To encode a 24-hour YouTube video with FFmpeg using two-pass bitrate control, run FFmpeg once to analyze the video and write pass statistics, then run it again to create the output using those statistics. This is useful when you want to target a bitrate and estimate file size; it is not required for uploading to YouTube. First assemble the playlist into one video file: encoding a file does not create a YouTube playlist or schedule a live stream.
Before you encode: assemble and inspect the source
The commands below assume your playlist items have already been assembled into a single input file, such as input.mp4, with the intended resolution, frame rate, audio, and color characteristics. Creating that file—including joining clips with matching stream properties—is a separate task. Check your account’s current upload and duration limits as well; the cited encoding guidance does not establish what a particular account can upload.
Inspect the assembled file before committing to a 24-hour encode:
ffprobe -hide_banner -i input.mp4
Confirm the duration, video and audio streams, frame rate, dimensions, audio layout, and whether the video is interlaced. Also note whether the source is SDR or HDR and its color characteristics. These details determine which YouTube reference bitrate applies and whether you need deliberate scaling, frame-rate conversion, deinterlacing, or color handling.
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Keep enough working storage for the source, final output, pass logs, and any assembly intermediates. At 8 Mbps for video, a 24-hour video payload is approximately 86.4 decimal GB, calculated as 8 megabits per second × 86,400 seconds ÷ 8 bits per byte. Audio and container overhead add to that; this is an estimate, not a guaranteed final file size. Leave additional free space for temporary and working files.
Choose a bitrate that matches your upload
YouTube’s official upload recommendations are reference values, not mandatory limits. The appropriate target depends on resolution, frame-rate class, and whether the material is SDR or HDR. YouTube also recommends encoding and uploading at the recorded frame rate. For SDR it recommends BT.709; preserve or correctly signal the source’s color characteristics rather than adding color tags blindly.
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| Resolution | SDR standard frame rate | SDR high frame rate | HDR standard frame rate | HDR high frame rate |
|---|---|---|---|---|
| 360p | 1 Mbps | 1.5 Mbps | Not listed in the cited guidance | Not listed in the cited guidance |
| 480p | 2.5 Mbps | 4 Mbps | Not listed in the cited guidance | Not listed in the cited guidance |
| 720p | 5 Mbps | 7.5 Mbps | Not listed in the cited guidance | Not listed in the cited guidance |
| 1080p | 8 Mbps | 12 Mbps | 10 Mbps | 15 Mbps |
| 1440p | 16 Mbps | 24 Mbps | 20 Mbps | 30 Mbps |
| 2160p | 35–45 Mbps | 53–68 Mbps | 44–56 Mbps | 66–85 Mbps |
These are YouTube’s recommendations for the respective resolution and frame-rate groups, not measurements of the quality you will get from a particular source. For stereo audio, the same YouTube page gives 384 kbps as a reference. The page recommends MP4, H.264 video, progressive scan, High Profile, two consecutive B frames, closed GOP with a GOP duration of half the frame rate, CABAC, variable bitrate, and 4:2:0 chroma. Its audio recommendations include AAC-LC, Opus, or Eclipsa Audio at 48 kHz. See YouTube’s recommended upload encoding settings for the full guidance and supported audio channel combinations.
The example below uses 8 Mbps for the video, matching YouTube’s SDR reference for 1080p at the standard frame-rate group. If your source is HDR, a different resolution, or in YouTube’s high-frame-rate group, select the applicable reference instead. Do not change frame rate merely to fit a bitrate category.
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Run FFmpeg’s two-pass encode
This Linux/macOS template uses FFmpeg’s libx264 encoder to produce an H.264 MP4. Replace the input, output, and bitrate as needed. It is an illustrative template, not a command tested against your specific input or FFmpeg build.
Pass 1: analyze the video
ffmpeg -i input.mp4
-map 0:v:0 -c:v libx264 -preset medium -b:v 8M
-pass 1 -passlogfile encode_stats -an -f null /dev/null
This pass reads the selected first video stream, analyzes it, and writes statistics using the encode_stats prefix. It does not create the final video file. On Windows, use NUL rather than /dev/null for the null device; output muxer handling can differ, so check your installed FFmpeg version.
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Pass 2: create the output
ffmpeg -i input.mp4
-map 0:v:0 -c:v libx264 -preset medium -b:v 8M
-pass 2 -passlogfile encode_stats
-map 0:a? -c:a aac -b:a 384k -ar 48000
-pix_fmt yuv420p -movflags +faststart output.mp4
The second command encodes the video using the analysis statistics and adds audio if an audio stream is present. In this example, audio is re-encoded to AAC at 384 kbps and 48 kHz. If the source audio already has the format you want, copying it or choosing different audio settings may be more appropriate. Check the resulting file’s streams and playback before uploading.
The commands rely on libx264 being available in your FFmpeg build. FFmpeg’s general bitrate options are in bits per second, so 8M means 8 megabits per second. For two-pass encoding, keep the input, selected video stream, encoder, target bitrate, and material video filters or options aligned across both passes. If you add scaling, deinterlacing, frame-rate conversion, or other video filters, apply the same intended processing in both passes. Use a unique pass-log prefix for each input or simultaneous job so they do not overwrite one another. FFmpeg documents these options in its full documentation and codec documentation.
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Understand the trade-offs and verify the result
Two-pass bitrate encoding spends a complete first pass analyzing the video so the second pass can allocate bits toward the target average bitrate. The trade-off is the extra analysis pass and its processing time. How long either pass takes depends on the computer, FFmpeg build, source, filters, and encoder settings; there is no reliable universal completion-time estimate.
Use bitrate-based two-pass encoding when a deliberate average bitrate or approximate output size matters. Do not casually combine this example with -crf: CRF is a quality-oriented rate-control mode, while this template targets bitrate. A quality-based encode may produce a less predictable size, whereas a target bitrate gives you a more useful size estimate but does not guarantee a particular visual quality for every source.
- After encoding, use
ffprobeto check the output duration, video and audio streams, dimensions, frame rate, and codecs. - Play the beginning, a few points through the file, and the end to catch missing audio, broken joins, or unexpected visual changes.
- Compare the output’s color and appearance with the source. YouTube explains how unspecified or unsupported color metadata can affect its interpretation, so do not apply generic color tags without knowing the source.
- Review your rights to every source item and YouTube’s current rules before publishing. Encoding settings do not establish permission to use material or guarantee that a video will be eligible for monetization.
Troubleshoot common failures
- FFmpeg reports that
libx264is unavailable: your installed build may not include that encoder. Check the build’s available encoders and use a build or encoder that supports your intended workflow; hardware encoders have different options and behavior. - The second pass cannot find statistics: confirm that pass one completed, both commands use the same
-passlogfileprefix and working directory, and the log files remain available. - The output is much larger or smaller than expected: bitrate estimates describe the video payload, not the exact MP4 size. Check the selected bitrate, duration, audio settings, and output streams; allow for audio and container overhead.
- Video or audio is missing: inspect the input stream list, confirm the intended stream mapping, and check that the output contains the expected streams. The example selects the first video stream and optionally maps audio streams.
- The output looks stretched, stutters, or has odd color: verify the source dimensions, frame rate, interlacing, and color metadata. Apply only the scaling, deinterlacing, frame-rate, or color processing that the source requires, consistently in both passes.
- The encode stops because storage fills: check free space before starting and include room for the assembled source, output, logs, and intermediates. A long video can require substantial working capacity.
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