittobox: Resizes frames based on the specified constraint mode, adapting the resolution to have a resultant SAR of 1:1
• width: Resize frames to fit within the specified width constraint
• height: Resize frames to fit within the specified height constraint
• both: Resize frames to fit within the specified box constraint
• Fittobox + SAR: Same as regular Fittobox mode except the resultant frames have the specified SAR, shrinking the video to where the anamorphic video fits within the specified constraint.

Options that are independent of the resizing mode are

• csp: simultaneously converting frames to the specified colorspace. The valid list of colorspaces are displayed in x264 --fullhelp
• method (Default bicubic): when resizing frames, use the specified resizer method
fastbilinear, bilinear, bicubic, experimental, point, area, bicublin, gauss, sinc, lanczos, spline

• 仅分辨率：按照指定的分辨率调整帧尺寸，同时调整 SAR 从而避免图像拉伸变形。
• 仅SAR：设定 SAR，同时调整帧尺寸从而避免图像拉伸变形。
• 分辨率 + SAR：按照指定的分辨率调整帧尺寸并且按指定值设定 SAR，可能产生拉伸变形。
• Fittobox：基于指定约束模式调整帧尺寸,分辨率按1:1的 SAR 自适应。
• width：调整帧尺寸来符合指定宽度约束。
• height：调整帧尺寸来符合指定高度约束。
• both：调整帧尺寸来符合指定矩形约束。
• Fittobox + SAR：除额外指定 SAR 外与 Fittobox 类似，收缩视频使可变形视频符合指定的约束。

• csp：同时将帧转换为指定的色彩空间。
• method (默认 bicubic)：当调整帧尺寸时，使用指定的调整方法。

Example:

resize:width=1280,height=720,method=spline


#### select_every

Syntax: select_every:step,offset1[,offset2,...]

"Select" only a subset of input frames to encode, dropping the rest. Every step frames, take only the frames specified with an offset. 仅选择部分输入帧进行编码，丢弃其它。每隔 step 帧，仅使用 offset 指定的帧。For example: To encode every second frame:每2帧，丢弃第1帧，采用第2帧

select_every:2,1


To drop every third frame:每3帧，采用第0，1帧，丢弃第2帧

select_every:3,0,1


You can see more examples at the Avisynth wiki (which has an identical filter).

MeWiki

NMM Doc

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