V 123 Mp4
I have an issue.sometimes when I convert video to mp4 with codec copy,my created video in chrome just has audio and it's display a black screen, and in another browsers like firefox and internet explorer video doesn't play.but I check this created video on my server and video displays.And here is my code in below
V 123 mp4
Note: the Basic version does NOT include a player You need to use it together with an already installed DirectShow player such as Windows Media Player. For playback issues with WMP please read our F.A.Q. for solutions.
This is the recommended variant for the average user. Use this if you don't know what you need. It already contains everything that you need for playback. The extra components that are included in the larger versions provide no benefit for the majority of users.
Important note: The K-Lite Codec Pack does not expand the import abilities of professional video editors such as Vegas Movie Studio or Adobe Premiere. Those applications often only support importing a small set of file formats, and do not support using the type of codecs that are included in the codec pack (DirectShow/VFW). Modern editors often only use their own internal codecs or only support external codecs of the Media Foundation type.
Honda has made a number of naturally-aspirated V12 engines designed for Formula One motor racing; starting with the 1.5-litre RA271E engine in 1964, and ending with the 3.0-litre RA273E in 1968. This would be followed by a 21-year hiatus, until Honda reintroduced the new 3.5-litre RA121E in 1991. The RA121E would go down as the last V12 engine to win a Formula One World Championship. Honda's last-ever V12 engine, the RA122E/B, raced in 1992.
This guide focuses on the encoder x264. It assumes you have ffmpeg compiled with --enable-libx264. If you need help compiling and installing see one of our compiling guides. See HWAccelIntro for information on supported hardware H.264 encoders.
This method allows the encoder to attempt to achieve a certain output quality for the whole file when output file size is of less importance. This provides maximum compression efficiency with a single pass. By adjusting the so-called quantizer for each frame, it gets the bitrate it needs to keep the requested quality level. The downside is that you can't tell it to get a specific filesize or not go over a specific size or bitrate, which means that this method is not recommended for encoding videos for streaming.
A preset is a collection of options that will provide a certain encoding speed to compression ratio. A slower preset will provide better compression (compression is quality per filesize). This means that, for example, if you target a certain file size or constant bit rate, you will achieve better quality with a slower preset. Similarly, for constant quality encoding, you will simply save bitrate by choosing a slower preset.
For example, if your input is animation then use the animation tuning, or if you want to preserve grain in a film then use the grain tuning. If you are unsure of what to use or your input does not match any of tunings then omit the -tune option. You can see a list of current tunings with -tune help, and what settings they apply with x264 --fullhelp.
The -profile:v option limits the output to a specific H.264 profile. You usually do not need to use this option and the recommendation is to omit setting the profile which will allow x264 to automatically select the appropriate profile.
Some devices (mostly very old or obsolete) only support the more limited Constrained Baseline or Main profiles. You can set these profiles with -profile:v baseline or -profile:v main. Most modern devices support the more advanced High profile.
Use this rate control mode if you are targeting a specific output file size, and if output quality from frame to frame is of less importance. This is best explained with an example. Your video is 10 minutes (600 seconds) long and an output of 200 MiB is desired. Since bitrate = file size / duration:
Note that lossless output files will likely be huge, and most non-FFmpeg based players will not be able to decode lossless. Therefore, if compatibility or file size are an issue, you should not use lossless.
Tip: If you're looking for an output that is roughly "visually lossless" but not technically lossless, use a -crf value of around 17 or 18 (you'll have to experiment to see which value is acceptable for you). It will likely be indistinguishable from the source and not result in a huge, possibly incompatible file like true lossless mode.
While -preset chooses the best possible settings for you, you can overwrite these with the x264-params option, or by using the libx264 private options (see ffmpeg -h encoder=libx264). This is not recommended unless you know what you are doing. The presets were created by the x264 developers and tweaking values to get a better output is usually a waste of time.
In the above example, -bufsize is the "rate control buffer", so it will enforce your requested "average" (1 MBit/s in this case) across each 2 MBit worth of video. Here it is assumed that the receiver / player will buffer that much data, meaning that a fluctuation within that range is acceptable.
Use this mode if you want to constrain the maximum bitrate used, or keep the stream's bitrate within certain bounds. This is particularly useful for online streaming, where the client expects a certain average bitrate, but you still want the encoder to adjust the bitrate per-frame.
This will effectively "target" -crf 23, but if the output were to exceed 1 MBit/s, the encoder would increase the CRF to prevent bitrate spikes. However, be aware that libx264 does not strictly control the maximum bit rate as you specified (the maximum bit rate may be well over 1M for the above file). To reach a perfect maximum bit rate, use two-pass.
It helps at most 1% in terms of quality, compared to the veryslow preset at the cost of a much higher encoding time. It's diminishing returns: veryslow helps about 3% compared to the slower preset, slower helps about 5% compared to the slow preset, and slow helps about 5-10% compared to the medium preset.
Going from medium to slow, the time needed increases by about 40%. Going to slower instead would result in about 100% more time needed (i.e. it will take twice as long). Compared to medium, veryslow requires 280% of the original encoding time, with only minimal improvements over slower in terms of quality.
You may need to use -vf format=yuv420p (or the alias -pix_fmt yuv420p) for your output to work in QuickTime and most other players. These players only support the YUV planar color space with 4:2:0 chroma subsampling for H.264 video. Otherwise, depending on your source, ffmpeg may output to a pixel format that may be incompatible with these players.
GIF is an image format that supports animated images. It can adapt 256 colors and uses lossless compression technique to contain images. It can also contain texts. It can contain low sized image animation. So it is frequently used in web publishing. It applies LZW compression algorithm to compresses low colored images.
MP4, also known as MPEG4 is mainly a video format that is used to store video and audio data. Also it can store images and subtitles. Normally it is used to share videos over internet. MP4 can embed any data over private streams. Streaming information is included in MP4 using a distinct hint.
MOV is a video format that is commonly associated with QuickTime. This video extension is developed by Apple. It uses an algorithm to compress video and audio. Although it is a proprietary of Apple, it runs on both MAC and Windows OS.
As a professional broadcaster or live streamer, you must understand the technology that makes or breaks your content. Choosing the appropriate video streaming format is part of that learning curve. A hotly debated topic in the world of streaming is the choice between two video formats: MKV vs. MP4.
MKV is a free, open-source container format that allows various audio and video tracks, as well as subtitle files, to be packed into a single file. The name Matroska is derived from the Russian Matryoshka dolls, which come in decreasing sizes and can be placed inside one another.
The Moving Picture Expert Group introduced MP4 in 1998, making it their standard video format. Of all the container formats available today, MP4 is one of the most widely used file formats due to its many benefits. It can be used with most devices, such as phones, laptops, computers, and tablets, without any buffering or lagging issues.
While MP4 is a digital container file, MPEG-4 is the standard format for encoding the video content stored within MP4 files. Although several MPEGs are available, the MPEG-4 Type 12 is the standard output format for all your video files. Aside from storing video and audio multimedia, MP4 can also contain subtitles and images.
Since MP4 and MKV are output formats instead of encoding formats, the final video quality will depend on the video and audio codecs you pack. If the same codecs are encapsulated using the same settings in both MKV and MP4, the quality will be similar.
MKV format supports a wide range of video and audio tracks, HD quality movies, and movies with numerous subtitles tracks. Other than that, mainstream video editing software like iMovie and Final Cut Pro are compatible with MKV, as are video players like VLC Player and Blu-Ray. Unfortunately, the number of MKV-supported platforms is limited compared to the MP4 output format. Considering the large number of platforms on the internet, MKV is only supported by a select group of video and audio players. 041b061a72