Package-level declarations

Choose BROADCASTER_MIXED_AD when the input contains pre-mixed main audio + audio description (AD) as a stereo pair. The value for AudioType will be set to 3, which signals to downstream systems that this stream contains "broadcaster mixed AD". Note that the input received by the encoder must contain pre-mixed audio; the encoder does not perform the mixing. When you choose BROADCASTER_MIXED_AD, the encoder ignores any values you provide in AudioType and FollowInputAudioType. Choose NORMAL when the input does not contain pre-mixed audio + audio description (AD). In this case, the encoder will use any values you provide for AudioType and FollowInputAudioType.

Specify the AAC profile. For the widest player compatibility and where higher bitrates are acceptable: Keep the default profile, LC (AAC-LC) For improved audio performance at lower bitrates: Choose HEV1 or HEV2. HEV1 (AAC-HE v1) adds spectral band replication to improve speech audio at low bitrates. HEV2 (AAC-HE v2) adds parametric stereo, which optimizes for encoding stereo audio at very low bitrates.

The Coding mode that you specify determines the number of audio channels and the audio channel layout metadata in your AAC output. Valid coding modes depend on the Rate control mode and Profile that you select. The following list shows the number of audio channels and channel layout for each coding mode. * 1.0 Audio Description (Receiver Mix): One channel, C. Includes audio description data from your stereo input. For more information see ETSI TS 101 154 Annex E. * 1.0 Mono: One channel, C. * 2.0 Stereo: Two channels, L, R. * 5.1 Surround: Six channels, C, L, R, Ls, Rs, LFE.

Choose the loudness measurement mode for your audio content. For music or advertisements: We recommend that you keep the default value, Program. For speech or other content: We recommend that you choose Anchor. When you do, MediaConvert optimizes the loudness of your output for clarify by applying speech gates.

Specify the AAC rate control mode. For a constant bitrate: Choose CBR. Your AAC output bitrate will be equal to the value that you choose for Bitrate. For a variable bitrate: Choose VBR. Your AAC output bitrate will vary according to your audio content and the value that you choose for Bitrate quality.

Enables LATM/LOAS AAC output. Note that if you use LATM/LOAS AAC in an output, you must choose "No container" for the output container.

Required when you set Codec to the value AAC. The service accepts one of two mutually exclusive groups of AAC settings--VBR and CBR. To select one of these modes, set the value of Bitrate control mode to "VBR" or "CBR". In VBR mode, you control the audio quality with the setting VBR quality. In CBR mode, you use the setting Bitrate. Defaults and valid values depend on the rate control mode.

Use MPEG-2 AAC instead of MPEG-4 AAC audio for raw or MPEG-2 Transport Stream containers.

Specify the quality of your variable bitrate (VBR) AAC audio. For a list of approximate VBR bitrates, see: https://docs.aws.amazon.com/mediaconvert/latest/ug/aac-support.html#aac_vbr

Specify the bitstream mode for the AC-3 stream that the encoder emits. For more information about the AC3 bitstream mode, see ATSC A/52-2012 (Annex E).

Dolby Digital coding mode. Determines number of channels.

Choose the Dolby Digital dynamic range control (DRC) profile that MediaConvert uses when encoding the metadata in the Dolby Digital stream for the line operating mode. Related setting: When you use this setting, MediaConvert ignores any value you provide for Dynamic range compression profile. For information about the Dolby Digital DRC operating modes and profiles, see the Dynamic Range Control chapter of the Dolby Metadata Guide at https://developer.dolby.com/globalassets/professional/documents/dolby-metadata-guide.pdf.

When you want to add Dolby dynamic range compression (DRC) signaling to your output stream, we recommend that you use the mode-specific settings instead of Dynamic range compression profile. The mode-specific settings are Dynamic range compression profile, line mode and Dynamic range compression profile, RF mode. Note that when you specify values for all three settings, MediaConvert ignores the value of this setting in favor of the mode-specific settings. If you do use this setting instead of the mode-specific settings, choose None to leave out DRC signaling. Keep the default Film standard to set the profile to Dolby's film standard profile for all operating modes.

Choose the Dolby Digital dynamic range control (DRC) profile that MediaConvert uses when encoding the metadata in the Dolby Digital stream for the RF operating mode. Related setting: When you use this setting, MediaConvert ignores any value you provide for Dynamic range compression profile. For information about the Dolby Digital DRC operating modes and profiles, see the Dynamic Range Control chapter of the Dolby Metadata Guide at https://developer.dolby.com/globalassets/professional/documents/dolby-metadata-guide.pdf.

Applies a 120Hz lowpass filter to the LFE channel prior to encoding. Only valid with 3_2_LFE coding mode.

When set to FOLLOW_INPUT, encoder metadata will be sourced from the DD, DD+, or DolbyE decoder that supplied this audio data. If audio was not supplied from one of these streams, then the static metadata settings will be used.

Required when you set Codec to the value AC3.

Specify whether the service runs your job with accelerated transcoding. Choose DISABLED if you don't want accelerated transcoding. Choose ENABLED if you want your job to run with accelerated transcoding and to fail if your input files or your job settings aren't compatible with accelerated transcoding. Choose PREFERRED if you want your job to run with accelerated transcoding if the job is compatible with the feature and to run at standard speed if it's not.

Accelerated transcoding can significantly speed up jobs with long, visually complex content.

Describes whether the current job is running with accelerated transcoding. For jobs that have Acceleration (AccelerationMode) set to DISABLED, AccelerationStatus is always NOT_APPLICABLE. For jobs that have Acceleration (AccelerationMode) set to ENABLED or PREFERRED, AccelerationStatus is one of the other states. AccelerationStatus is IN_PROGRESS initially, while the service determines whether the input files and job settings are compatible with accelerated transcoding. If they are, AcclerationStatus is ACCELERATED. If your input files and job settings aren't compatible with accelerated transcoding, the service either fails your job or runs it without accelerated transcoding, depending on how you set Acceleration (AccelerationMode). When the service runs your job without accelerated transcoding, AccelerationStatus is NOT_ACCELERATED.

Use to remove noise, blocking, blurriness, or ringing from your input as a pre-filter step before encoding. The Advanced input filter removes more types of compression artifacts and is an improvement when compared to basic Deblock and Denoise filters. To remove video compression artifacts from your input and improve the video quality: Choose Enabled. Additionally, this filter can help increase the video quality of your output relative to its bitrate, since noisy inputs are more complex and require more bits to encode. To help restore loss of detail after applying the filter, you can optionally add texture or sharpening as an additional step. Jobs that use this feature incur pro-tier pricing. To not apply advanced input filtering: Choose Disabled. Note that you can still apply basic filtering with Deblock and Denoise.

Add texture and detail to areas of your input video content that were lost after applying the Advanced input filter. To adaptively add texture and reduce softness: Choose Enabled. To not add any texture: Keep the default value, Disabled. We recommend that you choose Disabled for input video content that doesn't have texture, including screen recordings, computer graphics, or cartoons.

Optional settings for Advanced input filter when you set Advanced input filter to Enabled.

Optionally specify the amount of sharpening to apply when you use the Advanced input filter. Sharpening adds contrast to the edges of your video content and can reduce softness. To apply no sharpening: Keep the default value, Off. To apply a minimal amount of sharpening choose Low, or for the maximum choose High.

This setting only applies to H.264, H.265, and MPEG2 outputs. Use Insert AFD signaling to specify whether the service includes AFD values in the output video data and what those values are. * Choose None to remove all AFD values from this output. * Choose Fixed to ignore input AFD values and instead encode the value specified in the job. * Choose Auto to calculate output AFD values based on the input AFD scaler data.

Required when you set Codec to the value AIFF.

Use Allowed renditions to specify a list of possible resolutions in your ABR stack. * MediaConvert will create an ABR stack exclusively from the list of resolutions that you specify. * Some resolutions in the Allowed renditions list may not be included, however you can force a resolution to be included by setting Required to ENABLED. * You must specify at least one resolution that is greater than or equal to any resolutions that you specify in Min top rendition size or Min bottom rendition size. * If you specify Allowed renditions, you must not specify a separate rule for Force include renditions.

Ignore this setting unless this input is a QuickTime animation with an alpha channel. Use this setting to create separate Key and Fill outputs. In each output, specify which part of the input MediaConvert uses. Leave this setting at the default value DISCARD to delete the alpha channel and preserve the video. Set it to REMAP_TO_LUMA to delete the video and map the alpha channel to the luma channel of your outputs.

Specify whether this set of input captions appears in your outputs in both 608 and 708 format. If you choose Upconvert, MediaConvert includes the captions data in two ways: it passes the 608 data through using the 608 compatibility bytes fields of the 708 wrapper, and it also translates the 608 data into 708.

Settings for ancillary captions source.

By default, the service terminates any unterminated captions at the end of each input. If you want the caption to continue onto your next input, disable this setting.

The anti-alias filter is automatically applied to all outputs. The service no longer accepts the value DISABLED for AntiAlias. If you specify that in your job, the service will ignore the setting.

Specify the QuickTime audio channel layout tags for the audio channels in this audio track. Enter channel layout tags in the same order as your output's audio channel order. For example, if your output audio track has a left and a right channel, enter Left (L) for the first channel and Right (R) for the second. If your output has multiple single-channel audio tracks, enter a single channel layout tag for each track.

Specify the QuickTime audio channel layout tags for the audio channels in this audio track. When you don't specify a value, MediaConvert labels your track as Center (C) by default. To use Audio layout tagging, your output must be in a QuickTime (MOV) container and your audio codec must be AAC, WAV, or AIFF.

Choose the audio codec for this output. Note that the option Dolby Digital passthrough applies only to Dolby Digital and Dolby Digital Plus audio inputs. Make sure that you choose a codec that's supported with your output container: https://docs.aws.amazon.com/mediaconvert/latest/ug/reference-codecs-containers.html#reference-codecs-containers-output-audio For audio-only outputs, make sure that both your input audio codec and your output audio codec are supported for audio-only workflows. For more information, see: https://docs.aws.amazon.com/mediaconvert/latest/ug/reference-codecs-containers-input.html#reference-codecs-containers-input-audio-only and https://docs.aws.amazon.com/mediaconvert/latest/ug/reference-codecs-containers.html#audio-only-output

Settings related to audio encoding. The settings in this group vary depending on the value that you choose for your audio codec.

Enable this setting on one audio selector to set it as the default for the job. The service uses this default for outputs where it can't find the specified input audio. If you don't set a default, those outputs have no audio.

Settings related to one audio tab on the MediaConvert console. In your job JSON, an instance of AudioDescription is equivalent to one audio tab in the console. Usually, one audio tab corresponds to one output audio track. Depending on how you set up your input audio selectors and whether you use audio selector groups, one audio tab can correspond to a group of output audio tracks.

Apply audio timing corrections to help synchronize audio and video in your output. To apply timing corrections, your input must meet the following requirements: * Container: MP4, or MOV, with an accurate time-to-sample (STTS) table. * Audio track: AAC. Choose from the following audio timing correction settings: * Disabled (Default): Apply no correction. * Auto: Recommended for most inputs. MediaConvert analyzes the audio timing in your input and determines which correction setting to use, if needed. * Track: Adjust the duration of each audio frame by a constant amount to align the audio track length with STTS duration. Track-level correction does not affect pitch, and is recommended for tonal audio content such as music. * Frame: Adjust the duration of each audio frame by a variable amount to align audio frames with STTS timestamps. No corrections are made to already-aligned frames. Frame-level correction may affect the pitch of corrected frames, and is recommended for atonal audio content such as speech or percussion. * Force: Apply audio duration correction, either Track or Frame depending on your input, regardless of the accuracy of your input's STTS table. Your output audio and video may not be aligned or it may contain audio artifacts.

Specify which source for language code takes precedence for this audio track. When you choose Follow input, the service uses the language code from the input track if it's present. If there's no languge code on the input track, the service uses the code that you specify in the setting Language code. When you choose Use configured, the service uses the language code that you specify.

Choose one of the following audio normalization algorithms: ITU-R BS.1770-1: Ungated loudness. A measurement of ungated average loudness for an entire piece of content, suitable for measurement of short-form content under ATSC recommendation A/85. Supports up to 5.1 audio channels. ITU-R BS.1770-2: Gated loudness. A measurement of gated average loudness compliant with the requirements of EBU-R128. Supports up to 5.1 audio channels. ITU-R BS.1770-3: Modified peak. The same loudness measurement algorithm as 1770-2, with an updated true peak measurement. ITU-R BS.1770-4: Higher channel count. Allows for more audio channels than the other algorithms, including configurations such as 7.1.

When enabled the output audio is corrected using the chosen algorithm. If disabled, the audio will be measured but not adjusted.

If set to LOG, log each output's audio track loudness to a CSV file.

If set to TRUE_PEAK, calculate and log the TruePeak for each output's audio track loudness.

Advanced audio normalization settings. Ignore these settings unless you need to comply with a loudness standard.

Details about the media file's audio track.

Use Audio selectors to specify a track or set of tracks from the input that you will use in your outputs. You can use multiple Audio selectors per input.

Use audio selector groups to combine multiple sidecar audio inputs so that you can assign them to a single output audio tab. Note that, if you're working with embedded audio, it's simpler to assign multiple input tracks into a single audio selector rather than use an audio selector group.

Specify how MediaConvert selects audio content within your input. The default is Track. PID: Select audio by specifying the Packet Identifier (PID) values for MPEG Transport Stream inputs. Use this when you know the exact PID values of your audio streams. Track: Default. Select audio by track number. This is the most common option and works with most input container formats. Language code: Select audio by language using ISO 639-2 or ISO 639-3 three-letter language codes. Use this when your source has embedded language metadata and you want to select tracks based on their language. HLS rendition group: Select audio from an HLS rendition group. Use this when your input is an HLS package with multiple audio renditions and you want to select specific rendition groups. All PCM: Select all uncompressed PCM audio tracks from your input automatically. This is useful when you want to include all PCM audio tracks without specifying individual track numbers.

When set to FOLLOW_INPUT, if the input contains an ISO 639 audio_type, then that value is passed through to the output. If the input contains no ISO 639 audio_type, the value in Audio Type is included in the output. Otherwise the value in Audio Type is included in the output. Note that this field and audioType are both ignored if audioDescriptionBroadcasterMix is set to BROADCASTER_MIXED_AD.

Specify one or more Automated ABR rule types. Note: Force include and Allowed renditions are mutually exclusive.

Use automated ABR to have MediaConvert set up the renditions in your ABR package for you automatically, based on characteristics of your input video. This feature optimizes video quality while minimizing the overall size of your ABR package.

Use automated encoding to have MediaConvert choose your encoding settings for you, based on characteristics of your input video.

Specify the strength of any adaptive quantization filters that you enable. The value that you choose here applies to Spatial adaptive quantization.

Specify the Bit depth. You can choose 8-bit or 10-bit.

Film grain synthesis replaces film grain present in your content with similar quality synthesized AV1 film grain. We recommend that you choose Enabled to reduce the bandwidth of your QVBR quality level 5, 6, 7, or 8 outputs. For QVBR quality level 9 or 10 outputs we recommend that you keep the default value, Disabled. When you include Film grain synthesis, you cannot include the Noise reducer preprocessor.

Use the Framerate setting to specify the frame rate for this output. If you want to keep the same frame rate as the input video, choose Follow source. If you want to do frame rate conversion, choose a frame rate from the dropdown list or choose Custom. The framerates shown in the dropdown list are decimal approximations of fractions. If you choose Custom, specify your frame rate as a fraction.

Choose the method that you want MediaConvert to use when increasing or decreasing your video's frame rate. For numerically simple conversions, such as 60 fps to 30 fps: We recommend that you keep the default value, Drop duplicate. For numerically complex conversions, to avoid stutter: Choose Interpolate. This results in a smooth picture, but might introduce undesirable video artifacts. For complex frame rate conversions, especially if your source video has already been converted from its original cadence: Choose FrameFormer to do motion-compensated interpolation. FrameFormer uses the best conversion method frame by frame. Note that using FrameFormer increases the transcoding time and incurs a significant add-on cost. When you choose FrameFormer, your input video resolution must be at least 128x96. To create an output with the same number of frames as your input: Choose Maintain frame count. When you do, MediaConvert will not drop, interpolate, add, or otherwise change the frame count from your input to your output. Note that since the frame count is maintained, the duration of your output will become shorter at higher frame rates and longer at lower frame rates.

Settings for quality-defined variable bitrate encoding with the AV1 codec. Use these settings only when you set QVBR for Rate control mode.

'With AV1 outputs, for rate control mode, MediaConvert supports only quality-defined variable bitrate (QVBR). You can''t use CBR or VBR.'

Required when you set Codec, under VideoDescription>CodecSettings to the value AV1.

Keep the default value, Enabled, to adjust quantization within each frame based on spatial variation of content complexity. When you enable this feature, the encoder uses fewer bits on areas that can sustain more distortion with no noticeable visual degradation and uses more bits on areas where any small distortion will be noticeable. For example, complex textured blocks are encoded with fewer bits and smooth textured blocks are encoded with more bits. Enabling this feature will almost always improve your video quality. Note, though, that this feature doesn't take into account where the viewer's attention is likely to be. If viewers are likely to be focusing their attention on a part of the screen with a lot of complex texture, you might choose to disable this feature. Related setting: When you enable spatial adaptive quantization, set the value for Adaptive quantization depending on your content. For homogeneous content, such as cartoons and video games, set it to Low. For content with a wider variety of textures, set it to High or Higher.

Use ad avail blanking settings to specify your output content during SCTE-35 triggered ad avails. You can blank your video or overlay it with an image. MediaConvert also removes any audio and embedded captions during the ad avail. For more information, see https://docs.aws.amazon.com/mediaconvert/latest/ug/ad-avail-blanking.html.

Specify the AVC-Intra class of your output. The AVC-Intra class selection determines the output video bit rate depending on the frame rate of the output. Outputs with higher class values have higher bitrates and improved image quality. Note that for Class 4K/2K, MediaConvert supports only 4:2:2 chroma subsampling.

If you are using the console, use the Framerate setting to specify the frame rate for this output. If you want to keep the same frame rate as the input video, choose Follow source. If you want to do frame rate conversion, choose a frame rate from the dropdown list or choose Custom. The framerates shown in the dropdown list are decimal approximations of fractions. If you choose Custom, specify your frame rate as a fraction.

Choose the method that you want MediaConvert to use when increasing or decreasing your video's frame rate. For numerically simple conversions, such as 60 fps to 30 fps: We recommend that you keep the default value, Drop duplicate. For numerically complex conversions, to avoid stutter: Choose Interpolate. This results in a smooth picture, but might introduce undesirable video artifacts. For complex frame rate conversions, especially if your source video has already been converted from its original cadence: Choose FrameFormer to do motion-compensated interpolation. FrameFormer uses the best conversion method frame by frame. Note that using FrameFormer increases the transcoding time and incurs a significant add-on cost. When you choose FrameFormer, your input video resolution must be at least 128x96. To create an output with the same number of frames as your input: Choose Maintain frame count. When you do, MediaConvert will not drop, interpolate, add, or otherwise change the frame count from your input to your output. Note that since the frame count is maintained, the duration of your output will become shorter at higher frame rates and longer at lower frame rates.

Choose the scan line type for the output. Keep the default value, Progressive to create a progressive output, regardless of the scan type of your input. Use Top field first or Bottom field first to create an output that's interlaced with the same field polarity throughout. Use Follow, default top or Follow, default bottom to produce outputs with the same field polarity as the source. For jobs that have multiple inputs, the output field polarity might change over the course of the output. Follow behavior depends on the input scan type. If the source is interlaced, the output will be interlaced with the same polarity as the source. If the source is progressive, the output will be interlaced with top field bottom field first, depending on which of the Follow options you choose.

Use this setting for interlaced outputs, when your output frame rate is half of your input frame rate. In this situation, choose Optimized interlacing to create a better quality interlaced output. In this case, each progressive frame from the input corresponds to an interlaced field in the output. Keep the default value, Basic interlacing, for all other output frame rates. With basic interlacing, MediaConvert performs any frame rate conversion first and then interlaces the frames. When you choose Optimized interlacing and you set your output frame rate to a value that isn't suitable for optimized interlacing, MediaConvert automatically falls back to basic interlacing. Required settings: To use optimized interlacing, you must set Telecine to None or Soft. You can't use optimized interlacing for hard telecine outputs. You must also set Interlace mode to a value other than Progressive.

Required when you choose AVC-Intra for your output video codec. For more information about the AVC-Intra settings, see the relevant specification. For detailed information about SD and HD in AVC-Intra, see https://ieeexplore.ieee.org/document/7290936. For information about 4K/2K in AVC-Intra, see https://pro-av.panasonic.net/en/avc-ultra/AVC-ULTRAoverview.pdf.

Ignore this setting unless your input frame rate is 23.976 or 24 frames per second (fps). Enable slow PAL to create a 25 fps output. When you enable slow PAL, MediaConvert relabels the video frames to 25 fps and resamples your audio to keep it synchronized with the video. Note that enabling this setting will slightly reduce the duration of your video. Required settings: You must also set Framerate to 25.

When you do frame rate conversion from 23.976 frames per second (fps) to 29.97 fps, and your output scan type is interlaced, you can optionally enable hard telecine to create a smoother picture. When you keep the default value, None, MediaConvert does a standard frame rate conversion to 29.97 without doing anything with the field polarity to create a smoother picture.

Optional. Use Quality tuning level to choose how many transcoding passes MediaConvert does with your video. When you choose Multi-pass, your video quality is better and your output bitrate is more accurate. That is, the actual bitrate of your output is closer to the target bitrate defined in the specification. When you choose Single-pass, your encoding time is faster. The default behavior is Single-pass.

Optional when you set AVC-Intra class to Class 4K/2K. When you set AVC-Intra class to a different value, this object isn't allowed.

The service can't process your request because of a problem in the request. Please check your request form and syntax.

The Bandwidth reduction filter increases the video quality of your output relative to its bitrate. Use to lower the bitrate of your constant quality QVBR output, with little or no perceptual decrease in quality. Or, use to increase the video quality of outputs with other rate control modes relative to the bitrate that you specify. Bandwidth reduction increases further when your input is low quality or noisy. Outputs that use this feature incur pro-tier pricing. When you include Bandwidth reduction filter, you cannot include the Noise reducer preprocessor.

Optionally specify the level of sharpening to apply when you use the Bandwidth reduction filter. Sharpening adds contrast to the edges of your video content and can reduce softness. Keep the default value Off to apply no sharpening. Set Sharpening strength to Low to apply a minimal amount of sharpening, or High to apply a maximum amount of sharpening.

Specify the strength of the Bandwidth reduction filter. For most workflows, we recommend that you choose Auto to reduce the bandwidth of your output with little to no perceptual decrease in video quality. For high quality and high bitrate outputs, choose Low. For the most bandwidth reduction, choose High. We recommend that you choose High for low bitrate outputs. Note that High may incur a slight increase in the softness of your output.

The tag type that AWS Billing and Cost Management will use to sort your AWS Elemental MediaConvert costs on any billing report that you set up.

Burn-in is a captions delivery method, rather than a captions format. Burn-in writes the captions directly on your video frames, replacing pixels of video content with the captions. Set up burn-in captions in the same output as your video. For more information, see https://docs.aws.amazon.com/mediaconvert/latest/ug/burn-in-output-captions.html.

Specify the alignment of your captions. If no explicit x_position is provided, setting alignment to centered will placethe captions at the bottom center of the output. Similarly, setting a left alignment willalign captions to the bottom left of the output. If x and y positions are given in conjunction with the alignment parameter, the font will be justified (either left or centered) relative to those coordinates.

Ignore this setting unless Style passthrough is set to Enabled and Font color set to Black, Yellow, Red, Green, Blue, or Hex. Use Apply font color for additional font color controls. When you choose White text only, or leave blank, your font color setting only applies to white text in your input captions. For example, if your font color setting is Yellow, and your input captions have red and white text, your output captions will have red and yellow text. When you choose ALL_TEXT, your font color setting applies to all of your output captions text.

Specify the color of the rectangle behind the captions. Leave background color blank and set Style passthrough to enabled to use the background color data from your input captions, if present.

Specify the font that you want the service to use for your burn in captions when your input captions specify a font that MediaConvert doesn't support. When you set Fallback font to best match, or leave blank, MediaConvert uses a supported font that most closely matches the font that your input captions specify. When there are multiple unsupported fonts in your input captions, MediaConvert matches each font with the supported font that matches best. When you explicitly choose a replacement font, MediaConvert uses that font to replace all unsupported fonts from your input.

Specify the color of the burned-in captions text. Leave Font color blank and set Style passthrough to enabled to use the font color data from your input captions, if present.

Specify font outline color. Leave Outline color blank and set Style passthrough to enabled to use the font outline color data from your input captions, if present.

Specify the color of the shadow cast by the captions. Leave Shadow color blank and set Style passthrough to enabled to use the shadow color data from your input captions, if present.

To use the available style, color, and position information from your input captions: Set Style passthrough to Enabled. Note that MediaConvert uses default settings for any missing style or position information in your input captions To ignore the style and position information from your input captions and use default settings: Leave blank or keep the default value, Disabled. Default settings include white text with black outlining, bottom-center positioning, and automatic sizing. Whether you set Style passthrough to enabled or not, you can also choose to manually override any of the individual style and position settings. You can also override any fonts by manually specifying custom font files.

Specify whether the text spacing in your captions is set by the captions grid, or varies depending on letter width. Choose fixed grid to conform to the spacing specified in the captions file more accurately. Choose proportional to make the text easier to read for closed captions.

This object holds groups of settings related to captions for one output. For each output that has captions, include one instance of CaptionDescriptions.

Caption Description for preset

Settings related to one captions tab on the MediaConvert console. Usually, one captions tab corresponds to one output captions track. Depending on your output captions format, one tab might correspond to a set of output captions tracks. For more information, see https://docs.aws.amazon.com/mediaconvert/latest/ug/including-captions.html.

Specify the format for this set of captions on this output. The default format is embedded without SCTE-20. Note that your choice of video output container constrains your choice of output captions format. For more information, see https://docs.aws.amazon.com/mediaconvert/latest/ug/captions-support-tables.html. If you are using SCTE-20 and you want to create an output that complies with the SCTE-43 spec, choose SCTE-20 plus embedded. To create a non-compliant output where the embedded captions come first, choose Embedded plus SCTE-20.

Use captions selectors to specify the captions data from your input that you use in your outputs. You can use up to 100 captions selectors per input.

Choose whether to limit the byte rate at which your SCC input captions are inserted into your output. To not limit the caption rate: We recommend that you keep the default value, Disabled. MediaConvert inserts captions in your output according to the byte rates listed in the EIA-608 specification, typically 2 or 3 caption bytes per frame depending on your output frame rate. To limit your output caption rate: Choose Enabled. Choose this option if your downstream systems require a maximum of 2 caption bytes per frame. Note that this setting has no effect when your output frame rate is 30 or 60.

Choose the presentation style of your input SCC captions. To use the same presentation style as your input: Keep the default value, Disabled. To convert paint-on captions to pop-on: Choose Enabled. We also recommend that you choose Enabled if you notice additional repeated lines in your output captions.

Ignore this setting unless your input captions format is SCC. To have the service compensate for differing frame rates between your input captions and input video, specify the frame rate of the captions file. Specify this value as a fraction. For example, you might specify 24 / 1 for 24 fps, 25 / 1 for 25 fps, 24000 / 1001 for 23.976 fps, or 30000 / 1001 for 29.97 fps.

If your input captions are SCC, TTML, STL, SMI, SRT, or IMSC in an xml file, specify the URI of the input captions source file. If your input captions are IMSC in an IMF package, use TrackSourceSettings instead of FileSoureSettings.

Use Source to identify the format of your input captions. The service cannot auto-detect caption format.

Specify whether this set of input captions appears in your outputs in both STL and Teletext format. If you choose Upconvert, MediaConvert includes the captions data in two ways: it passes the STL data through using the Teletext compatibility bytes fields of the Teletext wrapper, and it also translates the STL data into Teletext.

Channel mapping contains the group of fields that hold the remixing value for each channel, in dB. Specify remix values to indicate how much of the content from your input audio channel you want in your output audio channels. Each instance of the InputChannels or InputChannelsFineTune array specifies these values for one output channel. Use one instance of this array for each output channel. In the console, each array corresponds to a column in the graphical depiction of the mapping matrix. The rows of the graphical matrix correspond to input channels. Valid values are within the range from -60 (mute) through 6. A setting of 0 passes the input channel unchanged to the output channel (no attenuation or amplification). Use InputChannels or InputChannelsFineTune to specify your remix values. Don't use both.

Specify the chroma sample positioning metadata for your H.264 or H.265 output. To have MediaConvert automatically determine chroma positioning: We recommend that you keep the default value, Auto. To specify center positioning: Choose Force center. To specify top left positioning: Choose Force top left.

Specify YUV limits and RGB tolerances when you set Sample range conversion to Limited range clip.

Specify the details for each pair of HLS and DASH additional manifests that you want the service to generate for this CMAF output group. Each pair of manifests can reference a different subset of outputs in the group.

Disable this setting only when your workflow requires the #EXT-X-ALLOW-CACHE:no tag. Otherwise, keep the default value Enabled and control caching in your video distribution set up. For example, use the Cache-Control http header.

Specification to use (RFC-6381 or the default RFC-4281) during m3u8 playlist generation.

Settings for CMAF encryption

Specify the encryption scheme that you want the service to use when encrypting your CMAF segments. Choose AES-CBC subsample or AES_CTR.

Settings related to your CMAF output package. For more information, see https://docs.aws.amazon.com/mediaconvert/latest/ug/outputs-file-ABR.html.

Specify whether MediaConvert generates images for trick play. Keep the default value, None, to not generate any images. Choose Thumbnail to generate tiled thumbnails. Choose Thumbnail and full frame to generate tiled thumbnails and full-resolution images of single frames. When you enable Write HLS manifest, MediaConvert creates a child manifest for each set of images that you generate and adds corresponding entries to the parent manifest. When you enable Write DASH manifest, MediaConvert adds an entry in the .mpd manifest for each set of images that you generate. A common application for these images is Roku trick mode. The thumbnails and full-frame images that MediaConvert creates with this feature are compatible with this Roku specification: https://developer.roku.com/docs/developer-program/media-playback/trick-mode/hls-and-dash.md

Tile and thumbnail settings applicable when imageBasedTrickPlay is ADVANCED

When you use DRM with CMAF outputs, choose whether the service writes the 128-bit encryption initialization vector in the HLS and DASH manifests.

The cadence MediaConvert follows for generating thumbnails. If set to FOLLOW_IFRAME, MediaConvert generates thumbnails for each IDR frame in the output (matching the GOP cadence). If set to FOLLOW_CUSTOM, MediaConvert generates thumbnails according to the interval you specify in thumbnailInterval.

Specify whether your DRM encryption key is static or from a key provider that follows the SPEKE standard. For more information about SPEKE, see https://docs.aws.amazon.com/speke/latest/documentation/what-is-speke.html.

When set to GZIP, compresses HLS playlist.

Indicates whether the output manifest should use floating point values for segment duration.

Specify how the value for bandwidth is determined for each video Representation in your output MPD manifest. We recommend that you choose a MPD manifest bandwidth type that is compatible with your downstream player configuration. Max: Use the same value that you specify for Max bitrate in the video output, in bits per second. Average: Use the calculated average bitrate of the encoded video output, in bits per second.

Specify whether your DASH profile is on-demand or main. When you choose Main profile, the service signals urn:mpeg:dash:profile:isoff-main:2011 in your .mpd DASH manifest. When you choose On-demand, the service signals urn:mpeg:dash:profile:isoff-on-demand:2011 in your .mpd. When you choose On-demand, you must also set the output group setting Segment control to Single file.

Use this setting only when your output video stream has B-frames, which causes the initial presentation time stamp (PTS) to be offset from the initial decode time stamp (DTS). Specify how MediaConvert handles PTS when writing time stamps in output DASH manifests. Choose Match initial PTS when you want MediaConvert to use the initial PTS as the first time stamp in the manifest. Choose Zero-based to have MediaConvert ignore the initial PTS in the video stream and instead write the initial time stamp as zero in the manifest. For outputs that don't have B-frames, the time stamps in your DASH manifests start at zero regardless of your choice here.

When set to SINGLE_FILE, a single output file is generated, which is internally segmented using the Fragment Length and Segment Length. When set to SEGMENTED_FILES, separate segment files will be created.

Specify how you want MediaConvert to determine segment lengths in this output group. To use the exact value that you specify under Segment length: Choose Exact. Note that this might result in additional I-frames in the output GOP. To create segment lengths that are a multiple of the GOP: Choose Multiple of GOP. MediaConvert will round up the segment lengths to match the next GOP boundary. To have MediaConvert automatically determine a segment duration that is a multiple of both the audio packets and the frame rates: Choose Match. When you do, also specify a target segment duration under Segment length. This is useful for some ad-insertion or segment replacement workflows. Note that Match has the following requirements: - Output containers: Include at least one video output and at least one audio output. Audio-only outputs are not supported. - Output frame rate: Follow source is not supported. - Multiple output frame rates: When you specify multiple outputs, we recommend they share a similar frame rate (as in X/3, X/2, X, or 2X). For example: 5, 15, 30 and 60. Or: 25 and 50. (Outputs must share an integer multiple.) - Output audio codec: Specify Advanced Audio Coding (AAC). - Output sample rate: Choose 48kHz.

Include or exclude RESOLUTION attribute for video in EXT-X-STREAM-INF tag of variant manifest.

When set to LEGACY, the segment target duration is always rounded up to the nearest integer value above its current value in seconds. When set to SPEC\\_COMPLIANT, the segment target duration is rounded up to the nearest integer value if fraction seconds are greater than or equal to 0.5 (>= 0.5) and rounded down if less than 0.5 (< 0.5). You may need to use LEGACY if your client needs to ensure that the target duration is always longer than the actual duration of the segment. Some older players may experience interrupted playback when the actual duration of a track in a segment is longer than the target duration.

Specify the video sample composition time offset mode in the output fMP4 TRUN box. For wider player compatibility, set Video composition offsets to Unsigned or leave blank. The earliest presentation time may be greater than zero, and sample composition time offsets will increment using unsigned integers. For strict fMP4 video and audio timing, set Video composition offsets to Signed. The earliest presentation time will be equal to zero, and sample composition time offsets will increment using signed integers.

When set to ENABLED, a DASH MPD manifest will be generated for this output.

When set to ENABLED, an Apple HLS manifest will be generated for this output.

When you enable Precise segment duration in DASH manifests, your DASH manifest shows precise segment durations. The segment duration information appears inside the SegmentTimeline element, inside SegmentTemplate at the Representation level. When this feature isn't enabled, the segment durations in your DASH manifest are approximate. The segment duration information appears in the duration attribute of the SegmentTemplate element.

Specify this setting only when your output will be consumed by a downstream repackaging workflow that is sensitive to very small duration differences between video and audio. For this situation, choose Match video duration. In all other cases, keep the default value, Default codec duration. When you choose Match video duration, MediaConvert pads the output audio streams with silence or trims them to ensure that the total duration of each audio stream is at least as long as the total duration of the video stream. After padding or trimming, the audio stream duration is no more than one frame longer than the video stream. MediaConvert applies audio padding or trimming only to the end of the last segment of the output. For unsegmented outputs, MediaConvert adds padding only to the end of the file. When you keep the default value, any minor discrepancies between audio and video duration will depend on your output audio codec.

Use this setting to control the values that MediaConvert puts in your HLS parent playlist to control how the client player selects which audio track to play. Choose Audio-only variant stream (AUDIO_ONLY_VARIANT_STREAM) for any variant that you want to prohibit the client from playing with video. This causes MediaConvert to represent the variant as an EXT-X-STREAM-INF in the HLS manifest. The other options for this setting determine the values that MediaConvert writes for the DEFAULT and AUTOSELECT attributes of the EXT-X-MEDIA entry for the audio variant. For more information about these attributes, see the Apple documentation article https://developer.apple.com/documentation/http_live_streaming/example_playlists_for_http_live_streaming/adding_alternate_media_to_a_playlist. Choose Alternate audio, auto select, default to set DEFAULT=YES and AUTOSELECT=YES. Choose this value for only one variant in your output group. Choose Alternate audio, auto select, not default to set DEFAULT=NO and AUTOSELECT=YES. Choose Alternate Audio, Not Auto Select to set DEFAULT=NO and AUTOSELECT=NO. When you don't specify a value for this setting, MediaConvert defaults to Alternate audio, auto select, default. When there is more than one variant in your output group, you must explicitly choose a value for this setting.

Specify whether to flag this audio track as descriptive video service (DVS) in your HLS parent manifest. When you choose Flag, MediaConvert includes the parameter CHARACTERISTICS="public.accessibility.describes-video" in the EXT-X-MEDIA entry for this track. When you keep the default choice, Don't flag, MediaConvert leaves this parameter out. The DVS flag can help with accessibility on Apple devices. For more information, see the Apple documentation.

Choose Include to have MediaConvert generate an HLS child manifest that lists only the I-frames for this rendition, in addition to your regular manifest for this rendition. You might use this manifest as part of a workflow that creates preview functions for your video. MediaConvert adds both the I-frame only child manifest and the regular child manifest to the parent manifest. When you don't need the I-frame only child manifest, keep the default value Exclude.

To include key-length-value metadata in this output: Set KLV metadata insertion to Passthrough. MediaConvert reads KLV metadata present in your input and writes each instance to a separate event message box in the output, according to MISB ST1910.1. To exclude this KLV metadata: Set KLV metadata insertion to None or leave blank.

To add an InbandEventStream element in your output MPD manifest for each type of event message, set Manifest metadata signaling to Enabled. For ID3 event messages, the InbandEventStream element schemeIdUri will be same value that you specify for ID3 metadata scheme ID URI. For SCTE35 event messages, the InbandEventStream element schemeIdUri will be "urn:scte:scte35:2013:bin". To leave these elements out of your output MPD manifest, set Manifest metadata signaling to Disabled. To enable Manifest metadata signaling, you must also set SCTE-35 source to Passthrough, ESAM SCTE-35 to insert, or ID3 metadata to Passthrough.

Use this setting only when you specify SCTE-35 markers from ESAM. Choose INSERT to put SCTE-35 markers in this output at the insertion points that you specify in an ESAM XML document. Provide the document in the setting SCC XML.

Ignore this setting unless you have SCTE-35 markers in your input video file. Choose Passthrough if you want SCTE-35 markers that appear in your input to also appear in this output. Choose None if you don't want those SCTE-35 markers in this output.

These settings relate to the fragmented MP4 container for the segments in your CMAF outputs.

To include ID3 metadata in this output: Set ID3 metadata to Passthrough. Specify this ID3 metadata in Custom ID3 metadata inserter. MediaConvert writes each instance of ID3 metadata in a separate Event Message (eMSG) box. To exclude this ID3 metadata: Set ID3 metadata to None or leave blank.

Specify the event message box (eMSG) version for ID3 timed metadata in your output. For more information, see ISO/IEC 23009-1:2022 section 5.10.3.3.3 Syntax. Leave blank to use the default value Version 0. When you specify Version 1, you must also set ID3 metadata to Passthrough.

Custom 3D lut settings

Settings for color correction.

Choose Insert for this setting to include color metadata in this output. Choose Ignore to exclude color metadata from this output. If you don't specify a value, the service sets this to Insert by default.

The color space color primaries of the video track.

If your input video has accurate color space metadata, or if you don't know about color space: Keep the default value, Follow. MediaConvert will automatically detect your input color space. If your input video has metadata indicating the wrong color space, or has missing metadata: Specify the accurate color space here. If your input video is HDR 10 and the SMPTE ST 2086 Mastering Display Color Volume static metadata isn't present in your video stream, or if that metadata is present but not accurate: Choose Force HDR 10. Specify correct values in the input HDR 10 metadata settings. For more information about HDR jobs, see https://docs.aws.amazon.com/console/mediaconvert/hdr. When you specify an input color space, MediaConvert uses the following color space metadata, which includes color primaries, transfer characteristics, and matrix coefficients: * HDR 10: BT.2020, PQ, BT.2020 non-constant * HLG 2020: BT.2020, HLG, BT.2020 non-constant * P3DCI (Theater): DCIP3, SMPTE 428M, BT.709 * P3D65 (SDR): Display P3, sRGB, BT.709 * P3D65 (HDR): Display P3, PQ, BT.709

Specify the color space you want for this output. The service supports conversion between HDR formats, between SDR formats, from SDR to HDR, and from HDR to SDR. SDR to HDR conversion doesn't upgrade the dynamic range. The converted video has an HDR format, but visually appears the same as an unconverted output. HDR to SDR conversion uses tone mapping to approximate the outcome of manually regrading from HDR to SDR. When you specify an output color space, MediaConvert uses the following color space metadata, which includes color primaries, transfer characteristics, and matrix coefficients: * HDR 10: BT.2020, PQ, BT.2020 non-constant * HLG 2020: BT.2020, HLG, BT.2020 non-constant * P3DCI (Theater): DCIP3, SMPTE 428M, BT.709 * P3D65 (SDR): Display P3, sRGB, BT.709 * P3D65 (HDR): Display P3, PQ, BT.709

There are two sources for color metadata, the input file and the job input settings Color space and HDR master display information settings. The Color space usage setting determines which takes precedence. Choose Force to use color metadata from the input job settings. If you don't specify values for those settings, the service defaults to using metadata from your input. FALLBACK - Choose Fallback to use color metadata from the source when it is present. If there's no color metadata in your input file, the service defaults to using values you specify in the input settings.

The length of the term of your reserved queue pricing plan commitment.

The service couldn't complete your request because there is a conflict with the current state of the resource.

The container of your media file. This information helps you understand the overall structure and details of your media, including format, duration, and track layout.

Container specific settings.

Container for this output. Some containers require a container settings object. If not specified, the default object will be created.

The action to take on copy and redistribution control XDS packets. If you select PASSTHROUGH, packets will not be changed. If you select STRIP, any packets will be removed in output captions.

Specify the details for each additional DASH manifest that you want the service to generate for this output group. Each manifest can reference a different subset of outputs in the group.

Specifies DRM settings for DASH outputs.

Use this setting only when your audio codec is a Dolby one (AC3, EAC3, or Atmos) and your downstream workflow requires that your DASH manifest use the Dolby channel configuration tag, rather than the MPEG one. For example, you might need to use this to make dynamic ad insertion work. Specify which audio channel configuration scheme ID URI MediaConvert writes in your DASH manifest. Keep the default value, MPEG channel configuration, to have MediaConvert write this: urn:mpeg:mpegB:cicp:ChannelConfiguration. Choose Dolby channel configuration to have MediaConvert write this instead: tag:dolby.com,2014:dash:audio_channel_configuration:2011.

Settings related to your DASH output package. For more information, see https://docs.aws.amazon.com/mediaconvert/latest/ug/outputs-file-ABR.html.

Supports HbbTV specification as indicated

Specify whether MediaConvert generates images for trick play. Keep the default value, None, to not generate any images. Choose Thumbnail to generate tiled thumbnails. Choose Thumbnail and full frame to generate tiled thumbnails and full-resolution images of single frames. MediaConvert adds an entry in the .mpd manifest for each set of images that you generate. A common application for these images is Roku trick mode. The thumbnails and full-frame images that MediaConvert creates with this feature are compatible with this Roku specification: https://developer.roku.com/docs/developer-program/media-playback/trick-mode/hls-and-dash.md

Tile and thumbnail settings applicable when imageBasedTrickPlay is ADVANCED

The cadence MediaConvert follows for generating thumbnails. If set to FOLLOW_IFRAME, MediaConvert generates thumbnails for each IDR frame in the output (matching the GOP cadence). If set to FOLLOW_CUSTOM, MediaConvert generates thumbnails according to the interval you specify in thumbnailInterval.

Specify how the value for bandwidth is determined for each video Representation in your output MPD manifest. We recommend that you choose a MPD manifest bandwidth type that is compatible with your downstream player configuration. Max: Use the same value that you specify for Max bitrate in the video output, in bits per second. Average: Use the calculated average bitrate of the encoded video output, in bits per second.

Specify whether your DASH profile is on-demand or main. When you choose Main profile, the service signals urn:mpeg:dash:profile:isoff-main:2011 in your .mpd DASH manifest. When you choose On-demand, the service signals urn:mpeg:dash:profile:isoff-on-demand:2011 in your .mpd. When you choose On-demand, you must also set the output group setting Segment control to Single file.

This setting can improve the compatibility of your output with video players on obsolete devices. It applies only to DASH H.264 outputs with DRM encryption. Choose Unencrypted SEI only to correct problems with playback on older devices. Otherwise, keep the default setting CENC v1. If you choose Unencrypted SEI, for that output, the service will exclude the access unit delimiter and will leave the SEI NAL units unencrypted.

Use this setting only when your output video stream has B-frames, which causes the initial presentation time stamp (PTS) to be offset from the initial decode time stamp (DTS). Specify how MediaConvert handles PTS when writing time stamps in output DASH manifests. Choose Match initial PTS when you want MediaConvert to use the initial PTS as the first time stamp in the manifest. Choose Zero-based to have MediaConvert ignore the initial PTS in the video stream and instead write the initial time stamp as zero in the manifest. For outputs that don't have B-frames, the time stamps in your DASH manifests start at zero regardless of your choice here.

When set to SINGLE_FILE, a single output file is generated, which is internally segmented using the Fragment Length and Segment Length. When set to SEGMENTED_FILES, separate segment files will be created.

Specify how you want MediaConvert to determine segment lengths in this output group. To use the exact value that you specify under Segment length: Choose Exact. Note that this might result in additional I-frames in the output GOP. To create segment lengths that are a multiple of the GOP: Choose Multiple of GOP. MediaConvert will round up the segment lengths to match the next GOP boundary. To have MediaConvert automatically determine a segment duration that is a multiple of both the audio packets and the frame rates: Choose Match. When you do, also specify a target segment duration under Segment length. This is useful for some ad-insertion or segment replacement workflows. Note that Match has the following requirements: - Output containers: Include at least one video output and at least one audio output. Audio-only outputs are not supported. - Output frame rate: Follow source is not supported. - Multiple output frame rates: When you specify multiple outputs, we recommend they share a similar frame rate (as in X/3, X/2, X, or 2X). For example: 5, 15, 30 and 60. Or: 25 and 50. (Outputs must share an integer multiple.) - Output audio codec: Specify Advanced Audio Coding (AAC). - Output sample rate: Choose 48kHz.

Specify the video sample composition time offset mode in the output fMP4 TRUN box. For wider player compatibility, set Video composition offsets to Unsigned or leave blank. The earliest presentation time may be greater than zero, and sample composition time offsets will increment using unsigned integers. For strict fMP4 video and audio timing, set Video composition offsets to Signed. The earliest presentation time will be equal to zero, and sample composition time offsets will increment using signed integers.

When you enable Precise segment duration in manifests, your DASH manifest shows precise segment durations. The segment duration information appears inside the SegmentTimeline element, inside SegmentTemplate at the Representation level. When this feature isn't enabled, the segment durations in your DASH manifest are approximate. The segment duration information appears in the duration attribute of the SegmentTemplate element.

Specify how MediaConvert writes SegmentTimeline in your output DASH manifest. To write a SegmentTimeline in each video Representation: Keep the default value, Basic. To write a common SegmentTimeline in the video AdaptationSet: Choose Compact. Note that MediaConvert will still write a SegmentTimeline in any Representation that does not share a common timeline. To write a video AdaptationSet for each different output framerate, and a common SegmentTimeline in each AdaptationSet: Choose Distinct.

Details about the media file's data track.

Specify the encryption mode that you used to encrypt your input files.

Only applies when you set Deinterlace mode to Deinterlace or Adaptive. Interpolate produces sharper pictures, while blend produces smoother motion. If your source file includes a ticker, such as a scrolling headline at the bottom of the frame: Choose Interpolate ticker or Blend ticker. To apply field doubling: Choose Linear interpolation. Note that Linear interpolation may introduce video artifacts into your output.

Settings for deinterlacer

Use Deinterlacer to choose how the service will do deinterlacing. Default is Deinterlace. - Deinterlace converts interlaced to progressive. - Inverse telecine converts Hard Telecine 29.97i to progressive 23.976p. - Adaptive auto-detects and converts to progressive.

Optional field, defaults to DEFAULT. Specify DEFAULT for this operation to return your endpoints if any exist, or to create an endpoint for you and return it if one doesn't already exist. Specify GET_ONLY to return your endpoints if any exist, or an empty list if none exist.

Settings associated with the destination. Will vary based on the type of destination

Create Dolby Vision Profile 5 or Profile 8.1 compatible video output.

Use these settings when you set DolbyVisionLevel6Mode to SPECIFY to override the MaxCLL and MaxFALL values in your input with new values.

Use Dolby Vision Mode to choose how the service will handle Dolby Vision MaxCLL and MaxFALL properies.

Required when you set Dolby Vision Profile to Profile 8.1. When you set Content mapping to None, content mapping is not applied to the HDR10-compatible signal. Depending on the source peak nit level, clipping might occur on HDR devices without Dolby Vision. When you set Content mapping to HDR10 1000, the transcoder creates a 1,000 nits peak HDR10-compatible signal by applying static content mapping to the source. This mode is speed-optimized for PQ10 sources with metadata that is created from analysis. For graded Dolby Vision content, be aware that creative intent might not be guaranteed with extreme 1,000 nits trims.

Required when you enable Dolby Vision. Use Profile 5 to include frame-interleaved Dolby Vision metadata in your output. Your input must include Dolby Vision metadata or an HDR10 YUV color space. Use Profile 8.1 to include frame-interleaved Dolby Vision metadata and HDR10 metadata in your output. Your input must include Dolby Vision metadata.

Applies only to 29.97 fps outputs. When this feature is enabled, the service will use drop-frame timecode on outputs. If it is not possible to use drop-frame timecode, the system will fall back to non-drop-frame. This setting is enabled by default when Timecode insertion or Timecode track is enabled.

Specify how MediaConvert handles the display definition segment (DDS). To exclude the DDS from this set of captions: Keep the default, None. To include the DDS: Choose Specified. When you do, also specify the offset coordinates of the display window with DDS x-coordinate and DDS y-coordinate. To include the DDS, but not include display window data: Choose No display window. When you do, you can write position metadata to the page composition segment (PCS) with DDS x-coordinate and DDS y-coordinate. For video resolutions with a height of 576 pixels or less, MediaConvert doesn't include the DDS, regardless of the value you choose for DDS handling. All burn-in and DVB-Sub font settings must match. To include the DDS, with optimized subtitle placement and reduced data overhead: We recommend that you choose Specified (optimal). This option provides the same visual positioning as Specified while using less bandwidth. This also supports resolutions higher than 1080p while maintaining full DVB-Sub compatibility. When you do, also specify the offset coordinates of the display window with DDS x-coordinate and DDS y-coordinate.

Use these settings to insert a DVB Network Information Table (NIT) in the transport stream of this output.

Use these settings to insert a DVB Service Description Table (SDT) in the transport stream of this output.

Settings related to DVB-Sub captions. Set up DVB-Sub captions in the same output as your video. For more information, see https://docs.aws.amazon.com/mediaconvert/latest/ug/dvb-sub-output-captions.html.

DVB Sub Source Settings

Specify the font that you want the service to use for your burn in captions when your input captions specify a font that MediaConvert doesn't support. When you set Fallback font to best match, or leave blank, MediaConvert uses a supported font that most closely matches the font that your input captions specify. When there are multiple unsupported fonts in your input captions, MediaConvert matches each font with the supported font that matches best. When you explicitly choose a replacement font, MediaConvert uses that font to replace all unsupported fonts from your input.

Specify the alignment of your captions. If no explicit x_position is provided, setting alignment to centered will placethe captions at the bottom center of the output. Similarly, setting a left alignment willalign captions to the bottom left of the output. If x and y positions are given in conjunction with the alignment parameter, the font will be justified (either left or centered) relative to those coordinates. Within your job settings, all of your DVB-Sub settings must be identical.

Ignore this setting unless Style Passthrough is set to Enabled and Font color set to Black, Yellow, Red, Green, Blue, or Hex. Use Apply font color for additional font color controls. When you choose White text only, or leave blank, your font color setting only applies to white text in your input captions. For example, if your font color setting is Yellow, and your input captions have red and white text, your output captions will have red and yellow text. When you choose ALL_TEXT, your font color setting applies to all of your output captions text.

Specify the color of the rectangle behind the captions. Leave background color blank and set Style passthrough to enabled to use the background color data from your input captions, if present.

Specify the color of the captions text. Leave Font color blank and set Style passthrough to enabled to use the font color data from your input captions, if present. Within your job settings, all of your DVB-Sub settings must be identical.

Specify font outline color. Leave Outline color blank and set Style passthrough to enabled to use the font outline color data from your input captions, if present. Within your job settings, all of your DVB-Sub settings must be identical.

Specify the color of the shadow cast by the captions. Leave Shadow color blank and set Style passthrough to enabled to use the shadow color data from your input captions, if present. Within your job settings, all of your DVB-Sub settings must be identical.

To use the available style, color, and position information from your input captions: Set Style passthrough to Enabled. Note that MediaConvert uses default settings for any missing style or position information in your input captions To ignore the style and position information from your input captions and use default settings: Leave blank or keep the default value, Disabled. Default settings include white text with black outlining, bottom-center positioning, and automatic sizing. Whether you set Style passthrough to enabled or not, you can also choose to manually override any of the individual style and position settings. You can also override any fonts by manually specifying custom font files.

Specify whether the Text spacing in your captions is set by the captions grid, or varies depending on letter width. Choose fixed grid to conform to the spacing specified in the captions file more accurately. Choose proportional to make the text easier to read for closed captions. Within your job settings, all of your DVB-Sub settings must be identical.

Specify whether your DVB subtitles are standard or for hearing impaired. Choose hearing impaired if your subtitles include audio descriptions and dialogue. Choose standard if your subtitles include only dialogue.

Use these settings to insert a DVB Time and Date Table (TDT) in the transport stream of this output.

Use Dynamic audio selectors when you do not know the track layout of your source when you submit your job, but want to select multiple audio tracks. When you include an audio track in your output and specify this Dynamic audio selector as the Audio source, MediaConvert creates an audio track within that output for each dynamically selected track. Note that when you include a Dynamic audio selector for two or more inputs, each input must have the same number of audio tracks and audio channels.

Specify which audio tracks to dynamically select from your source. To select all audio tracks: Keep the default value, All tracks. To select all audio tracks with a specific language code: Choose Language code. When you do, you must also specify a language code under the Language code setting. If there is no matching Language code in your source, then no track will be selected.

Specify the bitstream mode for the E-AC-3 stream that the encoder emits. For more information about the EAC3 bitstream mode, see ATSC A/52-2012 (Annex E).

The coding mode for Dolby Digital Plus JOC (Atmos).

Enable Dolby Dialogue Intelligence to adjust loudness based on dialogue analysis.

Specify whether MediaConvert should use any downmix metadata from your input file. Keep the default value, Custom to provide downmix values in your job settings. Choose Follow source to use the metadata from your input. Related settings--Use these settings to specify your downmix values: Left only/Right only surround, Left total/Right total surround, Left total/Right total center, Left only/Right only center, and Stereo downmix. When you keep Custom for Downmix control and you don't specify values for the related settings, MediaConvert uses default values for those settings.

Choose the Dolby dynamic range control (DRC) profile that MediaConvert uses when encoding the metadata in the Dolby stream for the line operating mode. Default value: Film light Related setting: To have MediaConvert use the value you specify here, keep the default value, Custom for the setting Dynamic range control. Otherwise, MediaConvert ignores Dynamic range compression line. For information about the Dolby DRC operating modes and profiles, see the Dynamic Range Control chapter of the Dolby Metadata Guide at https://developer.dolby.com/globalassets/professional/documents/dolby-metadata-guide.pdf.

Choose the Dolby dynamic range control (DRC) profile that MediaConvert uses when encoding the metadata in the Dolby stream for the RF operating mode. Default value: Film light Related setting: To have MediaConvert use the value you specify here, keep the default value, Custom for the setting Dynamic range control. Otherwise, MediaConvert ignores Dynamic range compression RF. For information about the Dolby DRC operating modes and profiles, see the Dynamic Range Control chapter of the Dolby Metadata Guide at https://developer.dolby.com/globalassets/professional/documents/dolby-metadata-guide.pdf.

Specify whether MediaConvert should use any dynamic range control metadata from your input file. Keep the default value, Custom, to provide dynamic range control values in your job settings. Choose Follow source to use the metadata from your input. Related settings--Use these settings to specify your dynamic range control values: Dynamic range compression line and Dynamic range compression RF. When you keep the value Custom for Dynamic range control and you don't specify values for the related settings, MediaConvert uses default values for those settings.

Choose how the service meters the loudness of your audio.

Required when you set Codec to the value EAC3_ATMOS.

Choose how the service does stereo downmixing. Default value: Not indicated Related setting: To have MediaConvert use this value, keep the default value, Custom for the setting Downmix control. Otherwise, MediaConvert ignores Stereo downmix.

Specify whether your input audio has an additional center rear surround channel matrix encoded into your left and right surround channels.

If set to ATTENUATE_3_DB, applies a 3 dB attenuation to the surround channels. Only used for 3/2 coding mode.

Specify the bitstream mode for the E-AC-3 stream that the encoder emits. For more information about the EAC3 bitstream mode, see ATSC A/52-2012 (Annex E).

Dolby Digital Plus coding mode. Determines number of channels.

Activates a DC highpass filter for all input channels.

Choose the Dolby Digital dynamic range control (DRC) profile that MediaConvert uses when encoding the metadata in the Dolby Digital stream for the line operating mode. Related setting: When you use this setting, MediaConvert ignores any value you provide for Dynamic range compression profile. For information about the Dolby Digital DRC operating modes and profiles, see the Dynamic Range Control chapter of the Dolby Metadata Guide at https://developer.dolby.com/globalassets/professional/documents/dolby-metadata-guide.pdf.

Choose the Dolby Digital dynamic range control (DRC) profile that MediaConvert uses when encoding the metadata in the Dolby Digital stream for the RF operating mode. Related setting: When you use this setting, MediaConvert ignores any value you provide for Dynamic range compression profile. For information about the Dolby Digital DRC operating modes and profiles, see the Dynamic Range Control chapter of the Dolby Metadata Guide at https://developer.dolby.com/globalassets/professional/documents/dolby-metadata-guide.pdf.

When encoding 3/2 audio, controls whether the LFE channel is enabled

Applies a 120Hz lowpass filter to the LFE channel prior to encoding. Only valid with 3_2_LFE coding mode.

When set to FOLLOW_INPUT, encoder metadata will be sourced from the DD, DD+, or DolbyE decoder that supplied this audio data. If audio was not supplied from one of these streams, then the static metadata settings will be used.

When set to WHEN_POSSIBLE, input DD+ audio will be passed through if it is present on the input. this detection is dynamic over the life of the transcode. Inputs that alternate between DD+ and non-DD+ content will have a consistent DD+ output as the system alternates between passthrough and encoding.

Controls the amount of phase-shift applied to the surround channels. Only used for 3/2 coding mode.

Required when you set Codec to the value EAC3.

Choose how the service does stereo downmixing. This setting only applies if you keep the default value of 3/2 - L, R, C, Ls, Rs for the setting Coding mode. If you choose a different value for Coding mode, the service ignores Stereo downmix.

When encoding 3/2 audio, sets whether an extra center back surround channel is matrix encoded into the left and right surround channels.

When encoding 2/0 audio, sets whether Dolby Surround is matrix encoded into the two channels.

Specify whether this set of input captions appears in your outputs in both 608 and 708 format. If you choose Upconvert, MediaConvert includes the captions data in two ways: it passes the 608 data through using the 608 compatibility bytes fields of the 708 wrapper, and it also translates the 608 data into 708.

Settings related to CEA/EIA-608 and CEA/EIA-708 (also called embedded or ancillary) captions. Set up embedded captions in the same output as your video. For more information, see https://docs.aws.amazon.com/mediaconvert/latest/ug/embedded-output-captions.html.

Settings for embedded captions Source

By default, the service terminates any unterminated captions at the end of each input. If you want the caption to continue onto your next input, disable this setting.

Set Embedded timecode override to Use MDPM when your AVCHD input contains timecode tag data in the Modified Digital Video Pack Metadata. When you do, we recommend you also set Timecode source to Embedded. Leave Embedded timecode override blank, or set to None, when your input does not contain MDPM timecode.

Specify the SPEKE version, either v1.0 or v2.0, that MediaConvert uses when encrypting your output. For more information, see: https://docs.aws.amazon.com/speke/latest/documentation/speke-api-specification.html To use SPEKE v1.0: Leave blank. To use SPEKE v2.0: Specify a SPEKE v2.0 video preset and a SPEKE v2.0 audio preset.

Describes an account-specific API endpoint.

ESAM ManifestConfirmConditionNotification defined by OC-SP-ESAM-API-I03-131025.

Settings for Event Signaling And Messaging (ESAM). If you don't do ad insertion, you can ignore these settings.

ESAM SignalProcessingNotification data defined by OC-SP-ESAM-API-I03-131025.

If your source content has EIA-608 Line 21 Data Services, enable this feature to specify what MediaConvert does with the Extended Data Services (XDS) packets. You can choose to pass through XDS packets, or remove them from the output. For more information about XDS, see EIA-608 Line Data Services, section 9.5.1.5 05h Content Advisory.

To place the MOOV atom at the beginning of your output, which is useful for progressive downloading: Leave blank or choose Progressive download. To place the MOOV at the end of your output: Choose Normal.

Settings for F4v container

Settings related to your File output group. MediaConvert uses this group of settings to generate a single standalone file, rather than a streaming package.

Specify whether this set of input captions appears in your outputs in both 608 and 708 format. If you choose Upconvert, MediaConvert includes the captions data in two ways: it passes the 608 data through using the 608 compatibility bytes fields of the 708 wrapper, and it also translates the 608 data into 708.

If your input captions are SCC, SMI, SRT, STL, TTML, WebVTT, or IMSC 1.1 in an xml file, specify the URI of the input caption source file. If your caption source is IMSC in an IMF package, use TrackSourceSettings instead of FileSoureSettings.

When you use the setting Time delta to adjust the sync between your sidecar captions and your video, use this setting to specify the units for the delta that you specify. When you don't specify a value for Time delta units, MediaConvert uses seconds by default.

Required when you set Codec, under AudioDescriptions>CodecSettings, to the value FLAC.

Provide the font script, using an ISO 15924 script code, if the LanguageCode is not sufficient for determining the script type. Where LanguageCode or CustomLanguageCode is sufficient, use "AUTOMATIC" or leave unset.

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Use Force include renditions to specify one or more resolutions to include your ABR stack. * (Recommended) To optimize automated ABR, specify as few resolutions as possible. * (Required) The number of resolutions that you specify must be equal to, or less than, the Max renditions setting. * If you specify a Min top rendition size rule, specify at least one resolution that is equal to, or greater than, Min top rendition size. * If you specify a Min bottom rendition size rule, only specify resolutions that are equal to, or greater than, Min bottom rendition size. * If you specify a Force include renditions rule, do not specify a separate rule for Allowed renditions. * Note: The ABR stack may include other resolutions that you do not specify here, depending on the Max renditions setting.

Required when you set Codec to the value FRAME_CAPTURE.

The frame rate of the video or audio track.

If you are using the console, use the Framerate setting to specify the frame rate for this output. If you want to keep the same frame rate as the input video, choose Follow source. If you want to do frame rate conversion, choose a frame rate from the dropdown list or choose Custom. The framerates shown in the dropdown list are decimal approximations of fractions. If you choose Custom, specify your frame rate as a fraction. If you are creating your transcoding job specification as a JSON file without the console, use FramerateControl to specify which value the service uses for the frame rate for this output. Choose INITIALIZE_FROM_SOURCE if you want the service to use the frame rate from the input. Choose SPECIFIED if you want the service to use the frame rate you specify in the settings FramerateNumerator and FramerateDenominator.