File: types.go

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// Code generated by smithy-go-codegen DO NOT EDIT.

package types

import (
	smithydocument "github.com/aws/smithy-go/document"
	"time"
)

// 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.
type AacSettings struct {

	// 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.
	AudioDescriptionBroadcasterMix AacAudioDescriptionBroadcasterMix

	// Specify the average bitrate in bits per second. The set of valid values for
	// this setting is: 6000, 8000, 10000, 12000, 14000, 16000, 20000, 24000, 28000,
	// 32000, 40000, 48000, 56000, 64000, 80000, 96000, 112000, 128000, 160000, 192000,
	// 224000, 256000, 288000, 320000, 384000, 448000, 512000, 576000, 640000, 768000,
	// 896000, 1024000. The value you set is also constrained by the values that you
	// choose for Profile, Bitrate control mode, and Sample rate. Default values depend
	// on Bitrate control mode and Profile.
	Bitrate *int32

	// 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.
	CodecProfile AacCodecProfile

	// 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.
	CodingMode AacCodingMode

	// 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.
	RateControlMode AacRateControlMode

	// 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.
	RawFormat AacRawFormat

	// Specify the AAC sample rate in samples per second (Hz). Valid sample rates
	// depend on the AAC profile and Coding mode that you select. For a list of
	// supported sample rates, see:
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/aac-support.html
	SampleRate *int32

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

	// 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
	VbrQuality AacVbrQuality

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}

// Required when you set Codec to the value AC3.
type Ac3Settings struct {

	// Specify the average bitrate in bits per second. The bitrate that you specify
	// must be a multiple of 8000 within the allowed minimum and maximum values. Leave
	// blank to use the default bitrate for the coding mode you select according ETSI
	// TS 102 366. Valid bitrates for coding mode 1/0: Default: 96000. Minimum: 64000.
	// Maximum: 128000. Valid bitrates for coding mode 1/1: Default: 192000. Minimum:
	// 128000. Maximum: 384000. Valid bitrates for coding mode 2/0: Default: 192000.
	// Minimum: 128000. Maximum: 384000. Valid bitrates for coding mode 3/2 with FLE:
	// Default: 384000. Minimum: 384000. Maximum: 640000.
	Bitrate *int32

	// 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).
	BitstreamMode Ac3BitstreamMode

	// Dolby Digital coding mode. Determines number of channels.
	CodingMode Ac3CodingMode

	// Sets the dialnorm for the output. If blank and input audio is Dolby Digital,
	// dialnorm will be passed through.
	Dialnorm *int32

	// 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.
	DynamicRangeCompressionLine Ac3DynamicRangeCompressionLine

	// 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.
	DynamicRangeCompressionProfile Ac3DynamicRangeCompressionProfile

	// 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.
	DynamicRangeCompressionRf Ac3DynamicRangeCompressionRf

	// Applies a 120Hz lowpass filter to the LFE channel prior to encoding. Only valid
	// with 3_2_LFE coding mode.
	LfeFilter Ac3LfeFilter

	// 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.
	MetadataControl Ac3MetadataControl

	// This value is always 48000. It represents the sample rate in Hz.
	SampleRate *int32

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}

// Accelerated transcoding can significantly speed up jobs with long, visually
// complex content.
type AccelerationSettings struct {

	// Specify the conditions when the service will run your job with accelerated
	// transcoding.
	//
	// This member is required.
	Mode AccelerationMode

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}

// Optional settings for Advanced input filter when you set Advanced input filter
// to Enabled.
type AdvancedInputFilterSettings struct {

	// 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.
	AddTexture AdvancedInputFilterAddTexture

	// 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.
	Sharpening AdvancedInputFilterSharpen

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}

// Required when you set Codec to the value AIFF.
type AiffSettings struct {

	// Specify Bit depth, in bits per sample, to choose the encoding quality for this
	// audio track.
	BitDepth *int32

	// Specify the number of channels in this output audio track. Valid values are 1
	// and even numbers up to 64. For example, 1, 2, 4, 6, and so on, up to 64.
	Channels *int32

	// Sample rate in Hz.
	SampleRate *int32

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}

// 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.
type AllowedRenditionSize struct {

	// Use Height to define the video resolution height, in pixels, for this rule.
	Height *int32

	// Set to ENABLED to force a rendition to be included.
	Required RequiredFlag

	// Use Width to define the video resolution width, in pixels, for this rule.
	Width *int32

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}

// Settings for ancillary captions source.
type AncillarySourceSettings struct {

	// 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.
	Convert608To708 AncillaryConvert608To708

	// Specifies the 608 channel number in the ancillary data track from which to
	// extract captions. Unused for passthrough.
	SourceAncillaryChannelNumber *int32

	// 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.
	TerminateCaptions AncillaryTerminateCaptions

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}

// 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.
type AudioChannelTaggingSettings struct {

	// 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.
	ChannelTag AudioChannelTag

	// 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.
	ChannelTags []AudioChannelTag

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}

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

	// 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.
	AacSettings *AacSettings

	// Required when you set Codec to the value AC3.
	Ac3Settings *Ac3Settings

	// Required when you set Codec to the value AIFF.
	AiffSettings *AiffSettings

	// 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
	Codec AudioCodec

	// Required when you set Codec to the value EAC3_ATMOS.
	Eac3AtmosSettings *Eac3AtmosSettings

	// Required when you set Codec to the value EAC3.
	Eac3Settings *Eac3Settings

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

	// Required when you set Codec to the value MP2.
	Mp2Settings *Mp2Settings

	// Required when you set Codec, under AudioDescriptions>CodecSettings, to the
	// value MP3.
	Mp3Settings *Mp3Settings

	// Required when you set Codec, under AudioDescriptions>CodecSettings, to the
	// value OPUS.
	OpusSettings *OpusSettings

	// Required when you set Codec, under AudioDescriptions>CodecSettings, to the
	// value Vorbis.
	VorbisSettings *VorbisSettings

	// Required when you set Codec to the value WAV.
	WavSettings *WavSettings

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}

// 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.
type AudioDescription struct {

	// 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.
	AudioChannelTaggingSettings *AudioChannelTaggingSettings

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

	// Specifies which audio data to use from each input. In the simplest case,
	// specify an "Audio Selector":#inputs-audio_selector by name based on its order
	// within each input. For example if you specify "Audio Selector 3", then the third
	// audio selector will be used from each input. If an input does not have an "Audio
	// Selector 3", then the audio selector marked as "default" in that input will be
	// used. If there is no audio selector marked as "default", silence will be
	// inserted for the duration of that input. Alternatively, an "Audio Selector
	// Group":#inputs-audio_selector_group name may be specified, with similar
	// default/silence behavior. If no audio_source_name is specified, then "Audio
	// Selector 1" will be chosen automatically.
	AudioSourceName *string

	// Applies only if Follow Input Audio Type is unchecked (false). A number between
	// 0 and 255. The following are defined in ISO-IEC 13818-1: 0 = Undefined, 1 =
	// Clean Effects, 2 = Hearing Impaired, 3 = Visually Impaired Commentary, 4-255 =
	// Reserved.
	AudioType *int32

	// 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.
	AudioTypeControl AudioTypeControl

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

	// Specify the language for this audio output track. The service puts this
	// language code into your output audio track when you set Language code control to
	// Use configured. The service also uses your specified custom language code when
	// you set Language code control to Follow input, but your input file doesn't
	// specify a language code. For all outputs, you can use an ISO 639-2 or ISO 639-3
	// code. For streaming outputs, you can also use any other code in the full
	// RFC-5646 specification. Streaming outputs are those that are in one of the
	// following output groups: CMAF, DASH ISO, Apple HLS, or Microsoft Smooth
	// Streaming.
	CustomLanguageCode *string

	// Indicates the language of the audio output track. The ISO 639 language
	// specified in the 'Language Code' drop down will be used when 'Follow Input
	// Language Code' is not selected or when 'Follow Input Language Code' is selected
	// but there is no ISO 639 language code specified by the input.
	LanguageCode LanguageCode

	// 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.
	LanguageCodeControl AudioLanguageCodeControl

	// Advanced audio remixing settings.
	RemixSettings *RemixSettings

	// Specify a label for this output audio stream. For example, "English", "Director
	// commentary", or "track_2". For streaming outputs, MediaConvert passes this
	// information into destination manifests for display on the end-viewer's player
	// device. For outputs in other output groups, the service ignores this setting.
	StreamName *string

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}

// Advanced audio normalization settings. Ignore these settings unless you need to
// comply with a loudness standard.
type AudioNormalizationSettings struct {

	// 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.
	Algorithm AudioNormalizationAlgorithm

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

	// Content measuring above this level will be corrected to the target level.
	// Content measuring below this level will not be corrected.
	CorrectionGateLevel *int32

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

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

	// When you use Audio normalization, optionally use this setting to specify a
	// target loudness. If you don't specify a value here, the encoder chooses a value
	// for you, based on the algorithm that you choose for Algorithm. If you choose
	// algorithm 1770-1, the encoder will choose -24 LKFS; otherwise, the encoder will
	// choose -23 LKFS.
	TargetLkfs *float64

	// Specify the True-peak limiter threshold in decibels relative to full scale
	// (dBFS). The peak inter-audio sample loudness in your output will be limited to
	// the value that you specify, without affecting the overall target LKFS. Enter a
	// value from 0 to -8. Leave blank to use the default value 0.
	TruePeakLimiterThreshold *float64

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}

// 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.
type AudioSelector struct {

	// 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.
	AudioDurationCorrection AudioDurationCorrection

	// Selects a specific language code from within an audio source, using the ISO
	// 639-2 or ISO 639-3 three-letter language code
	CustomLanguageCode *string

	// 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.
	DefaultSelection AudioDefaultSelection

	// Specifies audio data from an external file source.
	ExternalAudioFileInput *string

	// Settings specific to audio sources in an HLS alternate rendition group. Specify
	// the properties (renditionGroupId, renditionName or renditionLanguageCode) to
	// identify the unique audio track among the alternative rendition groups present
	// in the HLS manifest. If no unique track is found, or multiple tracks match the
	// properties provided, the job fails. If no properties in
	// hlsRenditionGroupSettings are specified, the default audio track within the
	// video segment is chosen. If there is no audio within video segment, the
	// alternative audio with DEFAULT=YES is chosen instead.
	HlsRenditionGroupSettings *HlsRenditionGroupSettings

	// Selects a specific language code from within an audio source.
	LanguageCode LanguageCode

	// Specifies a time delta in milliseconds to offset the audio from the input video.
	Offset *int32

	// Selects a specific PID from within an audio source (e.g. 257 selects PID 0x101).
	Pids []int32

	// Use this setting for input streams that contain Dolby E, to have the service
	// extract specific program data from the track. To select multiple programs,
	// create multiple selectors with the same Track and different Program numbers. In
	// the console, this setting is visible when you set Selector type to Track. Choose
	// the program number from the dropdown list. If your input file has incorrect
	// metadata, you can choose All channels instead of a program number to have the
	// service ignore the program IDs and include all the programs in the track.
	ProgramSelection *int32

	// Use these settings to reorder the audio channels of one input to match those of
	// another input. This allows you to combine the two files into a single output,
	// one after the other.
	RemixSettings *RemixSettings

	// Specifies the type of the audio selector.
	SelectorType AudioSelectorType

	// Identify a track from the input audio to include in this selector by entering
	// the track index number. To include several tracks in a single audio selector,
	// specify multiple tracks as follows. Using the console, enter a comma-separated
	// list. For example, type "1,2,3" to include tracks 1 through 3.
	Tracks []int32

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}

// 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.
type AudioSelectorGroup struct {

	// Name of an Audio Selector within the same input to include in the group. Audio
	// selector names are standardized, based on their order within the input (e.g.,
	// "Audio Selector 1"). The audio selector name parameter can be repeated to add
	// any number of audio selectors to the group.
	AudioSelectorNames []string

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}

// Specify one or more Automated ABR rule types. Note: Force include and Allowed
// renditions are mutually exclusive.
type AutomatedAbrRule struct {

	// When customer adds the allowed renditions rule for auto ABR ladder, they are
	// required to add at leat one rendition to allowedRenditions list
	AllowedRenditions []AllowedRenditionSize

	// When customer adds the force include renditions rule for auto ABR ladder, they
	// are required to add at leat one rendition to forceIncludeRenditions list
	ForceIncludeRenditions []ForceIncludeRenditionSize

	// Use Min bottom rendition size to specify a minimum size for the lowest
	// resolution in your ABR stack. * The lowest resolution in your ABR stack will be
	// equal to or greater than the value that you enter. For example: If you specify
	// 640x360 the lowest resolution in your ABR stack will be equal to or greater than
	// to 640x360. * If you specify a Min top rendition size rule, the value that you
	// specify for Min bottom rendition size must be less than, or equal to, Min top
	// rendition size.
	MinBottomRenditionSize *MinBottomRenditionSize

	// Use Min top rendition size to specify a minimum size for the highest resolution
	// in your ABR stack. * The highest resolution in your ABR stack will be equal to
	// or greater than the value that you enter. For example: If you specify 1280x720
	// the highest resolution in your ABR stack will be equal to or greater than
	// 1280x720. * If you specify a value for Max resolution, the value that you
	// specify for Min top rendition size must be less than, or equal to, Max
	// resolution.
	MinTopRenditionSize *MinTopRenditionSize

	// Use Min top rendition size to specify a minimum size for the highest resolution
	// in your ABR stack. * The highest resolution in your ABR stack will be equal to
	// or greater than the value that you enter. For example: If you specify 1280x720
	// the highest resolution in your ABR stack will be equal to or greater than
	// 1280x720. * If you specify a value for Max resolution, the value that you
	// specify for Min top rendition size must be less than, or equal to, Max
	// resolution. Use Min bottom rendition size to specify a minimum size for the
	// lowest resolution in your ABR stack. * The lowest resolution in your ABR stack
	// will be equal to or greater than the value that you enter. For example: If you
	// specify 640x360 the lowest resolution in your ABR stack will be equal to or
	// greater than to 640x360. * If you specify a Min top rendition size rule, the
	// value that you specify for Min bottom rendition size must be less than, or equal
	// to, Min top rendition size. 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. Use Allowed renditions to specify
	// a list of possible resolutions in your ABR stack. * (Required) The number of
	// resolutions that you specify must be equal to, or greater than, the Max
	// renditions setting. * 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.
	Type RuleType

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}

// 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.
type AutomatedAbrSettings struct {

	// Specify the maximum average bitrate for MediaConvert to use in your automated
	// ABR stack. If you don't specify a value, MediaConvert uses 8,000,000 (8 mb/s) by
	// default. The average bitrate of your highest-quality rendition will be equal to
	// or below this value, depending on the quality, complexity, and resolution of
	// your content. Note that the instantaneous maximum bitrate may vary above the
	// value that you specify.
	MaxAbrBitrate *int32

	// Optional. The maximum number of renditions that MediaConvert will create in
	// your automated ABR stack. The number of renditions is determined automatically,
	// based on analysis of each job, but will never exceed this limit. When you set
	// this to Auto in the console, which is equivalent to excluding it from your JSON
	// job specification, MediaConvert defaults to a limit of 15.
	MaxRenditions *int32

	// Specify the minimum average bitrate for MediaConvert to use in your automated
	// ABR stack. If you don't specify a value, MediaConvert uses 600,000 (600 kb/s) by
	// default. The average bitrate of your lowest-quality rendition will be near this
	// value. Note that the instantaneous minimum bitrate may vary below the value that
	// you specify.
	MinAbrBitrate *int32

	// Optional. Use Automated ABR rules to specify restrictions for the rendition
	// sizes MediaConvert will create in your ABR stack. You can use these rules if
	// your ABR workflow has specific rendition size requirements, but you still want
	// MediaConvert to optimize for video quality and overall file size.
	Rules []AutomatedAbrRule

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}

// Use automated encoding to have MediaConvert choose your encoding settings for
// you, based on characteristics of your input video.
type AutomatedEncodingSettings struct {

	// 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.
	AbrSettings *AutomatedAbrSettings

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}

// Settings for quality-defined variable bitrate encoding with the AV1 codec. Use
// these settings only when you set QVBR for Rate control mode.
type Av1QvbrSettings struct {

	// Use this setting only when you set Rate control mode to QVBR. Specify the
	// target quality level for this output. MediaConvert determines the right number
	// of bits to use for each part of the video to maintain the video quality that you
	// specify. When you keep the default value, AUTO, MediaConvert picks a quality
	// level for you, based on characteristics of your input video. If you prefer to
	// specify a quality level, specify a number from 1 through 10. Use higher numbers
	// for greater quality. Level 10 results in nearly lossless compression. The
	// quality level for most broadcast-quality transcodes is between 6 and 9.
	// Optionally, to specify a value between whole numbers, also provide a value for
	// the setting qvbrQualityLevelFineTune. For example, if you want your QVBR quality
	// level to be 7.33, set qvbrQualityLevel to 7 and set qvbrQualityLevelFineTune to
	// .33.
	QvbrQualityLevel *int32

	// Optional. Specify a value here to set the QVBR quality to a level that is
	// between whole numbers. For example, if you want your QVBR quality level to be
	// 7.33, set qvbrQualityLevel to 7 and set qvbrQualityLevelFineTune to .33.
	// MediaConvert rounds your QVBR quality level to the nearest third of a whole
	// number. For example, if you set qvbrQualityLevel to 7 and you set
	// qvbrQualityLevelFineTune to .25, your actual QVBR quality level is 7.33.
	QvbrQualityLevelFineTune *float64

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}

// Required when you set Codec, under VideoDescription>CodecSettings to the value
// AV1.
type Av1Settings struct {

	// Specify the strength of any adaptive quantization filters that you enable. The
	// value that you choose here applies to Spatial adaptive quantization.
	AdaptiveQuantization Av1AdaptiveQuantization

	// Specify the Bit depth. You can choose 8-bit or 10-bit.
	BitDepth Av1BitDepth

	// 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.
	FilmGrainSynthesis Av1FilmGrainSynthesis

	// 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.
	FramerateControl Av1FramerateControl

	// Choose the method that you want MediaConvert to use when increasing or
	// decreasing the 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.
	FramerateConversionAlgorithm Av1FramerateConversionAlgorithm

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateDenominator to specify the denominator of this fraction. In this
	// example, use 1001 for the value of FramerateDenominator. When you use the
	// console for transcode jobs that use frame rate conversion, provide the value as
	// a decimal number for Framerate. In this example, specify 23.976.
	FramerateDenominator *int32

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateNumerator to specify the numerator of this fraction. In this example,
	// use 24000 for the value of FramerateNumerator. When you use the console for
	// transcode jobs that use frame rate conversion, provide the value as a decimal
	// number for Framerate. In this example, specify 23.976.
	FramerateNumerator *int32

	// Specify the GOP length (keyframe interval) in frames. With AV1, MediaConvert
	// doesn't support GOP length in seconds. This value must be greater than zero and
	// preferably equal to 1 + ((numberBFrames + 1) * x), where x is an integer value.
	GopSize *float64

	// Maximum bitrate in bits/second. For example, enter five megabits per second as
	// 5000000. Required when Rate control mode is QVBR.
	MaxBitrate *int32

	// Specify from the number of B-frames, in the range of 0-15. For AV1 encoding, we
	// recommend using 7 or 15. Choose a larger number for a lower bitrate and smaller
	// file size; choose a smaller number for better video quality.
	NumberBFramesBetweenReferenceFrames *int32

	// Settings for quality-defined variable bitrate encoding with the H.265 codec.
	// Use these settings only when you set QVBR for Rate control mode.
	QvbrSettings *Av1QvbrSettings

	// 'With AV1 outputs, for rate control mode, MediaConvert supports only
	// quality-defined variable bitrate (QVBR). You can''t use CBR or VBR.'
	RateControlMode Av1RateControlMode

	// Specify the number of slices per picture. This value must be 1, 2, 4, 8, 16, or
	// 32. For progressive pictures, this value must be less than or equal to the
	// number of macroblock rows. For interlaced pictures, this value must be less than
	// or equal to half the number of macroblock rows.
	Slices *int32

	// 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.
	SpatialAdaptiveQuantization Av1SpatialAdaptiveQuantization

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}

// 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.
type AvailBlanking struct {

	// Blanking image to be used. Leave empty for solid black. Only bmp and png images
	// are supported.
	AvailBlankingImage *string

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}

// 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.
type AvcIntraSettings struct {

	// 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.
	AvcIntraClass AvcIntraClass

	// 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.
	AvcIntraUhdSettings *AvcIntraUhdSettings

	// 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.
	FramerateControl AvcIntraFramerateControl

	// Choose the method that you want MediaConvert to use when increasing or
	// decreasing the 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.
	FramerateConversionAlgorithm AvcIntraFramerateConversionAlgorithm

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateDenominator to specify the denominator of this fraction. In this
	// example, use 1001 for the value of FramerateDenominator. When you use the
	// console for transcode jobs that use frame rate conversion, provide the value as
	// a decimal number for Framerate. In this example, specify 23.976.
	FramerateDenominator *int32

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateNumerator to specify the numerator of this fraction. In this example,
	// use 24000 for the value of FramerateNumerator. When you use the console for
	// transcode jobs that use frame rate conversion, provide the value as a decimal
	// number for Framerate. In this example, specify 23.976.
	FramerateNumerator *int32

	// 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.
	InterlaceMode AvcIntraInterlaceMode

	// 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.
	ScanTypeConversionMode AvcIntraScanTypeConversionMode

	// 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.
	SlowPal AvcIntraSlowPal

	// 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.
	Telecine AvcIntraTelecine

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}

// 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.
type AvcIntraUhdSettings struct {

	// 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.
	QualityTuningLevel AvcIntraUhdQualityTuningLevel

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}

// 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.
type BandwidthReductionFilter struct {

	// 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.
	Sharpening BandwidthReductionFilterSharpening

	// 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.
	Strength BandwidthReductionFilterStrength

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}

// 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.
type BurninDestinationSettings struct {

	// 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.
	Alignment BurninSubtitleAlignment

	// 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.
	ApplyFontColor BurninSubtitleApplyFontColor

	// 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.
	BackgroundColor BurninSubtitleBackgroundColor

	// Specify the opacity of the background rectangle. Enter a value from 0 to 255,
	// where 0 is transparent and 255 is opaque. If Style passthrough is set to
	// enabled, leave blank to pass through the background style information in your
	// input captions to your output captions. If Style passthrough is set to disabled,
	// leave blank to use a value of 0 and remove all backgrounds from your output
	// captions.
	BackgroundOpacity *int32

	// 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.
	FallbackFont BurninSubtitleFallbackFont

	// 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.
	FontColor BurninSubtitleFontColor

	// Specify the opacity of the burned-in captions. 255 is opaque; 0 is transparent.
	FontOpacity *int32

	// Specify the Font resolution in DPI (dots per inch).
	FontResolution *int32

	// Set Font script to Automatically determined, or leave blank, to automatically
	// determine the font script in your input captions. Otherwise, set to Simplified
	// Chinese (HANS) or Traditional Chinese (HANT) if your input font script uses
	// Simplified or Traditional Chinese.
	FontScript FontScript

	// Specify the Font size in pixels. Must be a positive integer. Set to 0, or leave
	// blank, for automatic font size.
	FontSize *int32

	// Ignore this setting unless your Font color is set to Hex. Enter either six or
	// eight hexidecimal digits, representing red, green, and blue, with two optional
	// extra digits for alpha. For example a value of 1122AABB is a red value of 0x11,
	// a green value of 0x22, a blue value of 0xAA, and an alpha value of 0xBB.
	HexFontColor *string

	// 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.
	OutlineColor BurninSubtitleOutlineColor

	// Specify the Outline size of the caption text, in pixels. Leave Outline size
	// blank and set Style passthrough to enabled to use the outline size data from
	// your input captions, if present.
	OutlineSize *int32

	// 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.
	ShadowColor BurninSubtitleShadowColor

	// Specify the opacity of the shadow. Enter a value from 0 to 255, where 0 is
	// transparent and 255 is opaque. If Style passthrough is set to Enabled, leave
	// Shadow opacity blank to pass through the shadow style information in your input
	// captions to your output captions. If Style passthrough is set to disabled, leave
	// blank to use a value of 0 and remove all shadows from your output captions.
	ShadowOpacity *int32

	// Specify the horizontal offset of the shadow, relative to the captions in
	// pixels. A value of -2 would result in a shadow offset 2 pixels to the left.
	ShadowXOffset *int32

	// Specify the vertical offset of the shadow relative to the captions in pixels. A
	// value of -2 would result in a shadow offset 2 pixels above the text. Leave
	// Shadow y-offset blank and set Style passthrough to enabled to use the shadow
	// y-offset data from your input captions, if present.
	ShadowYOffset *int32

	// Set Style passthrough to ENABLED to use the available style, color, and
	// position information from your input captions. MediaConvert uses default
	// settings for any missing style and position information in your input captions.
	// Set Style passthrough to DISABLED, or leave blank, to ignore the style and
	// position information from your input captions and use default settings: 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.
	StylePassthrough BurnInSubtitleStylePassthrough

	// 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.
	TeletextSpacing BurninSubtitleTeletextSpacing

	// Specify the horizontal position of the captions, relative to the left side of
	// the output in pixels. A value of 10 would result in the captions starting 10
	// pixels from the left of the output. If no explicit x_position is provided, the
	// horizontal caption position will be determined by the alignment parameter.
	XPosition *int32

	// Specify the vertical position of the captions, relative to the top of the
	// output in pixels. A value of 10 would result in the captions starting 10 pixels
	// from the top of the output. If no explicit y_position is provided, the caption
	// will be positioned towards the bottom of the output.
	YPosition *int32

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}

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

	// Specifies which "Caption Selector":#inputs-caption_selector to use from each
	// input when generating captions. The name should be of the format "Caption
	// Selector ", which denotes that the Nth Caption Selector will be used from each
	// input.
	CaptionSelectorName *string

	// Specify the language for this captions output track. For most captions output
	// formats, the encoder puts this language information in the output captions
	// metadata. If your output captions format is DVB-Sub or Burn in, the encoder uses
	// this language information when automatically selecting the font script for
	// rendering the captions text. For all outputs, you can use an ISO 639-2 or ISO
	// 639-3 code. For streaming outputs, you can also use any other code in the full
	// RFC-5646 specification. Streaming outputs are those that are in one of the
	// following output groups: CMAF, DASH ISO, Apple HLS, or Microsoft Smooth
	// Streaming.
	CustomLanguageCode *string

	// 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.
	DestinationSettings *CaptionDestinationSettings

	// Specify the language of this captions output track. For most captions output
	// formats, the encoder puts this language information in the output captions
	// metadata. If your output captions format is DVB-Sub or Burn in, the encoder uses
	// this language information to choose the font language for rendering the captions
	// text.
	LanguageCode LanguageCode

	// Specify a label for this set of output captions. For example, "English",
	// "Director commentary", or "track_2". For streaming outputs, MediaConvert passes
	// this information into destination manifests for display on the end-viewer's
	// player device. For outputs in other output groups, the service ignores this
	// setting.
	LanguageDescription *string

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}

// Caption Description for preset
type CaptionDescriptionPreset struct {

	// Specify the language for this captions output track. For most captions output
	// formats, the encoder puts this language information in the output captions
	// metadata. If your output captions format is DVB-Sub or Burn in, the encoder uses
	// this language information when automatically selecting the font script for
	// rendering the captions text. For all outputs, you can use an ISO 639-2 or ISO
	// 639-3 code. For streaming outputs, you can also use any other code in the full
	// RFC-5646 specification. Streaming outputs are those that are in one of the
	// following output groups: CMAF, DASH ISO, Apple HLS, or Microsoft Smooth
	// Streaming.
	CustomLanguageCode *string

	// 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.
	DestinationSettings *CaptionDestinationSettings

	// Specify the language of this captions output track. For most captions output
	// formats, the encoder puts this language information in the output captions
	// metadata. If your output captions format is DVB-Sub or Burn in, the encoder uses
	// this language information to choose the font language for rendering the captions
	// text.
	LanguageCode LanguageCode

	// Specify a label for this set of output captions. For example, "English",
	// "Director commentary", or "track_2". For streaming outputs, MediaConvert passes
	// this information into destination manifests for display on the end-viewer's
	// player device. For outputs in other output groups, the service ignores this
	// setting.
	LanguageDescription *string

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}

// 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.
type CaptionDestinationSettings struct {

	// 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.
	BurninDestinationSettings *BurninDestinationSettings

	// 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.
	DestinationType CaptionDestinationType

	// 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.
	DvbSubDestinationSettings *DvbSubDestinationSettings

	// 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.
	EmbeddedDestinationSettings *EmbeddedDestinationSettings

	// Settings related to IMSC captions. IMSC is a sidecar format that holds captions
	// in a file that is separate from the video container. Set up sidecar captions in
	// the same output group, but different output from your video. For more
	// information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/ttml-and-webvtt-output-captions.html.
	ImscDestinationSettings *ImscDestinationSettings

	// Settings related to SCC captions. SCC is a sidecar format that holds captions
	// in a file that is separate from the video container. Set up sidecar captions in
	// the same output group, but different output from your video. For more
	// information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/scc-srt-output-captions.html.
	SccDestinationSettings *SccDestinationSettings

	// Settings related to SRT captions. SRT is a sidecar format that holds captions
	// in a file that is separate from the video container. Set up sidecar captions in
	// the same output group, but different output from your video.
	SrtDestinationSettings *SrtDestinationSettings

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

	// Settings related to TTML captions. TTML is a sidecar format that holds captions
	// in a file that is separate from the video container. Set up sidecar captions in
	// the same output group, but different output from your video. For more
	// information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/ttml-and-webvtt-output-captions.html.
	TtmlDestinationSettings *TtmlDestinationSettings

	// Settings related to WebVTT captions. WebVTT is a sidecar format that holds
	// captions in a file that is separate from the video container. Set up sidecar
	// captions in the same output group, but different output from your video. For
	// more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/ttml-and-webvtt-output-captions.html.
	WebvttDestinationSettings *WebvttDestinationSettings

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}

// 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.
type CaptionSelector struct {

	// The specific language to extract from source, using the ISO 639-2 or ISO 639-3
	// three-letter language code. If input is SCTE-27, complete this field and/or PID
	// to select the caption language to extract. If input is DVB-Sub and output is
	// Burn-in, complete this field and/or PID to select the caption language to
	// extract. If input is DVB-Sub that is being passed through, omit this field (and
	// PID field); there is no way to extract a specific language with pass-through
	// captions.
	CustomLanguageCode *string

	// The specific language to extract from source. If input is SCTE-27, complete
	// this field and/or PID to select the caption language to extract. If input is
	// DVB-Sub and output is Burn-in, complete this field and/or PID to select the
	// caption language to extract. If input is DVB-Sub that is being passed through,
	// omit this field (and PID field); there is no way to extract a specific language
	// with pass-through captions.
	LanguageCode LanguageCode

	// 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.
	SourceSettings *CaptionSourceSettings

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}

// 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.
type CaptionSourceFramerate struct {

	// Specify the denominator of the fraction that represents the frame rate for the
	// setting Caption source frame rate. Use this setting along with the setting
	// Framerate numerator.
	FramerateDenominator *int32

	// Specify the numerator of the fraction that represents the frame rate for the
	// setting Caption source frame rate. Use this setting along with the setting
	// Framerate denominator.
	FramerateNumerator *int32

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}

// 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.
type CaptionSourceSettings struct {

	// Settings for ancillary captions source.
	AncillarySourceSettings *AncillarySourceSettings

	// DVB Sub Source Settings
	DvbSubSourceSettings *DvbSubSourceSettings

	// Settings for embedded captions Source
	EmbeddedSourceSettings *EmbeddedSourceSettings

	// 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.
	FileSourceSettings *FileSourceSettings

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

	// Settings specific to Teletext caption sources, including Page number.
	TeletextSourceSettings *TeletextSourceSettings

	// Settings specific to caption sources that are specified by track number.
	// Currently, this is only IMSC captions in an IMF package. If your caption source
	// is IMSC 1.1 in a separate xml file, use FileSourceSettings instead of
	// TrackSourceSettings.
	TrackSourceSettings *TrackSourceSettings

	// Settings specific to WebVTT sources in HLS alternative rendition group. Specify
	// the properties (renditionGroupId, renditionName or renditionLanguageCode) to
	// identify the unique subtitle track among the alternative rendition groups
	// present in the HLS manifest. If no unique track is found, or multiple tracks
	// match the specified properties, the job fails. If there is only one subtitle
	// track in the rendition group, the settings can be left empty and the default
	// subtitle track will be chosen. If your caption source is a sidecar file, use
	// FileSourceSettings instead of WebvttHlsSourceSettings.
	WebvttHlsSourceSettings *WebvttHlsSourceSettings

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}

// 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.
type ChannelMapping struct {

	// In your JSON job specification, include one child of OutputChannels for each
	// audio channel that you want in your output. Each child should contain one
	// instance of InputChannels or InputChannelsFineTune.
	OutputChannels []OutputChannelMapping

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}

// Specify YUV limits and RGB tolerances when you set Sample range conversion to
// Limited range clip.
type ClipLimits struct {

	// Specify the Maximum RGB color sample range tolerance for your output.
	// MediaConvert corrects any YUV values that, when converted to RGB, would be
	// outside the upper tolerance that you specify. Enter an integer from 90 to 105 as
	// an offset percentage to the maximum possible value. Leave blank to use the
	// default value 100. When you specify a value for Maximum RGB tolerance, you must
	// set Sample range conversion to Limited range clip.
	MaximumRGBTolerance *int32

	// Specify the Maximum YUV color sample limit. MediaConvert conforms any pixels in
	// your input above the value that you specify to typical limited range bounds.
	// Enter an integer from 920 to 1023. Leave blank to use the default value 940. The
	// value that you enter applies to 10-bit ranges. For 8-bit ranges, MediaConvert
	// automatically scales this value down. When you specify a value for Maximum YUV,
	// you must set Sample range conversion to Limited range clip.
	MaximumYUV *int32

	// Specify the Minimum RGB color sample range tolerance for your output.
	// MediaConvert corrects any YUV values that, when converted to RGB, would be
	// outside the lower tolerance that you specify. Enter an integer from -5 to 10 as
	// an offset percentage to the minimum possible value. Leave blank to use the
	// default value 0. When you specify a value for Minimum RGB tolerance, you must
	// set Sample range conversion to Limited range clip.
	MinimumRGBTolerance *int32

	// Specify the Minimum YUV color sample limit. MediaConvert conforms any pixels in
	// your input below the value that you specify to typical limited range bounds.
	// Enter an integer from 0 to 128. Leave blank to use the default value 64. The
	// value that you enter applies to 10-bit ranges. For 8-bit ranges, MediaConvert
	// automatically scales this value down. When you specify a value for Minumum YUV,
	// you must set Sample range conversion to Limited range clip.
	MinimumYUV *int32

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}

// 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.
type CmafAdditionalManifest struct {

	// Specify a name modifier that the service adds to the name of this manifest to
	// make it different from the file names of the other main manifests in the output
	// group. For example, say that the default main manifest for your HLS group is
	// film-name.m3u8. If you enter "-no-premium" for this setting, then the file name
	// the service generates for this top-level manifest is film-name-no-premium.m3u8.
	// For HLS output groups, specify a manifestNameModifier that is different from the
	// nameModifier of the output. The service uses the output name modifier to create
	// unique names for the individual variant manifests.
	ManifestNameModifier *string

	// Specify the outputs that you want this additional top-level manifest to
	// reference.
	SelectedOutputs []string

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}

// Settings for CMAF encryption
type CmafEncryptionSettings struct {

	// This is a 128-bit, 16-byte hex value represented by a 32-character text string.
	// If this parameter is not set then the Initialization Vector will follow the
	// segment number by default.
	ConstantInitializationVector *string

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

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

	// If your output group type is CMAF, use these settings when doing DRM encryption
	// with a SPEKE-compliant key provider. If your output group type is HLS, DASH, or
	// Microsoft Smooth, use the SpekeKeyProvider settings instead.
	SpekeKeyProvider *SpekeKeyProviderCmaf

	// Use these settings to set up encryption with a static key provider.
	StaticKeyProvider *StaticKeyProvider

	// 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.
	Type CmafKeyProviderType

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}

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

	// By default, the service creates one top-level .m3u8 HLS manifest and one top
	// -level .mpd DASH manifest for each CMAF output group in your job. These default
	// manifests reference every output in the output group. To create additional
	// top-level manifests that reference a subset of the outputs in the output group,
	// specify a list of them here. For each additional manifest that you specify, the
	// service creates one HLS manifest and one DASH manifest.
	AdditionalManifests []CmafAdditionalManifest

	// A partial URI prefix that will be put in the manifest file at the top level
	// BaseURL element. Can be used if streams are delivered from a different URL than
	// the manifest file.
	BaseUrl *string

	// 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.
	ClientCache CmafClientCache

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

	// 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.
	DashManifestStyle DashManifestStyle

	// Use Destination to specify the S3 output location and the output filename base.
	// Destination accepts format identifiers. If you do not specify the base filename
	// in the URI, the service will use the filename of the input file. If your job has
	// multiple inputs, the service uses the filename of the first input file.
	Destination *string

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

	// DRM settings.
	Encryption *CmafEncryptionSettings

	// Specify the length, in whole seconds, of the mp4 fragments. When you don't
	// specify a value, MediaConvert defaults to 2. Related setting: Use Fragment
	// length control to specify whether the encoder enforces this value strictly.
	FragmentLength *int32

	// 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
	ImageBasedTrickPlay CmafImageBasedTrickPlay

	// Tile and thumbnail settings applicable when imageBasedTrickPlay is ADVANCED
	ImageBasedTrickPlaySettings *CmafImageBasedTrickPlaySettings

	// When set to GZIP, compresses HLS playlist.
	ManifestCompression CmafManifestCompression

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

	// Minimum time of initially buffered media that is needed to ensure smooth
	// playout.
	MinBufferTime *int32

	// Keep this setting at the default value of 0, unless you are troubleshooting a
	// problem with how devices play back the end of your video asset. If you know that
	// player devices are hanging on the final segment of your video because the length
	// of your final segment is too short, use this setting to specify a minimum final
	// segment length, in seconds. Choose a value that is greater than or equal to 1
	// and less than your segment length. When you specify a value for this setting,
	// the encoder will combine any final segment that is shorter than the length that
	// you specify with the previous segment. For example, your segment length is 3
	// seconds and your final segment is .5 seconds without a minimum final segment
	// length; when you set the minimum final segment length to 1, your final segment
	// is 3.5 seconds.
	MinFinalSegmentLength *float64

	// 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.
	MpdManifestBandwidthType CmafMpdManifestBandwidthType

	// 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.
	MpdProfile CmafMpdProfile

	// 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.
	PtsOffsetHandlingForBFrames CmafPtsOffsetHandlingForBFrames

	// 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.
	SegmentControl CmafSegmentControl

	// Specify the length, in whole seconds, of each segment. When you don't specify a
	// value, MediaConvert defaults to 10. Related settings: Use Segment length control
	// to specify whether the encoder enforces this value strictly. Use Segment control
	// to specify whether MediaConvert creates separate segment files or one content
	// file that has metadata to mark the segment boundaries.
	SegmentLength *int32

	// Specify how you want MediaConvert to determine the segment length. Choose Exact
	// to have the encoder use the exact length that you specify with the setting
	// Segment length. This might result in extra I-frames. Choose Multiple of GOP to
	// have the encoder round up the segment lengths to match the next GOP boundary.
	SegmentLengthControl CmafSegmentLengthControl

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

	// 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.
	TargetDurationCompatibilityMode CmafTargetDurationCompatibilityMode

	// 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.
	VideoCompositionOffsets CmafVideoCompositionOffsets

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

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

	// 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.
	WriteSegmentTimelineInRepresentation CmafWriteSegmentTimelineInRepresentation

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}

// Tile and thumbnail settings applicable when imageBasedTrickPlay is ADVANCED
type CmafImageBasedTrickPlaySettings struct {

	// 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.
	IntervalCadence CmafIntervalCadence

	// Height of each thumbnail within each tile image, in pixels. Leave blank to
	// maintain aspect ratio with thumbnail width. If following the aspect ratio would
	// lead to a total tile height greater than 4096, then the job will be rejected.
	// Must be divisible by 2.
	ThumbnailHeight *int32

	// Enter the interval, in seconds, that MediaConvert uses to generate thumbnails.
	// If the interval you enter doesn't align with the output frame rate, MediaConvert
	// automatically rounds the interval to align with the output frame rate. For
	// example, if the output frame rate is 29.97 frames per second and you enter 5,
	// MediaConvert uses a 150 frame interval to generate thumbnails.
	ThumbnailInterval *float64

	// Width of each thumbnail within each tile image, in pixels. Default is 312. Must
	// be divisible by 8.
	ThumbnailWidth *int32

	// Number of thumbnails in each column of a tile image. Set a value between 2 and
	// 2048. Must be divisible by 2.
	TileHeight *int32

	// Number of thumbnails in each row of a tile image. Set a value between 1 and 512.
	TileWidth *int32

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}

// These settings relate to the fragmented MP4 container for the segments in your
// CMAF outputs.
type CmfcSettings struct {

	// 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.
	AudioDuration CmfcAudioDuration

	// Specify the audio rendition group for this audio rendition. Specify up to one
	// value for each audio output in your output group. This value appears in your HLS
	// parent manifest in the EXT-X-MEDIA tag of TYPE=AUDIO, as the value for the
	// GROUP-ID attribute. For example, if you specify "audio_aac_1" for Audio group
	// ID, it appears in your manifest like this:
	// #EXT-X-MEDIA:TYPE=AUDIO,GROUP-ID="audio_aac_1". Related setting: To associate
	// the rendition group that this audio track belongs to with a video rendition,
	// include the same value that you provide here for that video output's setting
	// Audio rendition sets.
	AudioGroupId *string

	// List the audio rendition groups that you want included with this video
	// rendition. Use a comma-separated list. For example, say you want to include the
	// audio rendition groups that have the audio group IDs "audio_aac_1" and
	// "audio_dolby". Then you would specify this value: "audio_aac_1,audio_dolby".
	// Related setting: The rendition groups that you include in your comma-separated
	// list should all match values that you specify in the setting Audio group ID for
	// audio renditions in the same output group as this video rendition. Default
	// behavior: If you don't specify anything here and for Audio group ID,
	// MediaConvert puts each audio variant in its own audio rendition group and
	// associates it with every video variant. Each value in your list appears in your
	// HLS parent manifest in the EXT-X-STREAM-INF tag as the value for the AUDIO
	// attribute. To continue the previous example, say that the file name for the
	// child manifest for your video rendition is "amazing_video_1.m3u8". Then, in your
	// parent manifest, each value will appear on separate lines, like this:
	// #EXT-X-STREAM-INF:AUDIO="audio_aac_1"... amazing_video_1.m3u8
	// #EXT-X-STREAM-INF:AUDIO="audio_dolby"... amazing_video_1.m3u8
	AudioRenditionSets *string

	// 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.
	AudioTrackType CmfcAudioTrackType

	// 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.
	DescriptiveVideoServiceFlag CmfcDescriptiveVideoServiceFlag

	// 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.
	IFrameOnlyManifest CmfcIFrameOnlyManifest

	// 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.
	KlvMetadata CmfcKlvMetadata

	// 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.
	ManifestMetadataSignaling CmfcManifestMetadataSignaling

	// 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.
	Scte35Esam CmfcScte35Esam

	// 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.
	Scte35Source CmfcScte35Source

	// 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.
	TimedMetadata CmfcTimedMetadata

	// 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.
	TimedMetadataBoxVersion CmfcTimedMetadataBoxVersion

	// Specify the event message box (eMSG) scheme ID URI for ID3 timed metadata in
	// your output. For more information, see ISO/IEC 23009-1:2022 section 5.10.3.3.4
	// Semantics. Leave blank to use the default value: https://aomedia.org/emsg/ID3
	// When you specify a value for ID3 metadata scheme ID URI, you must also set ID3
	// metadata to Passthrough.
	TimedMetadataSchemeIdUri *string

	// Specify the event message box (eMSG) value for ID3 timed metadata in your
	// output. For more information, see ISO/IEC 23009-1:2022 section 5.10.3.3.4
	// Semantics. When you specify a value for ID3 Metadata Value, you must also set
	// ID3 metadata to Passthrough.
	TimedMetadataValue *string

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}

// Custom 3D lut settings
type ColorConversion3DLUTSetting struct {

	// Specify the input file S3, HTTP, or HTTPS URL for your 3D LUT .cube file. Note
	// that MediaConvert accepts 3D LUT files up to 8MB in size.
	FileInput *string

	// Specify which inputs use this 3D LUT, according to their color space.
	InputColorSpace ColorSpace

	// Specify which inputs use this 3D LUT, according to their luminance. To apply
	// this 3D LUT to HDR10 or P3D65 (HDR) inputs with a specific mastering luminance:
	// Enter an integer from 0 to 2147483647, corresponding to the input's Maximum
	// luminance value. To apply this 3D LUT to any input regardless of its luminance:
	// Leave blank, or enter 0.
	InputMasteringLuminance *int32

	// Specify which outputs use this 3D LUT, according to their color space.
	OutputColorSpace ColorSpace

	// Specify which outputs use this 3D LUT, according to their luminance. To apply
	// this 3D LUT to HDR10 or P3D65 (HDR) outputs with a specific luminance: Enter an
	// integer from 0 to 2147483647, corresponding to the output's luminance. To apply
	// this 3D LUT to any output regardless of its luminance: Leave blank, or enter 0.
	OutputMasteringLuminance *int32

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}

// Settings for color correction.
type ColorCorrector struct {

	// Brightness level.
	Brightness *int32

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

	// 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
	ColorSpaceConversion ColorSpaceConversion

	// Contrast level.
	Contrast *int32

	// Use these settings when you convert to the HDR 10 color space. Specify the
	// SMPTE ST 2086 Mastering Display Color Volume static metadata that you want
	// signaled in the output. These values don't affect the pixel values that are
	// encoded in the video stream. They are intended to help the downstream video
	// player display content in a way that reflects the intentions of the the content
	// creator. When you set Color space conversion to HDR 10, these settings are
	// required. You must set values for Max frame average light level and Max content
	// light level; these settings don't have a default value. The default values for
	// the other HDR 10 metadata settings are defined by the P3D65 color space. For
	// more information about MediaConvert HDR jobs, see
	// https://docs.aws.amazon.com/console/mediaconvert/hdr.
	Hdr10Metadata *Hdr10Metadata

	// Specify how MediaConvert maps brightness and colors from your HDR input to your
	// SDR output. The mode that you select represents a creative choice, with
	// different tradeoffs in the details and tones of your output. To maintain details
	// in bright or saturated areas of your output: Choose Preserve details. For some
	// sources, your SDR output may look less bright and less saturated when compared
	// to your HDR source. MediaConvert automatically applies this mode for HLG
	// sources, regardless of your choice. For a bright and saturated output: Choose
	// Vibrant. We recommend that you choose this mode when any of your source content
	// is HDR10, and for the best results when it is mastered for 1000 nits. You may
	// notice loss of details in bright or saturated areas of your output. HDR to SDR
	// tone mapping has no effect when your input is SDR.
	HdrToSdrToneMapper HDRToSDRToneMapper

	// Hue in degrees.
	Hue *int32

	// Specify the maximum mastering display luminance. Enter an integer from 0 to
	// 2147483647, in units of 0.0001 nits. For example, enter 10000000 for 1000 nits.
	MaxLuminance *int32

	// Specify how MediaConvert limits the color sample range for this output. To
	// create a limited range output from a full range input: Choose Limited range
	// squeeze. For full range inputs, MediaConvert performs a linear offset to color
	// samples equally across all pixels and frames. Color samples in 10-bit outputs
	// are limited to 64 through 940, and 8-bit outputs are limited to 16 through 235.
	// Note: For limited range inputs, values for color samples are passed through to
	// your output unchanged. MediaConvert does not limit the sample range. To correct
	// pixels in your input that are out of range or out of gamut: Choose Limited range
	// clip. Use for broadcast applications. MediaConvert conforms any pixels outside
	// of the values that you specify under Minimum YUV and Maximum YUV to limited
	// range bounds. MediaConvert also corrects any YUV values that, when converted to
	// RGB, would be outside the bounds you specify under Minimum RGB tolerance and
	// Maximum RGB tolerance. With either limited range conversion, MediaConvert writes
	// the sample range metadata in the output.
	SampleRangeConversion SampleRangeConversion

	// Saturation level.
	Saturation *int32

	// Specify the reference white level, in nits, for all of your SDR inputs. Use to
	// correct brightness levels within HDR10 outputs. The following color metadata
	// must be present in your SDR input: color primaries, transfer characteristics,
	// and matrix coefficients. If your SDR input has missing color metadata, or if you
	// want to correct input color metadata, manually specify a color space in the
	// input video selector. For 1,000 nit peak brightness displays, we recommend that
	// you set SDR reference white level to 203 (according to ITU-R BT.2408). Leave
	// blank to use the default value of 100, or specify an integer from 100 to 1000.
	SdrReferenceWhiteLevel *int32

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}

// Container specific settings.
type ContainerSettings struct {

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

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

	// Settings for F4v container
	F4vSettings *F4vSettings

	// MPEG-2 TS container settings. These apply to outputs in a File output group
	// when the output's container is MPEG-2 Transport Stream (M2TS). In these assets,
	// data is organized by the program map table (PMT). Each transport stream program
	// contains subsets of data, including audio, video, and metadata. Each of these
	// subsets of data has a numerical label called a packet identifier (PID). Each
	// transport stream program corresponds to one MediaConvert output. The PMT lists
	// the types of data in a program along with their PID. Downstream systems and
	// players use the program map table to look up the PID for each type of data it
	// accesses and then uses the PIDs to locate specific data within the asset.
	M2tsSettings *M2tsSettings

	// These settings relate to the MPEG-2 transport stream (MPEG2-TS) container for
	// the MPEG2-TS segments in your HLS outputs.
	M3u8Settings *M3u8Settings

	// These settings relate to your QuickTime MOV output container.
	MovSettings *MovSettings

	// These settings relate to your MP4 output container. You can create audio only
	// outputs with this container. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/supported-codecs-containers-audio-only.html#output-codecs-and-containers-supported-for-audio-only.
	Mp4Settings *Mp4Settings

	// These settings relate to the fragmented MP4 container for the segments in your
	// DASH outputs.
	MpdSettings *MpdSettings

	// These settings relate to your MXF output container.
	MxfSettings *MxfSettings

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}

// 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.
type DashAdditionalManifest struct {

	// Specify a name modifier that the service adds to the name of this manifest to
	// make it different from the file names of the other main manifests in the output
	// group. For example, say that the default main manifest for your DASH group is
	// film-name.mpd. If you enter "-no-premium" for this setting, then the file name
	// the service generates for this top-level manifest is film-name-no-premium.mpd.
	ManifestNameModifier *string

	// Specify the outputs that you want this additional top-level manifest to
	// reference.
	SelectedOutputs []string

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}

// Specifies DRM settings for DASH outputs.
type DashIsoEncryptionSettings struct {

	// 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.
	PlaybackDeviceCompatibility DashIsoPlaybackDeviceCompatibility

	// If your output group type is HLS, DASH, or Microsoft Smooth, use these settings
	// when doing DRM encryption with a SPEKE-compliant key provider. If your output
	// group type is CMAF, use the SpekeKeyProviderCmaf settings instead.
	SpekeKeyProvider *SpekeKeyProvider

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}

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

	// By default, the service creates one .mpd DASH manifest for each DASH ISO output
	// group in your job. This default manifest references every output in the output
	// group. To create additional DASH manifests that reference a subset of the
	// outputs in the output group, specify a list of them here.
	AdditionalManifests []DashAdditionalManifest

	// 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.
	AudioChannelConfigSchemeIdUri DashIsoGroupAudioChannelConfigSchemeIdUri

	// A partial URI prefix that will be put in the manifest (.mpd) file at the top
	// level BaseURL element. Can be used if streams are delivered from a different URL
	// than the manifest file.
	BaseUrl *string

	// 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.
	DashManifestStyle DashManifestStyle

	// Use Destination to specify the S3 output location and the output filename base.
	// Destination accepts format identifiers. If you do not specify the base filename
	// in the URI, the service will use the filename of the input file. If your job has
	// multiple inputs, the service uses the filename of the first input file.
	Destination *string

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

	// DRM settings.
	Encryption *DashIsoEncryptionSettings

	// Length of fragments to generate (in seconds). Fragment length must be
	// compatible with GOP size and Framerate. Note that fragments will end on the next
	// keyframe after this number of seconds, so actual fragment length may be longer.
	// When Emit Single File is checked, the fragmentation is internal to a single
	// output file and it does not cause the creation of many output files as in other
	// output types.
	FragmentLength *int32

	// Supports HbbTV specification as indicated
	HbbtvCompliance DashIsoHbbtvCompliance

	// 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
	ImageBasedTrickPlay DashIsoImageBasedTrickPlay

	// Tile and thumbnail settings applicable when imageBasedTrickPlay is ADVANCED
	ImageBasedTrickPlaySettings *DashIsoImageBasedTrickPlaySettings

	// Minimum time of initially buffered media that is needed to ensure smooth
	// playout.
	MinBufferTime *int32

	// Keep this setting at the default value of 0, unless you are troubleshooting a
	// problem with how devices play back the end of your video asset. If you know that
	// player devices are hanging on the final segment of your video because the length
	// of your final segment is too short, use this setting to specify a minimum final
	// segment length, in seconds. Choose a value that is greater than or equal to 1
	// and less than your segment length. When you specify a value for this setting,
	// the encoder will combine any final segment that is shorter than the length that
	// you specify with the previous segment. For example, your segment length is 3
	// seconds and your final segment is .5 seconds without a minimum final segment
	// length; when you set the minimum final segment length to 1, your final segment
	// is 3.5 seconds.
	MinFinalSegmentLength *float64

	// 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.
	MpdManifestBandwidthType DashIsoMpdManifestBandwidthType

	// 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.
	MpdProfile DashIsoMpdProfile

	// 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.
	PtsOffsetHandlingForBFrames DashIsoPtsOffsetHandlingForBFrames

	// 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.
	SegmentControl DashIsoSegmentControl

	// Specify the length, in whole seconds, of each segment. When you don't specify a
	// value, MediaConvert defaults to 30. Related settings: Use Segment length control
	// to specify whether the encoder enforces this value strictly. Use Segment control
	// to specify whether MediaConvert creates separate segment files or one content
	// file that has metadata to mark the segment boundaries.
	SegmentLength *int32

	// Specify how you want MediaConvert to determine the segment length. Choose Exact
	// to have the encoder use the exact length that you specify with the setting
	// Segment length. This might result in extra I-frames. Choose Multiple of GOP to
	// have the encoder round up the segment lengths to match the next GOP boundary.
	SegmentLengthControl DashIsoSegmentLengthControl

	// 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.
	VideoCompositionOffsets DashIsoVideoCompositionOffsets

	// If you get an HTTP error in the 400 range when you play back your DASH output,
	// enable this setting and run your transcoding job again. When you enable this
	// setting, the service writes precise segment durations in the DASH manifest. The
	// segment duration information appears inside the SegmentTimeline element, inside
	// SegmentTemplate at the Representation level. When you don't enable this setting,
	// the service writes approximate segment durations in your DASH manifest.
	WriteSegmentTimelineInRepresentation DashIsoWriteSegmentTimelineInRepresentation

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}

// Tile and thumbnail settings applicable when imageBasedTrickPlay is ADVANCED
type DashIsoImageBasedTrickPlaySettings struct {

	// 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.
	IntervalCadence DashIsoIntervalCadence

	// Height of each thumbnail within each tile image, in pixels. Leave blank to
	// maintain aspect ratio with thumbnail width. If following the aspect ratio would
	// lead to a total tile height greater than 4096, then the job will be rejected.
	// Must be divisible by 2.
	ThumbnailHeight *int32

	// Enter the interval, in seconds, that MediaConvert uses to generate thumbnails.
	// If the interval you enter doesn't align with the output frame rate, MediaConvert
	// automatically rounds the interval to align with the output frame rate. For
	// example, if the output frame rate is 29.97 frames per second and you enter 5,
	// MediaConvert uses a 150 frame interval to generate thumbnails.
	ThumbnailInterval *float64

	// Width of each thumbnail within each tile image, in pixels. Default is 312. Must
	// be divisible by 8.
	ThumbnailWidth *int32

	// Number of thumbnails in each column of a tile image. Set a value between 2 and
	// 2048. Must be divisible by 2.
	TileHeight *int32

	// Number of thumbnails in each row of a tile image. Set a value between 1 and 512.
	TileWidth *int32

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}

// Settings for deinterlacer
type Deinterlacer struct {

	// 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.
	Algorithm DeinterlaceAlgorithm

	//   - When set to NORMAL (default), the deinterlacer does not convert frames that
	//   are tagged in metadata as progressive. It will only convert those that are
	//   tagged as some other type. - When set to FORCE_ALL_FRAMES, the deinterlacer
	//   converts every frame to progressive - even those that are already tagged as
	//   progressive. Turn Force mode on only if there is a good chance that the metadata
	//   has tagged frames as progressive when they are not progressive. Do not turn on
	//   otherwise; processing frames that are already progressive into progressive will
	//   probably result in lower quality video.
	Control DeinterlacerControl

	// 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.
	Mode DeinterlacerMode

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}

// Settings associated with the destination. Will vary based on the type of
// destination
type DestinationSettings struct {

	// Settings associated with S3 destination
	S3Settings *S3DestinationSettings

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}

// Create Dolby Vision Profile 5 or Profile 8.1 compatible video output.
type DolbyVision struct {

	// Use these settings when you set DolbyVisionLevel6Mode to SPECIFY to override
	// the MaxCLL and MaxFALL values in your input with new values.
	L6Metadata *DolbyVisionLevel6Metadata

	// Use Dolby Vision Mode to choose how the service will handle Dolby Vision MaxCLL
	// and MaxFALL properies.
	L6Mode DolbyVisionLevel6Mode

	// 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.
	Mapping DolbyVisionMapping

	// 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.
	Profile DolbyVisionProfile

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}

// Use these settings when you set DolbyVisionLevel6Mode to SPECIFY to override
// the MaxCLL and MaxFALL values in your input with new values.
type DolbyVisionLevel6Metadata struct {

	// Maximum Content Light Level. Static HDR metadata that corresponds to the
	// brightest pixel in the entire stream. Measured in nits.
	MaxCll *int32

	// Maximum Frame-Average Light Level. Static HDR metadata that corresponds to the
	// highest frame-average brightness in the entire stream. Measured in nits.
	MaxFall *int32

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}

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

	// The numeric value placed in the Network Information Table (NIT).
	NetworkId *int32

	// The network name text placed in the network_name_descriptor inside the Network
	// Information Table. Maximum length is 256 characters.
	NetworkName *string

	// The number of milliseconds between instances of this table in the output
	// transport stream.
	NitInterval *int32

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}

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

	// Selects method of inserting SDT information into output stream. "Follow input
	// SDT" copies SDT information from input stream to output stream. "Follow input
	// SDT if present" copies SDT information from input stream to output stream if SDT
	// information is present in the input, otherwise it will fall back on the
	// user-defined values. Enter "SDT Manually" means user will enter the SDT
	// information. "No SDT" means output stream will not contain SDT information.
	OutputSdt OutputSdt

	// The number of milliseconds between instances of this table in the output
	// transport stream.
	SdtInterval *int32

	// The service name placed in the service_descriptor in the Service Description
	// Table. Maximum length is 256 characters.
	ServiceName *string

	// The service provider name placed in the service_descriptor in the Service
	// Description Table. Maximum length is 256 characters.
	ServiceProviderName *string

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}

// 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.
type DvbSubDestinationSettings struct {

	// 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.
	Alignment DvbSubtitleAlignment

	// 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.
	ApplyFontColor DvbSubtitleApplyFontColor

	// 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.
	BackgroundColor DvbSubtitleBackgroundColor

	// Specify the opacity of the background rectangle. Enter a value from 0 to 255,
	// where 0 is transparent and 255 is opaque. If Style passthrough is set to
	// enabled, leave blank to pass through the background style information in your
	// input captions to your output captions. If Style passthrough is set to disabled,
	// leave blank to use a value of 0 and remove all backgrounds from your output
	// captions. Within your job settings, all of your DVB-Sub settings must be
	// identical.
	BackgroundOpacity *int32

	// 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.
	DdsHandling DvbddsHandling

	// Use this setting, along with DDS y-coordinate, to specify the upper left corner
	// of the display definition segment (DDS) display window. With this setting,
	// specify the distance, in pixels, between the left side of the frame and the left
	// side of the DDS display window. Keep the default value, 0, to have MediaConvert
	// automatically choose this offset. Related setting: When you use this setting,
	// you must set DDS handling to a value other than None. MediaConvert uses these
	// values to determine whether to write page position data to the DDS or to the
	// page composition segment. All burn-in and DVB-Sub font settings must match.
	DdsXCoordinate *int32

	// Use this setting, along with DDS x-coordinate, to specify the upper left corner
	// of the display definition segment (DDS) display window. With this setting,
	// specify the distance, in pixels, between the top of the frame and the top of the
	// DDS display window. Keep the default value, 0, to have MediaConvert
	// automatically choose this offset. Related setting: When you use this setting,
	// you must set DDS handling to a value other than None. MediaConvert uses these
	// values to determine whether to write page position data to the DDS or to the
	// page composition segment (PCS). All burn-in and DVB-Sub font settings must
	// match.
	DdsYCoordinate *int32

	// 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.
	FallbackFont DvbSubSubtitleFallbackFont

	// 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.
	FontColor DvbSubtitleFontColor

	// Specify the opacity of the burned-in captions. 255 is opaque; 0 is transparent.
	// Within your job settings, all of your DVB-Sub settings must be identical.
	FontOpacity *int32

	// Specify the Font resolution in DPI (dots per inch). Within your job settings,
	// all of your DVB-Sub settings must be identical.
	FontResolution *int32

	// Set Font script to Automatically determined, or leave blank, to automatically
	// determine the font script in your input captions. Otherwise, set to Simplified
	// Chinese (HANS) or Traditional Chinese (HANT) if your input font script uses
	// Simplified or Traditional Chinese. Within your job settings, all of your DVB-Sub
	// settings must be identical.
	FontScript FontScript

	// Specify the Font size in pixels. Must be a positive integer. Set to 0, or leave
	// blank, for automatic font size. Within your job settings, all of your DVB-Sub
	// settings must be identical.
	FontSize *int32

	// Specify the height, in pixels, of this set of DVB-Sub captions. The default
	// value is 576 pixels. Related setting: When you use this setting, you must set
	// DDS handling to a value other than None. All burn-in and DVB-Sub font settings
	// must match.
	Height *int32

	// Ignore this setting unless your Font color is set to Hex. Enter either six or
	// eight hexidecimal digits, representing red, green, and blue, with two optional
	// extra digits for alpha. For example a value of 1122AABB is a red value of 0x11,
	// a green value of 0x22, a blue value of 0xAA, and an alpha value of 0xBB.
	HexFontColor *string

	// 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.
	OutlineColor DvbSubtitleOutlineColor

	// Specify the Outline size of the caption text, in pixels. Leave Outline size
	// blank and set Style passthrough to enabled to use the outline size data from
	// your input captions, if present. Within your job settings, all of your DVB-Sub
	// settings must be identical.
	OutlineSize *int32

	// 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.
	ShadowColor DvbSubtitleShadowColor

	// Specify the opacity of the shadow. Enter a value from 0 to 255, where 0 is
	// transparent and 255 is opaque. If Style passthrough is set to Enabled, leave
	// Shadow opacity blank to pass through the shadow style information in your input
	// captions to your output captions. If Style passthrough is set to disabled, leave
	// blank to use a value of 0 and remove all shadows from your output captions.
	// Within your job settings, all of your DVB-Sub settings must be identical.
	ShadowOpacity *int32

	// Specify the horizontal offset of the shadow, relative to the captions in
	// pixels. A value of -2 would result in a shadow offset 2 pixels to the left.
	// Within your job settings, all of your DVB-Sub settings must be identical.
	ShadowXOffset *int32

	// Specify the vertical offset of the shadow relative to the captions in pixels. A
	// value of -2 would result in a shadow offset 2 pixels above the text. Leave
	// Shadow y-offset blank and set Style passthrough to enabled to use the shadow
	// y-offset data from your input captions, if present. Within your job settings,
	// all of your DVB-Sub settings must be identical.
	ShadowYOffset *int32

	// Set Style passthrough to ENABLED to use the available style, color, and
	// position information from your input captions. MediaConvert uses default
	// settings for any missing style and position information in your input captions.
	// Set Style passthrough to DISABLED, or leave blank, to ignore the style and
	// position information from your input captions and use default settings: 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.
	StylePassthrough DvbSubtitleStylePassthrough

	// 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.
	SubtitlingType DvbSubtitlingType

	// 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.
	TeletextSpacing DvbSubtitleTeletextSpacing

	// Specify the width, in pixels, of this set of DVB-Sub captions. The default
	// value is 720 pixels. Related setting: When you use this setting, you must set
	// DDS handling to a value other than None. All burn-in and DVB-Sub font settings
	// must match.
	Width *int32

	// Specify the horizontal position of the captions, relative to the left side of
	// the output in pixels. A value of 10 would result in the captions starting 10
	// pixels from the left of the output. If no explicit x_position is provided, the
	// horizontal caption position will be determined by the alignment parameter.
	// Within your job settings, all of your DVB-Sub settings must be identical.
	XPosition *int32

	// Specify the vertical position of the captions, relative to the top of the
	// output in pixels. A value of 10 would result in the captions starting 10 pixels
	// from the top of the output. If no explicit y_position is provided, the caption
	// will be positioned towards the bottom of the output. Within your job settings,
	// all of your DVB-Sub settings must be identical.
	YPosition *int32

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}

// DVB Sub Source Settings
type DvbSubSourceSettings struct {

	// When using DVB-Sub with Burn-in, use this PID for the source content. Unused
	// for DVB-Sub passthrough. All DVB-Sub content is passed through, regardless of
	// selectors.
	Pid *int32

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}

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

	// The number of milliseconds between instances of this table in the output
	// transport stream.
	TdtInterval *int32

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}

// Required when you set Codec to the value EAC3_ATMOS.
type Eac3AtmosSettings struct {

	// Specify the average bitrate for this output in bits per second. Valid values:
	// 384k, 448k, 576k, 640k, 768k, 1024k Default value: 448k Note that MediaConvert
	// supports 384k only with channel-based immersive (CBI) 7.1.4 and 5.1.4 inputs.
	// For CBI 9.1.6 and other input types, MediaConvert automatically increases your
	// output bitrate to 448k.
	Bitrate *int32

	// 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).
	BitstreamMode Eac3AtmosBitstreamMode

	// The coding mode for Dolby Digital Plus JOC (Atmos).
	CodingMode Eac3AtmosCodingMode

	// Enable Dolby Dialogue Intelligence to adjust loudness based on dialogue
	// analysis.
	DialogueIntelligence Eac3AtmosDialogueIntelligence

	// 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.
	DownmixControl Eac3AtmosDownmixControl

	// 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.
	DynamicRangeCompressionLine Eac3AtmosDynamicRangeCompressionLine

	// 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.
	DynamicRangeCompressionRf Eac3AtmosDynamicRangeCompressionRf

	// 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.
	DynamicRangeControl Eac3AtmosDynamicRangeControl

	// Specify a value for the following Dolby Atmos setting: Left only/Right only
	// center mix (Lo/Ro center). MediaConvert uses this value for downmixing. Default
	// value: -3 dB. Valid values: 3.0, 1.5, 0.0, -1.5, -3.0, -4.5, and -6.0. Related
	// setting: How the service uses this value depends on the value that you choose
	// for Stereo downmix. Related setting: To have MediaConvert use this value, keep
	// the default value, Custom for the setting Downmix control. Otherwise,
	// MediaConvert ignores Left only/Right only center.
	LoRoCenterMixLevel *float64

	// Specify a value for the following Dolby Atmos setting: Left only/Right only.
	// MediaConvert uses this value for downmixing. Default value: -3 dB. Valid values:
	// -1.5, -3.0, -4.5, -6.0, and -60. The value -60 mutes the channel. Related
	// setting: How the service uses this value depends on the value that you choose
	// for Stereo downmix. Related setting: To have MediaConvert use this value, keep
	// the default value, Custom for the setting Downmix control. Otherwise,
	// MediaConvert ignores Left only/Right only surround.
	LoRoSurroundMixLevel *float64

	// Specify a value for the following Dolby Atmos setting: Left total/Right total
	// center mix (Lt/Rt center). MediaConvert uses this value for downmixing. Default
	// value: -3 dB Valid values: 3.0, 1.5, 0.0, -1.5, -3.0, -4.5, and -6.0. Related
	// setting: How the service uses this value depends on the value that you choose
	// for Stereo downmix. Related setting: To have MediaConvert use this value, keep
	// the default value, Custom for the setting Downmix control. Otherwise,
	// MediaConvert ignores Left total/Right total center.
	LtRtCenterMixLevel *float64

	// Specify a value for the following Dolby Atmos setting: Left total/Right total
	// surround mix (Lt/Rt surround). MediaConvert uses this value for downmixing.
	// Default value: -3 dB Valid values: -1.5, -3.0, -4.5, -6.0, and -60. The value
	// -60 mutes the channel. Related setting: How the service uses this value depends
	// on the value that you choose for Stereo downmix. Related setting: To have
	// MediaConvert use this value, keep the default value, Custom for the setting
	// Downmix control. Otherwise, the service ignores Left total/Right total surround.
	LtRtSurroundMixLevel *float64

	// Choose how the service meters the loudness of your audio.
	MeteringMode Eac3AtmosMeteringMode

	// This value is always 48000. It represents the sample rate in Hz.
	SampleRate *int32

	// Specify the percentage of audio content, from 0% to 100%, that must be speech
	// in order for the encoder to use the measured speech loudness as the overall
	// program loudness. Default value: 15%
	SpeechThreshold *int32

	// 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.
	StereoDownmix Eac3AtmosStereoDownmix

	// Specify whether your input audio has an additional center rear surround channel
	// matrix encoded into your left and right surround channels.
	SurroundExMode Eac3AtmosSurroundExMode

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}

// Required when you set Codec to the value EAC3.
type Eac3Settings struct {

	// If set to ATTENUATE_3_DB, applies a 3 dB attenuation to the surround channels.
	// Only used for 3/2 coding mode.
	AttenuationControl Eac3AttenuationControl

	// Specify the average bitrate in bits per second. The bitrate that you specify
	// must be a multiple of 8000 within the allowed minimum and maximum values. Leave
	// blank to use the default bitrate for the coding mode you select according ETSI
	// TS 102 366. Valid bitrates for coding mode 1/0: Default: 96000. Minimum: 32000.
	// Maximum: 3024000. Valid bitrates for coding mode 2/0: Default: 192000. Minimum:
	// 96000. Maximum: 3024000. Valid bitrates for coding mode 3/2: Default: 384000.
	// Minimum: 192000. Maximum: 3024000.
	Bitrate *int32

	// 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).
	BitstreamMode Eac3BitstreamMode

	// Dolby Digital Plus coding mode. Determines number of channels.
	CodingMode Eac3CodingMode

	// Activates a DC highpass filter for all input channels.
	DcFilter Eac3DcFilter

	// Sets the dialnorm for the output. If blank and input audio is Dolby Digital
	// Plus, dialnorm will be passed through.
	Dialnorm *int32

	// 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.
	DynamicRangeCompressionLine Eac3DynamicRangeCompressionLine

	// 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.
	DynamicRangeCompressionRf Eac3DynamicRangeCompressionRf

	// When encoding 3/2 audio, controls whether the LFE channel is enabled
	LfeControl Eac3LfeControl

	// Applies a 120Hz lowpass filter to the LFE channel prior to encoding. Only valid
	// with 3_2_LFE coding mode.
	LfeFilter Eac3LfeFilter

	// Specify a value for the following Dolby Digital Plus setting: Left only/Right
	// only center mix. MediaConvert uses this value for downmixing. How the service
	// uses this value depends on the value that you choose for Stereo downmix. Valid
	// values: 3.0, 1.5, 0.0, -1.5, -3.0, -4.5, -6.0, and -60. The value -60 mutes the
	// channel. This setting applies only 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 Left only/Right only center.
	LoRoCenterMixLevel *float64

	// Specify a value for the following Dolby Digital Plus setting: Left only/Right
	// only. MediaConvert uses this value for downmixing. How the service uses this
	// value depends on the value that you choose for Stereo downmix. Valid values:
	// -1.5, -3.0, -4.5, -6.0, and -60. The value -60 mutes the channel. This setting
	// applies only 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 Left only/Right only surround.
	LoRoSurroundMixLevel *float64

	// Specify a value for the following Dolby Digital Plus setting: Left total/Right
	// total center mix. MediaConvert uses this value for downmixing. How the service
	// uses this value depends on the value that you choose for Stereo downmix. Valid
	// values: 3.0, 1.5, 0.0, -1.5, -3.0, -4.5, -6.0, and -60. The value -60 mutes the
	// channel. This setting applies only 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 Left total/Right total center.
	LtRtCenterMixLevel *float64

	// Specify a value for the following Dolby Digital Plus setting: Left total/Right
	// total surround mix. MediaConvert uses this value for downmixing. How the service
	// uses this value depends on the value that you choose for Stereo downmix. Valid
	// values: -1.5, -3.0, -4.5, -6.0, and -60. The value -60 mutes the channel. This
	// setting applies only 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 Left total/Right total surround.
	LtRtSurroundMixLevel *float64

	// 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.
	MetadataControl Eac3MetadataControl

	// 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.
	PassthroughControl Eac3PassthroughControl

	// Controls the amount of phase-shift applied to the surround channels. Only used
	// for 3/2 coding mode.
	PhaseControl Eac3PhaseControl

	// This value is always 48000. It represents the sample rate in Hz.
	SampleRate *int32

	// 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.
	StereoDownmix Eac3StereoDownmix

	// When encoding 3/2 audio, sets whether an extra center back surround channel is
	// matrix encoded into the left and right surround channels.
	SurroundExMode Eac3SurroundExMode

	// When encoding 2/0 audio, sets whether Dolby Surround is matrix encoded into the
	// two channels.
	SurroundMode Eac3SurroundMode

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}

// 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.
type EmbeddedDestinationSettings struct {

	// Ignore this setting unless your input captions are SCC format and your output
	// captions are embedded in the video stream. Specify a CC number for each captions
	// channel in this output. If you have two channels, choose CC numbers that aren't
	// in the same field. For example, choose 1 and 3. For more information, see
	// https://docs.aws.amazon.com/console/mediaconvert/dual-scc-to-embedded.
	Destination608ChannelNumber *int32

	// Ignore this setting unless your input captions are SCC format and you want both
	// 608 and 708 captions embedded in your output stream. Optionally, specify the 708
	// service number for each output captions channel. Choose a different number for
	// each channel. To use this setting, also set Force 608 to 708 upconvert to
	// Upconvert in your input captions selector settings. If you choose to upconvert
	// but don't specify a 708 service number, MediaConvert uses the number that you
	// specify for CC channel number for the 708 service number. For more information,
	// see https://docs.aws.amazon.com/console/mediaconvert/dual-scc-to-embedded.
	Destination708ServiceNumber *int32

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}

// Settings for embedded captions Source
type EmbeddedSourceSettings struct {

	// 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.
	Convert608To708 EmbeddedConvert608To708

	// Specifies the 608/708 channel number within the video track from which to
	// extract captions. Unused for passthrough.
	Source608ChannelNumber *int32

	// Specifies the video track index used for extracting captions. The system only
	// supports one input video track, so this should always be set to '1'.
	Source608TrackNumber *int32

	// 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.
	TerminateCaptions EmbeddedTerminateCaptions

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}

// Describes an account-specific API endpoint.
type Endpoint struct {

	// URL of endpoint
	Url *string

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}

// ESAM ManifestConfirmConditionNotification defined by OC-SP-ESAM-API-I03-131025.
type EsamManifestConfirmConditionNotification struct {

	// Provide your ESAM ManifestConfirmConditionNotification XML document inside your
	// JSON job settings. Form the XML document as per OC-SP-ESAM-API-I03-131025. The
	// transcoder will use the Manifest Conditioning instructions in the message that
	// you supply.
	MccXml *string

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}

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

	// Specifies an ESAM ManifestConfirmConditionNotification XML as per
	// OC-SP-ESAM-API-I03-131025. The transcoder uses the manifest conditioning
	// instructions that you provide in the setting MCC XML.
	ManifestConfirmConditionNotification *EsamManifestConfirmConditionNotification

	// Specifies the stream distance, in milliseconds, between the SCTE 35 messages
	// that the transcoder places and the splice points that they refer to. If the time
	// between the start of the asset and the SCTE-35 message is less than this value,
	// then the transcoder places the SCTE-35 marker at the beginning of the stream.
	ResponseSignalPreroll *int32

	// Specifies an ESAM SignalProcessingNotification XML as per
	// OC-SP-ESAM-API-I03-131025. The transcoder uses the signal processing
	// instructions that you provide in the setting SCC XML.
	SignalProcessingNotification *EsamSignalProcessingNotification

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}

// ESAM SignalProcessingNotification data defined by OC-SP-ESAM-API-I03-131025.
type EsamSignalProcessingNotification struct {

	// Provide your ESAM SignalProcessingNotification XML document inside your JSON
	// job settings. Form the XML document as per OC-SP-ESAM-API-I03-131025. The
	// transcoder will use the signal processing instructions in the message that you
	// supply. For your MPEG2-TS file outputs, if you want the service to place SCTE-35
	// markers at the insertion points you specify in the XML document, you must also
	// enable SCTE-35 ESAM. Note that you can either specify an ESAM XML document or
	// enable SCTE-35 passthrough. You can't do both.
	SccXml *string

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}

// 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.
type ExtendedDataServices struct {

	// 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.
	CopyProtectionAction CopyProtectionAction

	// The action to take on content advisory XDS packets. If you select PASSTHROUGH,
	// packets will not be changed. If you select STRIP, any packets will be removed in
	// output captions.
	VchipAction VchipAction

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}

// Settings for F4v container
type F4vSettings struct {

	// 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.
	MoovPlacement F4vMoovPlacement

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}

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

	// Use Destination to specify the S3 output location and the output filename base.
	// Destination accepts format identifiers. If you do not specify the base filename
	// in the URI, the service will use the filename of the input file. If your job has
	// multiple inputs, the service uses the filename of the first input file.
	Destination *string

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

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}

// 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.
type FileSourceSettings struct {

	// 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.
	Convert608To708 FileSourceConvert608To708

	// 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.
	ConvertPaintToPop CaptionSourceConvertPaintOnToPopOn

	// 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.
	Framerate *CaptionSourceFramerate

	// External caption file used for loading captions. Accepted file extensions are
	// 'scc', 'ttml', 'dfxp', 'stl', 'srt', 'xml', 'smi', 'webvtt', and 'vtt'.
	SourceFile *string

	// Optional. Use this setting when you need to adjust the sync between your
	// sidecar captions and your video. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/time-delta-use-cases.html.
	// Enter a positive or negative number to modify the times in the captions file.
	// For example, type 15 to add 15 seconds to all the times in the captions file.
	// Type -5 to subtract 5 seconds from the times in the captions file. You can
	// optionally specify your time delta in milliseconds instead of seconds. When you
	// do so, set the related setting, Time delta units to Milliseconds. Note that,
	// when you specify a time delta for timecode-based caption sources, such as SCC
	// and STL, and your time delta isn't a multiple of the input frame rate,
	// MediaConvert snaps the captions to the nearest frame. For example, when your
	// input video frame rate is 25 fps and you specify 1010ms for time delta,
	// MediaConvert delays your captions by 1000 ms.
	TimeDelta *int32

	// 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.
	TimeDeltaUnits FileSourceTimeDeltaUnits

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}

// Required when you set Codec, under AudioDescriptions>CodecSettings, to the
// value FLAC.
type FlacSettings struct {

	// Specify Bit depth (BitDepth), in bits per sample, to choose the encoding
	// quality for this audio track.
	BitDepth *int32

	// Specify the number of channels in this output audio track. Choosing Mono on the
	// console gives you 1 output channel; choosing Stereo gives you 2. In the API,
	// valid values are between 1 and 8.
	Channels *int32

	// Sample rate in Hz.
	SampleRate *int32

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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.
type ForceIncludeRenditionSize struct {

	// Use Height to define the video resolution height, in pixels, for this rule.
	Height *int32

	// Use Width to define the video resolution width, in pixels, for this rule.
	Width *int32

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}

// Required when you set Codec to the value FRAME_CAPTURE.
type FrameCaptureSettings struct {

	// Frame capture will encode the first frame of the output stream, then one frame
	// every framerateDenominator/framerateNumerator seconds. For example, settings of
	// framerateNumerator = 1 and framerateDenominator = 3 (a rate of 1/3 frame per
	// second) will capture the first frame, then 1 frame every 3s. Files will be named
	// as filename.n.jpg where n is the 0-based sequence number of each Capture.
	FramerateDenominator *int32

	// Frame capture will encode the first frame of the output stream, then one frame
	// every framerateDenominator/framerateNumerator seconds. For example, settings of
	// framerateNumerator = 1 and framerateDenominator = 3 (a rate of 1/3 frame per
	// second) will capture the first frame, then 1 frame every 3s. Files will be named
	// as filename.NNNNNNN.jpg where N is the 0-based frame sequence number zero padded
	// to 7 decimal places.
	FramerateNumerator *int32

	// Maximum number of captures (encoded jpg output files).
	MaxCaptures *int32

	// JPEG Quality - a higher value equals higher quality.
	Quality *int32

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}

// Settings for quality-defined variable bitrate encoding with the H.264 codec.
// Use these settings only when you set QVBR for Rate control mode.
type H264QvbrSettings struct {

	// Use this setting only when Rate control mode is QVBR and Quality tuning level
	// is Multi-pass HQ. For Max average bitrate values suited to the complexity of
	// your input video, the service limits the average bitrate of the video part of
	// this output to the value that you choose. That is, the total size of the video
	// element is less than or equal to the value you set multiplied by the number of
	// seconds of encoded output.
	MaxAverageBitrate *int32

	// Use this setting only when you set Rate control mode to QVBR. Specify the
	// target quality level for this output. MediaConvert determines the right number
	// of bits to use for each part of the video to maintain the video quality that you
	// specify. When you keep the default value, AUTO, MediaConvert picks a quality
	// level for you, based on characteristics of your input video. If you prefer to
	// specify a quality level, specify a number from 1 through 10. Use higher numbers
	// for greater quality. Level 10 results in nearly lossless compression. The
	// quality level for most broadcast-quality transcodes is between 6 and 9.
	// Optionally, to specify a value between whole numbers, also provide a value for
	// the setting qvbrQualityLevelFineTune. For example, if you want your QVBR quality
	// level to be 7.33, set qvbrQualityLevel to 7 and set qvbrQualityLevelFineTune to
	// .33.
	QvbrQualityLevel *int32

	// Optional. Specify a value here to set the QVBR quality to a level that is
	// between whole numbers. For example, if you want your QVBR quality level to be
	// 7.33, set qvbrQualityLevel to 7 and set qvbrQualityLevelFineTune to .33.
	// MediaConvert rounds your QVBR quality level to the nearest third of a whole
	// number. For example, if you set qvbrQualityLevel to 7 and you set
	// qvbrQualityLevelFineTune to .25, your actual QVBR quality level is 7.33.
	QvbrQualityLevelFineTune *float64

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}

// Required when you set Codec to the value H_264.
type H264Settings struct {

	// Keep the default value, Auto, for this setting to have MediaConvert
	// automatically apply the best types of quantization for your video content. When
	// you want to apply your quantization settings manually, you must set
	// H264AdaptiveQuantization to a value other than Auto. Use this setting to specify
	// the strength of any adaptive quantization filters that you enable. If you don't
	// want MediaConvert to do any adaptive quantization in this transcode, set
	// Adaptive quantization to Off. Related settings: The value that you choose here
	// applies to the following settings: H264FlickerAdaptiveQuantization,
	// H264SpatialAdaptiveQuantization, and H264TemporalAdaptiveQuantization.
	AdaptiveQuantization H264AdaptiveQuantization

	// 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.
	BandwidthReductionFilter *BandwidthReductionFilter

	// Specify the average bitrate in bits per second. Required for VBR and CBR. For
	// MS Smooth outputs, bitrates must be unique when rounded down to the nearest
	// multiple of 1000.
	Bitrate *int32

	// Specify an H.264 level that is consistent with your output video settings. If
	// you aren't sure what level to specify, choose Auto.
	CodecLevel H264CodecLevel

	// H.264 Profile. High 4:2:2 and 10-bit profiles are only available with the AVC-I
	// License.
	CodecProfile H264CodecProfile

	// Specify whether to allow the number of B-frames in your output GOP structure to
	// vary or not depending on your input video content. To improve the subjective
	// video quality of your output that has high-motion content: Leave blank or keep
	// the default value Adaptive. MediaConvert will use fewer B-frames for high-motion
	// video content than low-motion content. The maximum number of B- frames is
	// limited by the value that you choose for B-frames between reference frames. To
	// use the same number B-frames for all types of content: Choose Static.
	DynamicSubGop H264DynamicSubGop

	// Optionally include or suppress markers at the end of your output that signal
	// the end of the video stream. To include end of stream markers: Leave blank or
	// keep the default value, Include. To not include end of stream markers: Choose
	// Suppress. This is useful when your output will be inserted into another stream.
	EndOfStreamMarkers H264EndOfStreamMarkers

	// Entropy encoding mode. Use CABAC (must be in Main or High profile) or CAVLC.
	EntropyEncoding H264EntropyEncoding

	// The video encoding method for your MPEG-4 AVC output. Keep the default value,
	// PAFF, to have MediaConvert use PAFF encoding for interlaced outputs. Choose
	// Force field to disable PAFF encoding and create separate interlaced fields.
	// Choose MBAFF to disable PAFF and have MediaConvert use MBAFF encoding for
	// interlaced outputs.
	FieldEncoding H264FieldEncoding

	// Only use this setting when you change the default value, AUTO, for the setting
	// H264AdaptiveQuantization. When you keep all defaults, excluding
	// H264AdaptiveQuantization and all other adaptive quantization from your JSON job
	// specification, MediaConvert automatically applies the best types of quantization
	// for your video content. When you set H264AdaptiveQuantization to a value other
	// than AUTO, the default value for H264FlickerAdaptiveQuantization is Disabled.
	// Change this value to Enabled to reduce I-frame pop. I-frame pop appears as a
	// visual flicker that can arise when the encoder saves bits by copying some
	// macroblocks many times from frame to frame, and then refreshes them at the
	// I-frame. When you enable this setting, the encoder updates these macroblocks
	// slightly more often to smooth out the flicker. To manually enable or disable
	// H264FlickerAdaptiveQuantization, you must set Adaptive quantization to a value
	// other than AUTO.
	FlickerAdaptiveQuantization H264FlickerAdaptiveQuantization

	// 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.
	FramerateControl H264FramerateControl

	// Choose the method that you want MediaConvert to use when increasing or
	// decreasing the 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.
	FramerateConversionAlgorithm H264FramerateConversionAlgorithm

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateDenominator to specify the denominator of this fraction. In this
	// example, use 1001 for the value of FramerateDenominator. When you use the
	// console for transcode jobs that use frame rate conversion, provide the value as
	// a decimal number for Framerate. In this example, specify 23.976.
	FramerateDenominator *int32

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateNumerator to specify the numerator of this fraction. In this example,
	// use 24000 for the value of FramerateNumerator. When you use the console for
	// transcode jobs that use frame rate conversion, provide the value as a decimal
	// number for Framerate. In this example, specify 23.976.
	FramerateNumerator *int32

	// Specify whether to allow B-frames to be referenced by other frame types. To use
	// reference B-frames when your GOP structure has 1 or more B-frames: Leave blank
	// or keep the default value Enabled. We recommend that you choose Enabled to help
	// improve the video quality of your output relative to its bitrate. To not use
	// reference B-frames: Choose Disabled.
	GopBReference H264GopBReference

	// Specify the relative frequency of open to closed GOPs in this output. For
	// example, if you want to allow four open GOPs and then require a closed GOP, set
	// this value to 5. We recommend that you have the transcoder automatically choose
	// this value for you based on characteristics of your input video. In the console,
	// do this by keeping the default empty value. If you do explicitly specify a
	// value, for segmented outputs, don't set this value to 0.
	GopClosedCadence *int32

	// Use this setting only when you set GOP mode control to Specified, frames or
	// Specified, seconds. Specify the GOP length using a whole number of frames or a
	// decimal value of seconds. MediaConvert will interpret this value as frames or
	// seconds depending on the value you choose for GOP mode control. If you want to
	// allow MediaConvert to automatically determine GOP size, leave GOP size blank and
	// set GOP mode control to Auto. If your output group specifies HLS, DASH, or CMAF,
	// leave GOP size blank and set GOP mode control to Auto in each output in your
	// output group.
	GopSize *float64

	// Specify how the transcoder determines GOP size for this output. We recommend
	// that you have the transcoder automatically choose this value for you based on
	// characteristics of your input video. To enable this automatic behavior, choose
	// Auto and and leave GOP size blank. By default, if you don't specify GOP mode
	// control, MediaConvert will use automatic behavior. If your output group
	// specifies HLS, DASH, or CMAF, set GOP mode control to Auto and leave GOP size
	// blank in each output in your output group. To explicitly specify the GOP length,
	// choose Specified, frames or Specified, seconds and then provide the GOP length
	// in the related setting GOP size.
	GopSizeUnits H264GopSizeUnits

	// If your downstream systems have strict buffer requirements: Specify the minimum
	// percentage of the HRD buffer that's available at the end of each encoded video
	// segment. For the best video quality: Set to 0 or leave blank to automatically
	// determine the final buffer fill percentage.
	HrdBufferFinalFillPercentage *int32

	// Percentage of the buffer that should initially be filled (HRD buffer model).
	HrdBufferInitialFillPercentage *int32

	// Size of buffer (HRD buffer model) in bits. For example, enter five megabits as
	// 5000000.
	HrdBufferSize *int32

	// 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.
	InterlaceMode H264InterlaceMode

	// Maximum bitrate in bits/second. For example, enter five megabits per second as
	// 5000000. Required when Rate control mode is QVBR.
	MaxBitrate *int32

	// Use this setting only when you also enable Scene change detection. This setting
	// determines how the encoder manages the spacing between I-frames that it inserts
	// as part of the I-frame cadence and the I-frames that it inserts for Scene change
	// detection. We recommend that you have the transcoder automatically choose this
	// value for you based on characteristics of your input video. To enable this
	// automatic behavior, do this by keeping the default empty value. When you
	// explicitly specify a value for this setting, the encoder determines whether to
	// skip a cadence-driven I-frame by the value you set. For example, if you set Min
	// I interval to 5 and a cadence-driven I-frame would fall within 5 frames of a
	// scene-change I-frame, then the encoder skips the cadence-driven I-frame. In this
	// way, one GOP is shrunk slightly and one GOP is stretched slightly. When the
	// cadence-driven I-frames are farther from the scene-change I-frame than the value
	// you set, then the encoder leaves all I-frames in place and the GOPs surrounding
	// the scene change are smaller than the usual cadence GOPs.
	MinIInterval *int32

	// Specify the number of B-frames between reference frames in this output. For the
	// best video quality: Leave blank. MediaConvert automatically determines the
	// number of B-frames to use based on the characteristics of your input video. To
	// manually specify the number of B-frames between reference frames: Enter an
	// integer from 0 to 7.
	NumberBFramesBetweenReferenceFrames *int32

	// Number of reference frames to use. The encoder may use more than requested if
	// using B-frames and/or interlaced encoding.
	NumberReferenceFrames *int32

	// Optional. Specify how the service determines the pixel aspect ratio (PAR) for
	// this output. The default behavior, Follow source, uses the PAR from your input
	// video for your output. To specify a different PAR in the console, choose any
	// value other than Follow source. When you choose SPECIFIED for this setting, you
	// must also specify values for the parNumerator and parDenominator settings.
	ParControl H264ParControl

	// Required when you set Pixel aspect ratio to SPECIFIED. On the console, this
	// corresponds to any value other than Follow source. When you specify an output
	// pixel aspect ratio (PAR) that is different from your input video PAR, provide
	// your output PAR as a ratio. For example, for D1/DV NTSC widescreen, you would
	// specify the ratio 40:33. In this example, the value for parDenominator is 33.
	ParDenominator *int32

	// Required when you set Pixel aspect ratio to SPECIFIED. On the console, this
	// corresponds to any value other than Follow source. When you specify an output
	// pixel aspect ratio (PAR) that is different from your input video PAR, provide
	// your output PAR as a ratio. For example, for D1/DV NTSC widescreen, you would
	// specify the ratio 40:33. In this example, the value for parNumerator is 40.
	ParNumerator *int32

	// The Quality tuning level you choose represents a trade-off between the encoding
	// speed of your job and the output video quality. For the fastest encoding speed
	// at the cost of video quality: Choose Single pass. For a good balance between
	// encoding speed and video quality: Leave blank or keep the default value Single
	// pass HQ. For the best video quality, at the cost of encoding speed: Choose Multi
	// pass HQ. MediaConvert performs an analysis pass on your input followed by an
	// encoding pass. Outputs that use this feature incur pro-tier pricing.
	QualityTuningLevel H264QualityTuningLevel

	// Settings for quality-defined variable bitrate encoding with the H.265 codec.
	// Use these settings only when you set QVBR for Rate control mode.
	QvbrSettings *H264QvbrSettings

	// Use this setting to specify whether this output has a variable bitrate (VBR),
	// constant bitrate (CBR) or quality-defined variable bitrate (QVBR).
	RateControlMode H264RateControlMode

	// Places a PPS header on each encoded picture, even if repeated.
	RepeatPps H264RepeatPps

	// 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.
	ScanTypeConversionMode H264ScanTypeConversionMode

	// Enable this setting to insert I-frames at scene changes that the service
	// automatically detects. This improves video quality and is enabled by default. If
	// this output uses QVBR, choose Transition detection for further video quality
	// improvement. For more information about QVBR, see
	// https://docs.aws.amazon.com/console/mediaconvert/cbr-vbr-qvbr.
	SceneChangeDetect H264SceneChangeDetect

	// Number of slices per picture. Must be less than or equal to the number of
	// macroblock rows for progressive pictures, and less than or equal to half the
	// number of macroblock rows for interlaced pictures.
	Slices *int32

	// 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.
	SlowPal H264SlowPal

	// Ignore this setting unless you need to comply with a specification that
	// requires a specific value. If you don't have a specification requirement, we
	// recommend that you adjust the softness of your output by using a lower value for
	// the setting Sharpness or by enabling a noise reducer filter. The Softness
	// setting specifies the quantization matrices that the encoder uses. Keep the
	// default value, 0, for flat quantization. Choose the value 1 or 16 to use the
	// default JVT softening quantization matricies from the H.264 specification.
	// Choose a value from 17 to 128 to use planar interpolation. Increasing values
	// from 17 to 128 result in increasing reduction of high-frequency data. The value
	// 128 results in the softest video.
	Softness *int32

	// Only use this setting when you change the default value, Auto, for the setting
	// H264AdaptiveQuantization. When you keep all defaults, excluding
	// H264AdaptiveQuantization and all other adaptive quantization from your JSON job
	// specification, MediaConvert automatically applies the best types of quantization
	// for your video content. When you set H264AdaptiveQuantization to a value other
	// than AUTO, the default value for H264SpatialAdaptiveQuantization is Enabled.
	// Keep this default value 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 set
	// H264SpatialAdaptiveQuantization to Disabled. 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. To manually enable or disable H264SpatialAdaptiveQuantization, you must
	// set Adaptive quantization to a value other than AUTO.
	SpatialAdaptiveQuantization H264SpatialAdaptiveQuantization

	// Produces a bitstream compliant with SMPTE RP-2027.
	Syntax H264Syntax

	// 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 or
	// soft telecine to create a smoother picture. Hard telecine produces a 29.97i
	// output. Soft telecine produces an output with a 23.976 output that signals to
	// the video player device to do the conversion during play back. 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.
	Telecine H264Telecine

	// Only use this setting when you change the default value, AUTO, for the setting
	// H264AdaptiveQuantization. When you keep all defaults, excluding
	// H264AdaptiveQuantization and all other adaptive quantization from your JSON job
	// specification, MediaConvert automatically applies the best types of quantization
	// for your video content. When you set H264AdaptiveQuantization to a value other
	// than AUTO, the default value for H264TemporalAdaptiveQuantization is Enabled.
	// Keep this default value to adjust quantization within each frame based on
	// temporal variation of content complexity. When you enable this feature, the
	// encoder uses fewer bits on areas of the frame that aren't moving and uses more
	// bits on complex objects with sharp edges that move a lot. For example, this
	// feature improves the readability of text tickers on newscasts and scoreboards on
	// sports matches. 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 that doesn't have moving objects with sharp
	// edges, such as sports athletes' faces, you might choose to set
	// H264TemporalAdaptiveQuantization to Disabled. Related setting: When you enable
	// temporal quantization, adjust the strength of the filter with the setting
	// Adaptive quantization. To manually enable or disable
	// H264TemporalAdaptiveQuantization, you must set Adaptive quantization to a value
	// other than AUTO.
	TemporalAdaptiveQuantization H264TemporalAdaptiveQuantization

	// Inserts timecode for each frame as 4 bytes of an unregistered SEI message.
	UnregisteredSeiTimecode H264UnregisteredSeiTimecode

	noSmithyDocumentSerde
}

// Settings for quality-defined variable bitrate encoding with the H.265 codec.
// Use these settings only when you set QVBR for Rate control mode.
type H265QvbrSettings struct {

	// Use this setting only when Rate control mode is QVBR and Quality tuning level
	// is Multi-pass HQ. For Max average bitrate values suited to the complexity of
	// your input video, the service limits the average bitrate of the video part of
	// this output to the value that you choose. That is, the total size of the video
	// element is less than or equal to the value you set multiplied by the number of
	// seconds of encoded output.
	MaxAverageBitrate *int32

	// Use this setting only when you set Rate control mode to QVBR. Specify the
	// target quality level for this output. MediaConvert determines the right number
	// of bits to use for each part of the video to maintain the video quality that you
	// specify. When you keep the default value, AUTO, MediaConvert picks a quality
	// level for you, based on characteristics of your input video. If you prefer to
	// specify a quality level, specify a number from 1 through 10. Use higher numbers
	// for greater quality. Level 10 results in nearly lossless compression. The
	// quality level for most broadcast-quality transcodes is between 6 and 9.
	// Optionally, to specify a value between whole numbers, also provide a value for
	// the setting qvbrQualityLevelFineTune. For example, if you want your QVBR quality
	// level to be 7.33, set qvbrQualityLevel to 7 and set qvbrQualityLevelFineTune to
	// .33.
	QvbrQualityLevel *int32

	// Optional. Specify a value here to set the QVBR quality to a level that is
	// between whole numbers. For example, if you want your QVBR quality level to be
	// 7.33, set qvbrQualityLevel to 7 and set qvbrQualityLevelFineTune to .33.
	// MediaConvert rounds your QVBR quality level to the nearest third of a whole
	// number. For example, if you set qvbrQualityLevel to 7 and you set
	// qvbrQualityLevelFineTune to .25, your actual QVBR quality level is 7.33.
	QvbrQualityLevelFineTune *float64

	noSmithyDocumentSerde
}

// Settings for H265 codec
type H265Settings struct {

	// When you set Adaptive Quantization to Auto, or leave blank, MediaConvert
	// automatically applies quantization to improve the video quality of your output.
	// Set Adaptive Quantization to Low, Medium, High, Higher, or Max to manually
	// control the strength of the quantization filter. When you do, you can specify a
	// value for Spatial Adaptive Quantization, Temporal Adaptive Quantization, and
	// Flicker Adaptive Quantization, to further control the quantization filter. Set
	// Adaptive Quantization to Off to apply no quantization to your output.
	AdaptiveQuantization H265AdaptiveQuantization

	// Enables Alternate Transfer Function SEI message for outputs using Hybrid Log
	// Gamma (HLG) Electro-Optical Transfer Function (EOTF).
	AlternateTransferFunctionSei H265AlternateTransferFunctionSei

	// 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.
	BandwidthReductionFilter *BandwidthReductionFilter

	// Specify the average bitrate in bits per second. Required for VBR and CBR. For
	// MS Smooth outputs, bitrates must be unique when rounded down to the nearest
	// multiple of 1000.
	Bitrate *int32

	// H.265 Level.
	CodecLevel H265CodecLevel

	// Represents the Profile and Tier, per the HEVC (H.265) specification. Selections
	// are grouped as [Profile] / [Tier], so "Main/High" represents Main Profile with
	// High Tier. 4:2:2 profiles are only available with the HEVC 4:2:2 License.
	CodecProfile H265CodecProfile

	// Specify whether to allow the number of B-frames in your output GOP structure to
	// vary or not depending on your input video content. To improve the subjective
	// video quality of your output that has high-motion content: Leave blank or keep
	// the default value Adaptive. MediaConvert will use fewer B-frames for high-motion
	// video content than low-motion content. The maximum number of B- frames is
	// limited by the value that you choose for B-frames between reference frames. To
	// use the same number B-frames for all types of content: Choose Static.
	DynamicSubGop H265DynamicSubGop

	// Optionally include or suppress markers at the end of your output that signal
	// the end of the video stream. To include end of stream markers: Leave blank or
	// keep the default value, Include. To not include end of stream markers: Choose
	// Suppress. This is useful when your output will be inserted into another stream.
	EndOfStreamMarkers H265EndOfStreamMarkers

	// Enable this setting to have the encoder reduce I-frame pop. I-frame pop appears
	// as a visual flicker that can arise when the encoder saves bits by copying some
	// macroblocks many times from frame to frame, and then refreshes them at the
	// I-frame. When you enable this setting, the encoder updates these macroblocks
	// slightly more often to smooth out the flicker. This setting is disabled by
	// default. Related setting: In addition to enabling this setting, you must also
	// set adaptiveQuantization to a value other than Off.
	FlickerAdaptiveQuantization H265FlickerAdaptiveQuantization

	// 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.
	FramerateControl H265FramerateControl

	// Choose the method that you want MediaConvert to use when increasing or
	// decreasing the 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.
	FramerateConversionAlgorithm H265FramerateConversionAlgorithm

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateDenominator to specify the denominator of this fraction. In this
	// example, use 1001 for the value of FramerateDenominator. When you use the
	// console for transcode jobs that use frame rate conversion, provide the value as
	// a decimal number for Framerate. In this example, specify 23.976.
	FramerateDenominator *int32

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateNumerator to specify the numerator of this fraction. In this example,
	// use 24000 for the value of FramerateNumerator. When you use the console for
	// transcode jobs that use frame rate conversion, provide the value as a decimal
	// number for Framerate. In this example, specify 23.976.
	FramerateNumerator *int32

	// Specify whether to allow B-frames to be referenced by other frame types. To use
	// reference B-frames when your GOP structure has 1 or more B-frames: Leave blank
	// or keep the default value Enabled. We recommend that you choose Enabled to help
	// improve the video quality of your output relative to its bitrate. To not use
	// reference B-frames: Choose Disabled.
	GopBReference H265GopBReference

	// Specify the relative frequency of open to closed GOPs in this output. For
	// example, if you want to allow four open GOPs and then require a closed GOP, set
	// this value to 5. We recommend that you have the transcoder automatically choose
	// this value for you based on characteristics of your input video. To enable this
	// automatic behavior, do this by keeping the default empty value. If you do
	// explicitly specify a value, for segmented outputs, don't set this value to 0.
	GopClosedCadence *int32

	// Use this setting only when you set GOP mode control to Specified, frames or
	// Specified, seconds. Specify the GOP length using a whole number of frames or a
	// decimal value of seconds. MediaConvert will interpret this value as frames or
	// seconds depending on the value you choose for GOP mode control. If you want to
	// allow MediaConvert to automatically determine GOP size, leave GOP size blank and
	// set GOP mode control to Auto. If your output group specifies HLS, DASH, or CMAF,
	// leave GOP size blank and set GOP mode control to Auto in each output in your
	// output group.
	GopSize *float64

	// Specify how the transcoder determines GOP size for this output. We recommend
	// that you have the transcoder automatically choose this value for you based on
	// characteristics of your input video. To enable this automatic behavior, choose
	// Auto and and leave GOP size blank. By default, if you don't specify GOP mode
	// control, MediaConvert will use automatic behavior. If your output group
	// specifies HLS, DASH, or CMAF, set GOP mode control to Auto and leave GOP size
	// blank in each output in your output group. To explicitly specify the GOP length,
	// choose Specified, frames or Specified, seconds and then provide the GOP length
	// in the related setting GOP size.
	GopSizeUnits H265GopSizeUnits

	// If your downstream systems have strict buffer requirements: Specify the minimum
	// percentage of the HRD buffer that's available at the end of each encoded video
	// segment. For the best video quality: Set to 0 or leave blank to automatically
	// determine the final buffer fill percentage.
	HrdBufferFinalFillPercentage *int32

	// Percentage of the buffer that should initially be filled (HRD buffer model).
	HrdBufferInitialFillPercentage *int32

	// Size of buffer (HRD buffer model) in bits. For example, enter five megabits as
	// 5000000.
	HrdBufferSize *int32

	// 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.
	InterlaceMode H265InterlaceMode

	// Maximum bitrate in bits/second. For example, enter five megabits per second as
	// 5000000. Required when Rate control mode is QVBR.
	MaxBitrate *int32

	// Use this setting only when you also enable Scene change detection. This setting
	// determines how the encoder manages the spacing between I-frames that it inserts
	// as part of the I-frame cadence and the I-frames that it inserts for Scene change
	// detection. We recommend that you have the transcoder automatically choose this
	// value for you based on characteristics of your input video. To enable this
	// automatic behavior, do this by keeping the default empty value. When you
	// explicitly specify a value for this setting, the encoder determines whether to
	// skip a cadence-driven I-frame by the value you set. For example, if you set Min
	// I interval to 5 and a cadence-driven I-frame would fall within 5 frames of a
	// scene-change I-frame, then the encoder skips the cadence-driven I-frame. In this
	// way, one GOP is shrunk slightly and one GOP is stretched slightly. When the
	// cadence-driven I-frames are farther from the scene-change I-frame than the value
	// you set, then the encoder leaves all I-frames in place and the GOPs surrounding
	// the scene change are smaller than the usual cadence GOPs.
	MinIInterval *int32

	// Specify the number of B-frames between reference frames in this output. For the
	// best video quality: Leave blank. MediaConvert automatically determines the
	// number of B-frames to use based on the characteristics of your input video. To
	// manually specify the number of B-frames between reference frames: Enter an
	// integer from 0 to 7.
	NumberBFramesBetweenReferenceFrames *int32

	// Number of reference frames to use. The encoder may use more than requested if
	// using B-frames and/or interlaced encoding.
	NumberReferenceFrames *int32

	// Optional. Specify how the service determines the pixel aspect ratio (PAR) for
	// this output. The default behavior, Follow source, uses the PAR from your input
	// video for your output. To specify a different PAR, choose any value other than
	// Follow source. When you choose SPECIFIED for this setting, you must also specify
	// values for the parNumerator and parDenominator settings.
	ParControl H265ParControl

	// Required when you set Pixel aspect ratio to SPECIFIED. On the console, this
	// corresponds to any value other than Follow source. When you specify an output
	// pixel aspect ratio (PAR) that is different from your input video PAR, provide
	// your output PAR as a ratio. For example, for D1/DV NTSC widescreen, you would
	// specify the ratio 40:33. In this example, the value for parDenominator is 33.
	ParDenominator *int32

	// Required when you set Pixel aspect ratio to SPECIFIED. On the console, this
	// corresponds to any value other than Follow source. When you specify an output
	// pixel aspect ratio (PAR) that is different from your input video PAR, provide
	// your output PAR as a ratio. For example, for D1/DV NTSC widescreen, you would
	// specify the ratio 40:33. In this example, the value for parNumerator is 40.
	ParNumerator *int32

	// Optional. Use Quality tuning level to choose how you want to trade off encoding
	// speed for output video quality. The default behavior is faster, lower quality,
	// single-pass encoding.
	QualityTuningLevel H265QualityTuningLevel

	// Settings for quality-defined variable bitrate encoding with the H.265 codec.
	// Use these settings only when you set QVBR for Rate control mode.
	QvbrSettings *H265QvbrSettings

	// Use this setting to specify whether this output has a variable bitrate (VBR),
	// constant bitrate (CBR) or quality-defined variable bitrate (QVBR).
	RateControlMode H265RateControlMode

	// Specify Sample Adaptive Offset (SAO) filter strength. Adaptive mode dynamically
	// selects best strength based on content
	SampleAdaptiveOffsetFilterMode H265SampleAdaptiveOffsetFilterMode

	// 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.
	ScanTypeConversionMode H265ScanTypeConversionMode

	// Enable this setting to insert I-frames at scene changes that the service
	// automatically detects. This improves video quality and is enabled by default. If
	// this output uses QVBR, choose Transition detection for further video quality
	// improvement. For more information about QVBR, see
	// https://docs.aws.amazon.com/console/mediaconvert/cbr-vbr-qvbr.
	SceneChangeDetect H265SceneChangeDetect

	// Number of slices per picture. Must be less than or equal to the number of
	// macroblock rows for progressive pictures, and less than or equal to half the
	// number of macroblock rows for interlaced pictures.
	Slices *int32

	// 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.
	SlowPal H265SlowPal

	// 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.
	SpatialAdaptiveQuantization H265SpatialAdaptiveQuantization

	// This field applies only if the Streams > Advanced > Framerate field is set to
	// 29.970. This field works with the Streams > Advanced > Preprocessors >
	// Deinterlacer field and the Streams > Advanced > Interlaced Mode field to
	// identify the scan type for the output: Progressive, Interlaced, Hard Telecine or
	// Soft Telecine. - Hard: produces 29.97i output from 23.976 input. - Soft:
	// produces 23.976; the player converts this output to 29.97i.
	Telecine H265Telecine

	// Keep the default value, Enabled, to adjust quantization within each frame based
	// on temporal variation of content complexity. When you enable this feature, the
	// encoder uses fewer bits on areas of the frame that aren't moving and uses more
	// bits on complex objects with sharp edges that move a lot. For example, this
	// feature improves the readability of text tickers on newscasts and scoreboards on
	// sports matches. 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 that doesn't have moving objects with sharp
	// edges, such as sports athletes' faces, you might choose to disable this feature.
	// Related setting: When you enable temporal quantization, adjust the strength of
	// the filter with the setting Adaptive quantization.
	TemporalAdaptiveQuantization H265TemporalAdaptiveQuantization

	// Enables temporal layer identifiers in the encoded bitstream. Up to 3 layers are
	// supported depending on GOP structure: I- and P-frames form one layer, reference
	// B-frames can form a second layer and non-reference b-frames can form a third
	// layer. Decoders can optionally decode only the lower temporal layers to generate
	// a lower frame rate output. For example, given a bitstream with temporal IDs and
	// with b-frames = 1 (i.e. IbPbPb display order), a decoder could decode all the
	// frames for full frame rate output or only the I and P frames (lowest temporal
	// layer) for a half frame rate output.
	TemporalIds H265TemporalIds

	// Enable use of tiles, allowing horizontal as well as vertical subdivision of the
	// encoded pictures.
	Tiles H265Tiles

	// Inserts timecode for each frame as 4 bytes of an unregistered SEI message.
	UnregisteredSeiTimecode H265UnregisteredSeiTimecode

	// If the location of parameter set NAL units doesn't matter in your workflow,
	// ignore this setting. Use this setting only with CMAF or DASH outputs, or with
	// standalone file outputs in an MPEG-4 container (MP4 outputs). Choose HVC1 to
	// mark your output as HVC1. This makes your output compliant with the following
	// specification: ISO IECJTC1 SC29 N13798 Text ISO/IEC FDIS 14496-15 3rd Edition.
	// For these outputs, the service stores parameter set NAL units in the sample
	// headers but not in the samples directly. For MP4 outputs, when you choose HVC1,
	// your output video might not work properly with some downstream systems and video
	// players. The service defaults to marking your output as HEV1. For these outputs,
	// the service writes parameter set NAL units directly into the samples.
	WriteMp4PackagingType H265WriteMp4PackagingType

	noSmithyDocumentSerde
}

// Use these settings to specify static color calibration metadata, as defined by
// SMPTE ST 2086. These values don't affect the pixel values that are encoded in
// the video stream. They are intended to help the downstream video player display
// content in a way that reflects the intentions of the the content creator.
type Hdr10Metadata struct {

	// HDR Master Display Information must be provided by a color grader, using color
	// grading tools. Range is 0 to 50,000, each increment represents 0.00002 in
	// CIE1931 color coordinate. Note that this setting is not for color correction.
	BluePrimaryX *int32

	// HDR Master Display Information must be provided by a color grader, using color
	// grading tools. Range is 0 to 50,000, each increment represents 0.00002 in
	// CIE1931 color coordinate. Note that this setting is not for color correction.
	BluePrimaryY *int32

	// HDR Master Display Information must be provided by a color grader, using color
	// grading tools. Range is 0 to 50,000, each increment represents 0.00002 in
	// CIE1931 color coordinate. Note that this setting is not for color correction.
	GreenPrimaryX *int32

	// HDR Master Display Information must be provided by a color grader, using color
	// grading tools. Range is 0 to 50,000, each increment represents 0.00002 in
	// CIE1931 color coordinate. Note that this setting is not for color correction.
	GreenPrimaryY *int32

	// Maximum light level among all samples in the coded video sequence, in units of
	// candelas per square meter. This setting doesn't have a default value; you must
	// specify a value that is suitable for the content.
	MaxContentLightLevel *int32

	// Maximum average light level of any frame in the coded video sequence, in units
	// of candelas per square meter. This setting doesn't have a default value; you
	// must specify a value that is suitable for the content.
	MaxFrameAverageLightLevel *int32

	// Nominal maximum mastering display luminance in units of of 0.0001 candelas per
	// square meter.
	MaxLuminance *int32

	// Nominal minimum mastering display luminance in units of of 0.0001 candelas per
	// square meter
	MinLuminance *int32

	// HDR Master Display Information must be provided by a color grader, using color
	// grading tools. Range is 0 to 50,000, each increment represents 0.00002 in
	// CIE1931 color coordinate. Note that this setting is not for color correction.
	RedPrimaryX *int32

	// HDR Master Display Information must be provided by a color grader, using color
	// grading tools. Range is 0 to 50,000, each increment represents 0.00002 in
	// CIE1931 color coordinate. Note that this setting is not for color correction.
	RedPrimaryY *int32

	// HDR Master Display Information must be provided by a color grader, using color
	// grading tools. Range is 0 to 50,000, each increment represents 0.00002 in
	// CIE1931 color coordinate. Note that this setting is not for color correction.
	WhitePointX *int32

	// HDR Master Display Information must be provided by a color grader, using color
	// grading tools. Range is 0 to 50,000, each increment represents 0.00002 in
	// CIE1931 color coordinate. Note that this setting is not for color correction.
	WhitePointY *int32

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}

// Setting for HDR10+ metadata insertion
type Hdr10Plus struct {

	// Specify the HDR10+ mastering display normalized peak luminance, in nits. This
	// is the normalized actual peak luminance of the mastering display, as defined by
	// ST 2094-40.
	MasteringMonitorNits *int32

	// Specify the HDR10+ target display nominal peak luminance, in nits. This is the
	// nominal maximum luminance of the target display as defined by ST 2094-40.
	TargetMonitorNits *int32

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}

// Specify the details for each additional HLS manifest that you want the service
// to generate for this output group. Each manifest can reference a different
// subset of outputs in the group.
type HlsAdditionalManifest struct {

	// Specify a name modifier that the service adds to the name of this manifest to
	// make it different from the file names of the other main manifests in the output
	// group. For example, say that the default main manifest for your HLS group is
	// film-name.m3u8. If you enter "-no-premium" for this setting, then the file name
	// the service generates for this top-level manifest is film-name-no-premium.m3u8.
	// For HLS output groups, specify a manifestNameModifier that is different from the
	// nameModifier of the output. The service uses the output name modifier to create
	// unique names for the individual variant manifests.
	ManifestNameModifier *string

	// Specify the outputs that you want this additional top-level manifest to
	// reference.
	SelectedOutputs []string

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}

// Caption Language Mapping
type HlsCaptionLanguageMapping struct {

	// Caption channel.
	CaptionChannel *int32

	// Specify the language for this captions channel, using the ISO 639-2 or ISO
	// 639-3 three-letter language code
	CustomLanguageCode *string

	// Specify the language, using the ISO 639-2 three-letter code listed at
	// https://www.loc.gov/standards/iso639-2/php/code_list.php.
	LanguageCode LanguageCode

	// Caption language description.
	LanguageDescription *string

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// Settings for HLS encryption
type HlsEncryptionSettings struct {

	// This is a 128-bit, 16-byte hex value represented by a 32-character text string.
	// If this parameter is not set then the Initialization Vector will follow the
	// segment number by default.
	ConstantInitializationVector *string

	// Encrypts the segments with the given encryption scheme. Leave blank to disable.
	// Selecting 'Disabled' in the web interface also disables encryption.
	EncryptionMethod HlsEncryptionType

	// The Initialization Vector is a 128-bit number used in conjunction with the key
	// for encrypting blocks. If set to INCLUDE, Initialization Vector is listed in the
	// manifest. Otherwise Initialization Vector is not in the manifest.
	InitializationVectorInManifest HlsInitializationVectorInManifest

	// Enable this setting to insert the EXT-X-SESSION-KEY element into the master
	// playlist. This allows for offline Apple HLS FairPlay content protection.
	OfflineEncrypted HlsOfflineEncrypted

	// If your output group type is HLS, DASH, or Microsoft Smooth, use these settings
	// when doing DRM encryption with a SPEKE-compliant key provider. If your output
	// group type is CMAF, use the SpekeKeyProviderCmaf settings instead.
	SpekeKeyProvider *SpekeKeyProvider

	// Use these settings to set up encryption with a static key provider.
	StaticKeyProvider *StaticKeyProvider

	// 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.
	Type HlsKeyProviderType

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

	// Choose one or more ad marker types to decorate your Apple HLS manifest. This
	// setting does not determine whether SCTE-35 markers appear in the outputs
	// themselves.
	AdMarkers []HlsAdMarkers

	// By default, the service creates one top-level .m3u8 HLS manifest for each HLS
	// output group in your job. This default manifest references every output in the
	// output group. To create additional top-level manifests that reference a subset
	// of the outputs in the output group, specify a list of them here.
	AdditionalManifests []HlsAdditionalManifest

	// Ignore this setting unless you are using FairPlay DRM with Verimatrix and you
	// encounter playback issues. Keep the default value, Include, to output audio-only
	// headers. Choose Exclude to remove the audio-only headers from your audio
	// segments.
	AudioOnlyHeader HlsAudioOnlyHeader

	// A partial URI prefix that will be prepended to each output in the media .m3u8
	// file. Can be used if base manifest is delivered from a different URL than the
	// main .m3u8 file.
	BaseUrl *string

	// Language to be used on Caption outputs
	CaptionLanguageMappings []HlsCaptionLanguageMapping

	// Applies only to 608 Embedded output captions. Insert: Include CLOSED-CAPTIONS
	// lines in the manifest. Specify at least one language in the CC1 Language Code
	// field. One CLOSED-CAPTION line is added for each Language Code you specify. Make
	// sure to specify the languages in the order in which they appear in the original
	// source (if the source is embedded format) or the order of the caption selectors
	// (if the source is other than embedded). Otherwise, languages in the manifest
	// will not match up properly with the output captions. None: Include
	// CLOSED-CAPTIONS=NONE line in the manifest. Omit: Omit any CLOSED-CAPTIONS line
	// from the manifest.
	CaptionLanguageSetting HlsCaptionLanguageSetting

	// Set Caption segment length control to Match video to create caption segments
	// that align with the video segments from the first video output in this output
	// group. For example, if the video segments are 2 seconds long, your WebVTT
	// segments will also be 2 seconds long. Keep the default setting, Large segments
	// to create caption segments that are 300 seconds long.
	CaptionSegmentLengthControl HlsCaptionSegmentLengthControl

	// 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.
	ClientCache HlsClientCache

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

	// Use Destination to specify the S3 output location and the output filename base.
	// Destination accepts format identifiers. If you do not specify the base filename
	// in the URI, the service will use the filename of the input file. If your job has
	// multiple inputs, the service uses the filename of the first input file.
	Destination *string

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

	// Indicates whether segments should be placed in subdirectories.
	DirectoryStructure HlsDirectoryStructure

	// DRM settings.
	Encryption *HlsEncryptionSettings

	// 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 creates a child manifest
	// for each set of images that you generate and adds corresponding entries to the
	// parent manifest. 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
	ImageBasedTrickPlay HlsImageBasedTrickPlay

	// Tile and thumbnail settings applicable when imageBasedTrickPlay is ADVANCED
	ImageBasedTrickPlaySettings *HlsImageBasedTrickPlaySettings

	// When set to GZIP, compresses HLS playlist.
	ManifestCompression HlsManifestCompression

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

	// Keep this setting at the default value of 0, unless you are troubleshooting a
	// problem with how devices play back the end of your video asset. If you know that
	// player devices are hanging on the final segment of your video because the length
	// of your final segment is too short, use this setting to specify a minimum final
	// segment length, in seconds. Choose a value that is greater than or equal to 1
	// and less than your segment length. When you specify a value for this setting,
	// the encoder will combine any final segment that is shorter than the length that
	// you specify with the previous segment. For example, your segment length is 3
	// seconds and your final segment is .5 seconds without a minimum final segment
	// length; when you set the minimum final segment length to 1, your final segment
	// is 3.5 seconds.
	MinFinalSegmentLength *float64

	// When set, Minimum Segment Size is enforced by looking ahead and back within the
	// specified range for a nearby avail and extending the segment size if needed.
	MinSegmentLength *int32

	// Indicates whether the .m3u8 manifest file should be generated for this HLS
	// output group.
	OutputSelection HlsOutputSelection

	// Includes or excludes EXT-X-PROGRAM-DATE-TIME tag in .m3u8 manifest files. The
	// value is calculated as follows: either the program date and time are initialized
	// using the input timecode source, or the time is initialized using the input
	// timecode source and the date is initialized using the timestamp_offset.
	ProgramDateTime HlsProgramDateTime

	// Period of insertion of EXT-X-PROGRAM-DATE-TIME entry, in seconds.
	ProgramDateTimePeriod *int32

	// Specify whether MediaConvert generates HLS manifests while your job is running
	// or when your job is complete. To generate HLS manifests while your job is
	// running: Choose Enabled. Use if you want to play back your content as soon as
	// it's available. MediaConvert writes the parent and child manifests after the
	// first three media segments are written to your destination S3 bucket. It then
	// writes new updated manifests after each additional segment is written. The
	// parent manifest includes the latest BANDWIDTH and AVERAGE-BANDWIDTH attributes,
	// and child manifests include the latest available media segment. When your job
	// completes, the final child playlists include an EXT-X-ENDLIST tag. To generate
	// HLS manifests only when your job completes: Choose Disabled.
	ProgressiveWriteHlsManifest HlsProgressiveWriteHlsManifest

	// When set to SINGLE_FILE, emits program as a single media resource (.ts) file,
	// uses #EXT-X-BYTERANGE tags to index segment for playback.
	SegmentControl HlsSegmentControl

	// Specify the length, in whole seconds, of each segment. When you don't specify a
	// value, MediaConvert defaults to 10. Related settings: Use Segment length control
	// to specify whether the encoder enforces this value strictly. Use Segment control
	// to specify whether MediaConvert creates separate segment files or one content
	// file that has metadata to mark the segment boundaries.
	SegmentLength *int32

	// Specify how you want MediaConvert to determine the segment length. Choose Exact
	// to have the encoder use the exact length that you specify with the setting
	// Segment length. This might result in extra I-frames. Choose Multiple of GOP to
	// have the encoder round up the segment lengths to match the next GOP boundary.
	SegmentLengthControl HlsSegmentLengthControl

	// Specify the number of segments to write to a subdirectory before starting a new
	// one. You must also set Directory structure to Subdirectory per stream for this
	// setting to have an effect.
	SegmentsPerSubdirectory *int32

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

	// 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.
	TargetDurationCompatibilityMode HlsTargetDurationCompatibilityMode

	// Specify the type of the ID3 frame to use for ID3 timestamps in your output. To
	// include ID3 timestamps: Specify PRIV or TDRL and set ID3 metadata to
	// Passthrough. To exclude ID3 timestamps: Set ID3 timestamp frame type to None.
	TimedMetadataId3Frame HlsTimedMetadataId3Frame

	// Specify the interval in seconds to write ID3 timestamps in your output. The
	// first timestamp starts at the output timecode and date, and increases
	// incrementally with each ID3 timestamp. To use the default interval of 10
	// seconds: Leave blank. To include this metadata in your output: Set ID3 timestamp
	// frame type to PRIV or TDRL, and set ID3 metadata to Passthrough.
	TimedMetadataId3Period *int32

	// Provides an extra millisecond delta offset to fine tune the timestamps.
	TimestampDeltaMilliseconds *int32

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}

// Tile and thumbnail settings applicable when imageBasedTrickPlay is ADVANCED
type HlsImageBasedTrickPlaySettings struct {

	// 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.
	IntervalCadence HlsIntervalCadence

	// Height of each thumbnail within each tile image, in pixels. Leave blank to
	// maintain aspect ratio with thumbnail width. If following the aspect ratio would
	// lead to a total tile height greater than 4096, then the job will be rejected.
	// Must be divisible by 2.
	ThumbnailHeight *int32

	// Enter the interval, in seconds, that MediaConvert uses to generate thumbnails.
	// If the interval you enter doesn't align with the output frame rate, MediaConvert
	// automatically rounds the interval to align with the output frame rate. For
	// example, if the output frame rate is 29.97 frames per second and you enter 5,
	// MediaConvert uses a 150 frame interval to generate thumbnails.
	ThumbnailInterval *float64

	// Width of each thumbnail within each tile image, in pixels. Default is 312. Must
	// be divisible by 8.
	ThumbnailWidth *int32

	// Number of thumbnails in each column of a tile image. Set a value between 2 and
	// 2048. Must be divisible by 2.
	TileHeight *int32

	// Number of thumbnails in each row of a tile image. Set a value between 1 and 512.
	TileWidth *int32

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}

// Settings specific to audio sources in an HLS alternate rendition group. Specify
// the properties (renditionGroupId, renditionName or renditionLanguageCode) to
// identify the unique audio track among the alternative rendition groups present
// in the HLS manifest. If no unique track is found, or multiple tracks match the
// properties provided, the job fails. If no properties in
// hlsRenditionGroupSettings are specified, the default audio track within the
// video segment is chosen. If there is no audio within video segment, the
// alternative audio with DEFAULT=YES is chosen instead.
type HlsRenditionGroupSettings struct {

	// Optional. Specify alternative group ID
	RenditionGroupId *string

	// Optional. Specify ISO 639-2 or ISO 639-3 code in the language property
	RenditionLanguageCode LanguageCode

	// Optional. Specify media name
	RenditionName *string

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// Settings for HLS output groups
type HlsSettings struct {

	// Specifies the group to which the audio rendition belongs.
	AudioGroupId *string

	// Use this setting only in audio-only outputs. Choose MPEG-2 Transport Stream
	// (M2TS) to create a file in an MPEG2-TS container. Keep the default value
	// Automatic to create an audio-only file in a raw container. Regardless of the
	// value that you specify here, if this output has video, the service will place
	// the output into an MPEG2-TS container.
	AudioOnlyContainer HlsAudioOnlyContainer

	// List all the audio groups that are used with the video output stream. Input all
	// the audio GROUP-IDs that are associated to the video, separate by ','.
	AudioRenditionSets *string

	// Four types of audio-only tracks are supported: Audio-Only Variant Stream The
	// client can play back this audio-only stream instead of video in low-bandwidth
	// scenarios. Represented as an EXT-X-STREAM-INF in the HLS manifest. Alternate
	// Audio, Auto Select, Default Alternate rendition that the client should try to
	// play back by default. Represented as an EXT-X-MEDIA in the HLS manifest with
	// DEFAULT=YES, AUTOSELECT=YES Alternate Audio, Auto Select, Not Default Alternate
	// rendition that the client may try to play back by default. Represented as an
	// EXT-X-MEDIA in the HLS manifest with DEFAULT=NO, AUTOSELECT=YES Alternate Audio,
	// not Auto Select Alternate rendition that the client will not try to play back by
	// default. Represented as an EXT-X-MEDIA in the HLS manifest with DEFAULT=NO,
	// AUTOSELECT=NO
	AudioTrackType HlsAudioTrackType

	// 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.
	DescriptiveVideoServiceFlag HlsDescriptiveVideoServiceFlag

	// Choose Include to have MediaConvert generate a 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.
	IFrameOnlyManifest HlsIFrameOnlyManifest

	// Use this setting to add an identifying string to the filename of each segment.
	// The service adds this string between the name modifier and segment index number.
	// You can use format identifiers in the string. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/using-variables-in-your-job-settings.html
	SegmentModifier *string

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// Optional. Configuration for a destination queue to which the job can hop once a
// customer-defined minimum wait time has passed.
type HopDestination struct {

	// Optional. When you set up a job to use queue hopping, you can specify a
	// different relative priority for the job in the destination queue. If you don't
	// specify, the relative priority will remain the same as in the previous queue.
	Priority *int32

	// Optional unless the job is submitted on the default queue. When you set up a
	// job to use queue hopping, you can specify a destination queue. This queue cannot
	// be the original queue to which the job is submitted. If the original queue isn't
	// the default queue and you don't specify the destination queue, the job will move
	// to the default queue.
	Queue *string

	// Required for setting up a job to use queue hopping. Minimum wait time in
	// minutes until the job can hop to the destination queue. Valid range is 1 to 4320
	// minutes, inclusive.
	WaitMinutes *int32

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}

// To insert ID3 tags in your output, specify two values. Use ID3 tag to specify
// the base 64 encoded string and use Timecode to specify the time when the tag
// should be inserted. To insert multiple ID3 tags in your output, create multiple
// instances of ID3 insertion.
type Id3Insertion struct {

	// Use ID3 tag to provide a fully formed ID3 tag in base64-encode format.
	Id3 *string

	// Provide a Timecode in HH:MM:SS:FF or HH:MM:SS;FF format.
	Timecode *string

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// Use the image inserter feature to include a graphic overlay on your video.
// Enable or disable this feature for each input or output individually. For more
// information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/graphic-overlay.html. This
// setting is disabled by default.
type ImageInserter struct {

	// Specify the images that you want to overlay on your video. The images must be
	// PNG or TGA files.
	InsertableImages []InsertableImage

	// Specify the reference white level, in nits, for all of your image inserter
	// images. Use to correct brightness levels within HDR10 outputs. For 1,000 nit
	// peak brightness displays, we recommend that you set SDR reference white level to
	// 203 (according to ITU-R BT.2408). Leave blank to use the default value of 100,
	// or specify an integer from 100 to 1000.
	SdrReferenceWhiteLevel *int32

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// Settings related to IMSC captions. IMSC is a sidecar format that holds captions
// in a file that is separate from the video container. Set up sidecar captions in
// the same output group, but different output from your video. For more
// information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/ttml-and-webvtt-output-captions.html.
type ImscDestinationSettings struct {

	// If the IMSC captions track is intended to provide accessibility for people who
	// are deaf or hard of hearing: Set Accessibility subtitles to Enabled. When you
	// do, MediaConvert adds accessibility attributes to your output HLS or DASH
	// manifest. For HLS manifests, MediaConvert adds the following accessibility
	// attributes under EXT-X-MEDIA for this track:
	// CHARACTERISTICS="public.accessibility.describes-spoken-dialog,public.accessibility.describes-music-and-sound"
	// and AUTOSELECT="YES". For DASH manifests, MediaConvert adds the following in the
	// adaptation set for this track: . If the captions track is not intended to
	// provide such accessibility: Keep the default value, Disabled. When you do, for
	// DASH manifests, MediaConvert instead adds the following in the adaptation set
	// for this track: .
	Accessibility ImscAccessibilitySubs

	// Keep this setting enabled to have MediaConvert use the font style and position
	// information from the captions source in the output. This option is available
	// only when your input captions are IMSC, SMPTE-TT, or TTML. Disable this setting
	// for simplified output captions.
	StylePassthrough ImscStylePassthrough

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// Use inputs to define the source files used in your transcoding job. For more
// information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/specify-input-settings.html.
// You can use multiple video inputs to do input stitching. For more information,
// see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/assembling-multiple-inputs-and-input-clips.html
type Input struct {

	// 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.
	AdvancedInputFilter AdvancedInputFilter

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

	// 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.
	AudioSelectorGroups map[string]AudioSelectorGroup

	// 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.
	AudioSelectors map[string]AudioSelector

	// 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.
	CaptionSelectors map[string]CaptionSelector

	// Use Cropping selection to specify the video area that the service will include
	// in the output video frame. If you specify a value here, it will override any
	// value that you specify in the output setting Cropping selection.
	Crop *Rectangle

	// Enable Deblock to produce smoother motion in the output. Default is disabled.
	// Only manually controllable for MPEG2 and uncompressed video inputs.
	DeblockFilter InputDeblockFilter

	// Settings for decrypting any input files that you encrypt before you upload them
	// to Amazon S3. MediaConvert can decrypt files only when you use AWS Key
	// Management Service (KMS) to encrypt the data key that you use to encrypt your
	// content.
	DecryptionSettings *InputDecryptionSettings

	// Enable Denoise to filter noise from the input. Default is disabled. Only
	// applicable to MPEG2, H.264, H.265, and uncompressed video inputs.
	DenoiseFilter InputDenoiseFilter

	// Use this setting only when your video source has Dolby Vision studio mastering
	// metadata that is carried in a separate XML file. Specify the Amazon S3 location
	// for the metadata XML file. MediaConvert uses this file to provide global and
	// frame-level metadata for Dolby Vision preprocessing. When you specify a file
	// here and your input also has interleaved global and frame level metadata,
	// MediaConvert ignores the interleaved metadata and uses only the the metadata
	// from this external XML file. Note that your IAM service role must grant
	// MediaConvert read permissions to this file. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/iam-role.html.
	DolbyVisionMetadataXml *string

	// Specify the source file for your transcoding job. You can use multiple inputs
	// in a single job. The service concatenates these inputs, in the order that you
	// specify them in the job, to create the outputs. If your input format is IMF,
	// specify your input by providing the path to your CPL. For example,
	// "s3://bucket/vf/cpl.xml". If the CPL is in an incomplete IMP, make sure to use
	// Supplemental IMPs to specify any supplemental IMPs that contain assets
	// referenced by the CPL.
	FileInput *string

	// Specify whether to apply input filtering to improve the video quality of your
	// input. To apply filtering depending on your input type and quality: Choose Auto.
	// To apply no filtering: Choose Disable. To apply filtering regardless of your
	// input type and quality: Choose Force. When you do, you must also specify a value
	// for Filter strength.
	FilterEnable InputFilterEnable

	// Specify the strength of the input filter. To apply an automatic amount of
	// filtering based the compression artifacts measured in your input: We recommend
	// that you leave Filter strength blank and set Filter enable to Auto. To manually
	// apply filtering: Enter a value from 1 to 5, where 1 is the least amount of
	// filtering and 5 is the most. The value that you enter applies to the strength of
	// the Deblock or Denoise filters, or to the strength of the Advanced input filter.
	FilterStrength *int32

	// Enable the image inserter feature to include a graphic overlay on your video.
	// Enable or disable this feature for each input individually. This setting is
	// disabled by default.
	ImageInserter *ImageInserter

	// Contains sets of start and end times that together specify a portion of the
	// input to be used in the outputs. If you provide only a start time, the clip will
	// be the entire input from that point to the end. If you provide only an end time,
	// it will be the entire input up to that point. When you specify more than one
	// input clip, the transcoding service creates the job outputs by stringing the
	// clips together in the order you specify them.
	InputClippings []InputClipping

	// When you have a progressive segmented frame (PsF) input, use this setting to
	// flag the input as PsF. MediaConvert doesn't automatically detect PsF. Therefore,
	// flagging your input as PsF results in better preservation of video quality when
	// you do deinterlacing and frame rate conversion. If you don't specify, the
	// default value is Auto. Auto is the correct setting for all inputs that are not
	// PsF. Don't set this value to PsF when your input is interlaced. Doing so creates
	// horizontal interlacing artifacts.
	InputScanType InputScanType

	// Use Selection placement to define the video area in your output frame. The area
	// outside of the rectangle that you specify here is black. If you specify a value
	// here, it will override any value that you specify in the output setting
	// Selection placement. If you specify a value here, this will override any AFD
	// values in your input, even if you set Respond to AFD to Respond. If you specify
	// a value here, this will ignore anything that you specify for the setting Scaling
	// Behavior.
	Position *Rectangle

	// Use Program to select a specific program from within a multi-program transport
	// stream. Note that Quad 4K is not currently supported. Default is the first
	// program within the transport stream. If the program you specify doesn't exist,
	// the transcoding service will use this default.
	ProgramNumber *int32

	// Set PSI control for transport stream inputs to specify which data the demux
	// process to scans.
	//   - Ignore PSI - Scan all PIDs for audio and video.
	//   - Use PSI - Scan only PSI data.
	PsiControl InputPsiControl

	// Provide a list of any necessary supplemental IMPs. You need supplemental IMPs
	// if the CPL that you're using for your input is in an incomplete IMP. Specify
	// either the supplemental IMP directories with a trailing slash or the
	// ASSETMAP.xml files. For example ["s3://bucket/ov/",
	// "s3://bucket/vf2/ASSETMAP.xml"]. You don't need to specify the IMP that contains
	// your input CPL, because the service automatically detects it.
	SupplementalImps []string

	// Use this Timecode source setting, located under the input settings, to specify
	// how the service counts input video frames. This input frame count affects only
	// the behavior of features that apply to a single input at a time, such as input
	// clipping and synchronizing some captions formats. Choose Embedded to use the
	// timecodes in your input video. Choose Start at zero to start the first frame at
	// zero. Choose Specified start to start the first frame at the timecode that you
	// specify in the setting Start timecode. If you don't specify a value for Timecode
	// source, the service will use Embedded by default. For more information about
	// timecodes, see https://docs.aws.amazon.com/console/mediaconvert/timecode.
	TimecodeSource InputTimecodeSource

	// Specify the timecode that you want the service to use for this input's initial
	// frame. To use this setting, you must set the Timecode source setting, located
	// under the input settings, to Specified start. For more information about
	// timecodes, see https://docs.aws.amazon.com/console/mediaconvert/timecode.
	TimecodeStart *string

	// When you include Video generator, MediaConvert creates a video input with black
	// frames. Use this setting if you do not have a video input or if you want to add
	// black video frames before, or after, other inputs. You can specify Video
	// generator, or you can specify an Input file, but you cannot specify both. For
	// more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/video-generator.html
	VideoGenerator *InputVideoGenerator

	// Contains an array of video overlays.
	VideoOverlays []VideoOverlay

	// Input video selectors contain the video settings for the input. Each of your
	// inputs can have up to one video selector.
	VideoSelector *VideoSelector

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// To transcode only portions of your input, include one input clip for each part
// of your input that you want in your output. All input clips that you specify
// will be included in every output of the job. For more information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/assembling-multiple-inputs-and-input-clips.html.
type InputClipping struct {

	// Set End timecode to the end of the portion of the input you are clipping. The
	// frame corresponding to the End timecode value is included in the clip. Start
	// timecode or End timecode may be left blank, but not both. Use the format
	// HH:MM:SS:FF or HH:MM:SS;FF, where HH is the hour, MM is the minute, SS is the
	// second, and FF is the frame number. When choosing this value, take into account
	// your setting for timecode source under input settings. For example, if you have
	// embedded timecodes that start at 01:00:00:00 and you want your clip to end six
	// minutes into the video, use 01:06:00:00.
	EndTimecode *string

	// Set Start timecode to the beginning of the portion of the input you are
	// clipping. The frame corresponding to the Start timecode value is included in the
	// clip. Start timecode or End timecode may be left blank, but not both. Use the
	// format HH:MM:SS:FF or HH:MM:SS;FF, where HH is the hour, MM is the minute, SS is
	// the second, and FF is the frame number. When choosing this value, take into
	// account your setting for Input timecode source. For example, if you have
	// embedded timecodes that start at 01:00:00:00 and you want your clip to begin
	// five minutes into the video, use 01:05:00:00.
	StartTimecode *string

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// Settings for decrypting any input files that you encrypt before you upload them
// to Amazon S3. MediaConvert can decrypt files only when you use AWS Key
// Management Service (KMS) to encrypt the data key that you use to encrypt your
// content.
type InputDecryptionSettings struct {

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

	// Warning! Don't provide your encryption key in plaintext. Your job settings
	// could be intercepted, making your encrypted content vulnerable. Specify the
	// encrypted version of the data key that you used to encrypt your content. The
	// data key must be encrypted by AWS Key Management Service (KMS). The key can be
	// 128, 192, or 256 bits.
	EncryptedDecryptionKey *string

	// Specify the initialization vector that you used when you encrypted your content
	// before uploading it to Amazon S3. You can use a 16-byte initialization vector
	// with any encryption mode. Or, you can use a 12-byte initialization vector with
	// GCM or CTR. MediaConvert accepts only initialization vectors that are
	// base64-encoded.
	InitializationVector *string

	// Specify the AWS Region for AWS Key Management Service (KMS) that you used to
	// encrypt your data key, if that Region is different from the one you are using
	// for AWS Elemental MediaConvert.
	KmsKeyRegion *string

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// Specified video input in a template.
type InputTemplate struct {

	// 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.
	AdvancedInputFilter AdvancedInputFilter

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

	// 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.
	AudioSelectorGroups map[string]AudioSelectorGroup

	// 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.
	AudioSelectors map[string]AudioSelector

	// 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.
	CaptionSelectors map[string]CaptionSelector

	// Use Cropping selection to specify the video area that the service will include
	// in the output video frame. If you specify a value here, it will override any
	// value that you specify in the output setting Cropping selection.
	Crop *Rectangle

	// Enable Deblock to produce smoother motion in the output. Default is disabled.
	// Only manually controllable for MPEG2 and uncompressed video inputs.
	DeblockFilter InputDeblockFilter

	// Enable Denoise to filter noise from the input. Default is disabled. Only
	// applicable to MPEG2, H.264, H.265, and uncompressed video inputs.
	DenoiseFilter InputDenoiseFilter

	// Use this setting only when your video source has Dolby Vision studio mastering
	// metadata that is carried in a separate XML file. Specify the Amazon S3 location
	// for the metadata XML file. MediaConvert uses this file to provide global and
	// frame-level metadata for Dolby Vision preprocessing. When you specify a file
	// here and your input also has interleaved global and frame level metadata,
	// MediaConvert ignores the interleaved metadata and uses only the the metadata
	// from this external XML file. Note that your IAM service role must grant
	// MediaConvert read permissions to this file. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/iam-role.html.
	DolbyVisionMetadataXml *string

	// Specify whether to apply input filtering to improve the video quality of your
	// input. To apply filtering depending on your input type and quality: Choose Auto.
	// To apply no filtering: Choose Disable. To apply filtering regardless of your
	// input type and quality: Choose Force. When you do, you must also specify a value
	// for Filter strength.
	FilterEnable InputFilterEnable

	// Specify the strength of the input filter. To apply an automatic amount of
	// filtering based the compression artifacts measured in your input: We recommend
	// that you leave Filter strength blank and set Filter enable to Auto. To manually
	// apply filtering: Enter a value from 1 to 5, where 1 is the least amount of
	// filtering and 5 is the most. The value that you enter applies to the strength of
	// the Deblock or Denoise filters, or to the strength of the Advanced input filter.
	FilterStrength *int32

	// Enable the image inserter feature to include a graphic overlay on your video.
	// Enable or disable this feature for each input individually. This setting is
	// disabled by default.
	ImageInserter *ImageInserter

	// Contains sets of start and end times that together specify a portion of the
	// input to be used in the outputs. If you provide only a start time, the clip will
	// be the entire input from that point to the end. If you provide only an end time,
	// it will be the entire input up to that point. When you specify more than one
	// input clip, the transcoding service creates the job outputs by stringing the
	// clips together in the order you specify them.
	InputClippings []InputClipping

	// When you have a progressive segmented frame (PsF) input, use this setting to
	// flag the input as PsF. MediaConvert doesn't automatically detect PsF. Therefore,
	// flagging your input as PsF results in better preservation of video quality when
	// you do deinterlacing and frame rate conversion. If you don't specify, the
	// default value is Auto. Auto is the correct setting for all inputs that are not
	// PsF. Don't set this value to PsF when your input is interlaced. Doing so creates
	// horizontal interlacing artifacts.
	InputScanType InputScanType

	// Use Selection placement to define the video area in your output frame. The area
	// outside of the rectangle that you specify here is black. If you specify a value
	// here, it will override any value that you specify in the output setting
	// Selection placement. If you specify a value here, this will override any AFD
	// values in your input, even if you set Respond to AFD to Respond. If you specify
	// a value here, this will ignore anything that you specify for the setting Scaling
	// Behavior.
	Position *Rectangle

	// Use Program to select a specific program from within a multi-program transport
	// stream. Note that Quad 4K is not currently supported. Default is the first
	// program within the transport stream. If the program you specify doesn't exist,
	// the transcoding service will use this default.
	ProgramNumber *int32

	// Set PSI control for transport stream inputs to specify which data the demux
	// process to scans.
	//   - Ignore PSI - Scan all PIDs for audio and video.
	//   - Use PSI - Scan only PSI data.
	PsiControl InputPsiControl

	// Use this Timecode source setting, located under the input settings, to specify
	// how the service counts input video frames. This input frame count affects only
	// the behavior of features that apply to a single input at a time, such as input
	// clipping and synchronizing some captions formats. Choose Embedded to use the
	// timecodes in your input video. Choose Start at zero to start the first frame at
	// zero. Choose Specified start to start the first frame at the timecode that you
	// specify in the setting Start timecode. If you don't specify a value for Timecode
	// source, the service will use Embedded by default. For more information about
	// timecodes, see https://docs.aws.amazon.com/console/mediaconvert/timecode.
	TimecodeSource InputTimecodeSource

	// Specify the timecode that you want the service to use for this input's initial
	// frame. To use this setting, you must set the Timecode source setting, located
	// under the input settings, to Specified start. For more information about
	// timecodes, see https://docs.aws.amazon.com/console/mediaconvert/timecode.
	TimecodeStart *string

	// Contains an array of video overlays.
	VideoOverlays []VideoOverlay

	// Input video selectors contain the video settings for the input. Each of your
	// inputs can have up to one video selector.
	VideoSelector *VideoSelector

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// When you include Video generator, MediaConvert creates a video input with black
// frames. Use this setting if you do not have a video input or if you want to add
// black video frames before, or after, other inputs. You can specify Video
// generator, or you can specify an Input file, but you cannot specify both. For
// more information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/video-generator.html
type InputVideoGenerator struct {

	// Specify an integer value for Black video duration from 50 to 86400000 to
	// generate a black video input for that many milliseconds. Required when you
	// include Video generator.
	Duration *int32

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// These settings apply to a specific graphic overlay. You can include multiple
// overlays in your job.
type InsertableImage struct {

	// Specify the time, in milliseconds, for the image to remain on the output video.
	// This duration includes fade-in time but not fade-out time.
	Duration *int32

	// Specify the length of time, in milliseconds, between the Start time that you
	// specify for the image insertion and the time that the image appears at full
	// opacity. Full opacity is the level that you specify for the opacity setting. If
	// you don't specify a value for Fade-in, the image will appear abruptly at the
	// overlay start time.
	FadeIn *int32

	// Specify the length of time, in milliseconds, between the end of the time that
	// you have specified for the image overlay Duration and when the overlaid image
	// has faded to total transparency. If you don't specify a value for Fade-out, the
	// image will disappear abruptly at the end of the inserted image duration.
	FadeOut *int32

	// Specify the height of the inserted image in pixels. If you specify a value
	// that's larger than the video resolution height, the service will crop your
	// overlaid image to fit. To use the native height of the image, keep this setting
	// blank.
	Height *int32

	// Specify the HTTP, HTTPS, or Amazon S3 location of the image that you want to
	// overlay on the video. Use a PNG or TGA file.
	ImageInserterInput *string

	// Specify the distance, in pixels, between the inserted image and the left edge
	// of the video frame. Required for any image overlay that you specify.
	ImageX *int32

	// Specify the distance, in pixels, between the overlaid image and the top edge of
	// the video frame. Required for any image overlay that you specify.
	ImageY *int32

	// Specify how overlapping inserted images appear. Images with higher values for
	// Layer appear on top of images with lower values for Layer.
	Layer *int32

	// Use Opacity to specify how much of the underlying video shows through the
	// inserted image. 0 is transparent and 100 is fully opaque. Default is 50.
	Opacity *int32

	// Specify the timecode of the frame that you want the overlay to first appear on.
	// This must be in timecode (HH:MM:SS:FF or HH:MM:SS;FF) format. Remember to take
	// into account your timecode source settings.
	StartTime *string

	// Specify the width of the inserted image in pixels. If you specify a value
	// that's larger than the video resolution width, the service will crop your
	// overlaid image to fit. To use the native width of the image, keep this setting
	// blank.
	Width *int32

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// Each job converts an input file into an output file or files. For more
// information, see the User Guide at
// https://docs.aws.amazon.com/mediaconvert/latest/ug/what-is.html
type Job struct {

	// The IAM role you use for creating this job. For details about permissions, see
	// the User Guide topic at the User Guide at
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/iam-role.html
	//
	// This member is required.
	Role *string

	// JobSettings contains all the transcode settings for a job.
	//
	// This member is required.
	Settings *JobSettings

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

	// 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.
	AccelerationStatus AccelerationStatus

	// An identifier for this resource that is unique within all of AWS.
	Arn *string

	// 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.
	BillingTagsSource BillingTagsSource

	// Prevent duplicate jobs from being created and ensure idempotency for your
	// requests. A client request token can be any string that includes up to 64 ASCII
	// characters. If you reuse a client request token within one minute of a
	// successful request, the API returns the job details of the original request
	// instead. For more information see
	// https://docs.aws.amazon.com/mediaconvert/latest/apireference/idempotency.html.
	ClientRequestToken *string

	// The time, in Unix epoch format in seconds, when the job got created.
	CreatedAt *time.Time

	// A job's phase can be PROBING, TRANSCODING OR UPLOADING
	CurrentPhase JobPhase

	// Error code for the job
	ErrorCode *int32

	// Error message of Job
	ErrorMessage *string

	// Optional list of hop destinations.
	HopDestinations []HopDestination

	// A portion of the job's ARN, unique within your AWS Elemental MediaConvert
	// resources
	Id *string

	// An estimate of how far your job has progressed. This estimate is shown as a
	// percentage of the total time from when your job leaves its queue to when your
	// output files appear in your output Amazon S3 bucket. AWS Elemental MediaConvert
	// provides jobPercentComplete in CloudWatch STATUS_UPDATE events and in the
	// response to GetJob and ListJobs requests. The jobPercentComplete estimate is
	// reliable for the following input containers: Quicktime, Transport Stream, MP4,
	// and MXF. For some jobs, the service can't provide information about job
	// progress. In those cases, jobPercentComplete returns a null value.
	JobPercentComplete *int32

	// The job template that the job is created from, if it is created from a job
	// template.
	JobTemplate *string

	// Provides messages from the service about jobs that you have already
	// successfully submitted.
	Messages *JobMessages

	// List of output group details
	OutputGroupDetails []OutputGroupDetail

	// Relative priority on the job.
	Priority *int32

	// When you create a job, you can specify a queue to send it to. If you don't
	// specify, the job will go to the default queue. For more about queues, see the
	// User Guide topic at
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/what-is.html
	Queue *string

	// The job's queue hopping history.
	QueueTransitions []QueueTransition

	// The number of times that the service automatically attempted to process your
	// job after encountering an error.
	RetryCount *int32

	// Enable this setting when you run a test job to estimate how many reserved
	// transcoding slots (RTS) you need. When this is enabled, MediaConvert runs your
	// job from an on-demand queue with similar performance to what you will see with
	// one RTS in a reserved queue. This setting is disabled by default.
	SimulateReservedQueue SimulateReservedQueue

	// A job's status can be SUBMITTED, PROGRESSING, COMPLETE, CANCELED, or ERROR.
	Status JobStatus

	// Specify how often MediaConvert sends STATUS_UPDATE events to Amazon CloudWatch
	// Events. Set the interval, in seconds, between status updates. MediaConvert sends
	// an update at this interval from the time the service begins processing your job
	// to the time it completes the transcode or encounters an error.
	StatusUpdateInterval StatusUpdateInterval

	// Information about when jobs are submitted, started, and finished is specified
	// in Unix epoch format in seconds.
	Timing *Timing

	// User-defined metadata that you want to associate with an MediaConvert job. You
	// specify metadata in key/value pairs.
	UserMetadata map[string]string

	// Contains any warning messages for the job. Use to help identify potential
	// issues with your input, output, or job. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/warning_codes.html
	Warnings []WarningGroup

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// Provides messages from the service about jobs that you have already
// successfully submitted.
type JobMessages struct {

	// List of messages that are informational only and don't indicate a problem with
	// your job.
	Info []string

	// List of messages that warn about conditions that might cause your job not to
	// run or to fail.
	Warning []string

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// JobSettings contains all the transcode settings for a job.
type JobSettings struct {

	// When specified, this offset (in milliseconds) is added to the input Ad Avail
	// PTS time.
	AdAvailOffset *int32

	// Settings for ad avail blanking. Video can be blanked or overlaid with an image,
	// and audio muted during SCTE-35 triggered ad avails.
	AvailBlanking *AvailBlanking

	// Use 3D LUTs to specify custom color mapping behavior when you convert from one
	// color space into another. You can include up to 8 different 3D LUTs.
	ColorConversion3DLUTSettings []ColorConversion3DLUTSetting

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

	// 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.
	ExtendedDataServices *ExtendedDataServices

	// Specify the input that MediaConvert references for your default output
	// settings. MediaConvert uses this input's Resolution, Frame rate, and Pixel
	// aspect ratio for all outputs that you don't manually specify different output
	// settings for. Enabling this setting will disable "Follow source" for all other
	// inputs. If MediaConvert cannot follow your source, for example if you specify an
	// audio-only input, MediaConvert uses the first followable input instead. In your
	// JSON job specification, enter an integer from 1 to 150 corresponding to the
	// order of your inputs.
	FollowSource *int32

	// Use Inputs to define source file used in the transcode job. There can be
	// multiple inputs add in a job. These inputs will be concantenated together to
	// create the output.
	Inputs []Input

	// Use these settings only when you use Kantar watermarking. Specify the values
	// that MediaConvert uses to generate and place Kantar watermarks in your output
	// audio. These settings apply to every output in your job. In addition to
	// specifying these values, you also need to store your Kantar credentials in AWS
	// Secrets Manager. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/kantar-watermarking.html.
	KantarWatermark *KantarWatermarkSettings

	// Overlay motion graphics on top of your video. The motion graphics that you
	// specify here appear on all outputs in all output groups. For more information,
	// see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/motion-graphic-overlay.html.
	MotionImageInserter *MotionImageInserter

	// Settings for your Nielsen configuration. If you don't do Nielsen measurement
	// and analytics, ignore these settings. When you enable Nielsen configuration,
	// MediaConvert enables PCM to ID3 tagging for all outputs in the job.
	NielsenConfiguration *NielsenConfiguration

	// Ignore these settings unless you are using Nielsen non-linear watermarking.
	// Specify the values that MediaConvert uses to generate and place Nielsen
	// watermarks in your output audio. In addition to specifying these values, you
	// also need to set up your cloud TIC server. These settings apply to every output
	// in your job. The MediaConvert implementation is currently with the following
	// Nielsen versions: Nielsen Watermark SDK Version 5.2.1 Nielsen NLM Watermark
	// Engine Version 1.2.7 Nielsen Watermark Authenticator [SID_TIC] Version [5.0.0]
	NielsenNonLinearWatermark *NielsenNonLinearWatermarkSettings

	// Contains one group of settings for each set of outputs that share a common
	// package type. All unpackaged files (MPEG-4, MPEG-2 TS, Quicktime, MXF, and no
	// container) are grouped in a single output group as well. Required in is a group
	// of settings that apply to the whole group. This required object depends on the
	// value you set for Type. Type, settings object pairs are as follows. *
	// FILE_GROUP_SETTINGS, FileGroupSettings * HLS_GROUP_SETTINGS, HlsGroupSettings *
	// DASH_ISO_GROUP_SETTINGS, DashIsoGroupSettings * MS_SMOOTH_GROUP_SETTINGS,
	// MsSmoothGroupSettings * CMAF_GROUP_SETTINGS, CmafGroupSettings
	OutputGroups []OutputGroup

	// These settings control how the service handles timecodes throughout the job.
	// These settings don't affect input clipping.
	TimecodeConfig *TimecodeConfig

	// Insert user-defined custom ID3 metadata at timecodes that you specify. In each
	// output that you want to include this metadata, you must set ID3 metadata to
	// Passthrough.
	TimedMetadataInsertion *TimedMetadataInsertion

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// A job template is a pre-made set of encoding instructions that you can use to
// quickly create a job.
type JobTemplate struct {

	// A name you create for each job template. Each name must be unique within your
	// account.
	//
	// This member is required.
	Name *string

	// JobTemplateSettings contains all the transcode settings saved in the template
	// that will be applied to jobs created from it.
	//
	// This member is required.
	Settings *JobTemplateSettings

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

	// An identifier for this resource that is unique within all of AWS.
	Arn *string

	// An optional category you create to organize your job templates.
	Category *string

	// The timestamp in epoch seconds for Job template creation.
	CreatedAt *time.Time

	// An optional description you create for each job template.
	Description *string

	// Optional list of hop destinations.
	HopDestinations []HopDestination

	// The timestamp in epoch seconds when the Job template was last updated.
	LastUpdated *time.Time

	// Relative priority on the job.
	Priority *int32

	// Optional. The queue that jobs created from this template are assigned to. If
	// you don't specify this, jobs will go to the default queue.
	Queue *string

	// Specify how often MediaConvert sends STATUS_UPDATE events to Amazon CloudWatch
	// Events. Set the interval, in seconds, between status updates. MediaConvert sends
	// an update at this interval from the time the service begins processing your job
	// to the time it completes the transcode or encounters an error.
	StatusUpdateInterval StatusUpdateInterval

	// A job template can be of two types: system or custom. System or built-in job
	// templates can't be modified or deleted by the user.
	Type Type

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}

// JobTemplateSettings contains all the transcode settings saved in the template
// that will be applied to jobs created from it.
type JobTemplateSettings struct {

	// When specified, this offset (in milliseconds) is added to the input Ad Avail
	// PTS time.
	AdAvailOffset *int32

	// Settings for ad avail blanking. Video can be blanked or overlaid with an image,
	// and audio muted during SCTE-35 triggered ad avails.
	AvailBlanking *AvailBlanking

	// Use 3D LUTs to specify custom color mapping behavior when you convert from one
	// color space into another. You can include up to 8 different 3D LUTs.
	ColorConversion3DLUTSettings []ColorConversion3DLUTSetting

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

	// 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.
	ExtendedDataServices *ExtendedDataServices

	// Specify the input that MediaConvert references for your default output
	// settings. MediaConvert uses this input's Resolution, Frame rate, and Pixel
	// aspect ratio for all outputs that you don't manually specify different output
	// settings for. Enabling this setting will disable "Follow source" for all other
	// inputs. If MediaConvert cannot follow your source, for example if you specify an
	// audio-only input, MediaConvert uses the first followable input instead. In your
	// JSON job specification, enter an integer from 1 to 150 corresponding to the
	// order of your inputs.
	FollowSource *int32

	// Use Inputs to define the source file used in the transcode job. There can only
	// be one input in a job template. Using the API, you can include multiple inputs
	// when referencing a job template.
	Inputs []InputTemplate

	// Use these settings only when you use Kantar watermarking. Specify the values
	// that MediaConvert uses to generate and place Kantar watermarks in your output
	// audio. These settings apply to every output in your job. In addition to
	// specifying these values, you also need to store your Kantar credentials in AWS
	// Secrets Manager. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/kantar-watermarking.html.
	KantarWatermark *KantarWatermarkSettings

	// Overlay motion graphics on top of your video. The motion graphics that you
	// specify here appear on all outputs in all output groups. For more information,
	// see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/motion-graphic-overlay.html.
	MotionImageInserter *MotionImageInserter

	// Settings for your Nielsen configuration. If you don't do Nielsen measurement
	// and analytics, ignore these settings. When you enable Nielsen configuration,
	// MediaConvert enables PCM to ID3 tagging for all outputs in the job.
	NielsenConfiguration *NielsenConfiguration

	// Ignore these settings unless you are using Nielsen non-linear watermarking.
	// Specify the values that MediaConvert uses to generate and place Nielsen
	// watermarks in your output audio. In addition to specifying these values, you
	// also need to set up your cloud TIC server. These settings apply to every output
	// in your job. The MediaConvert implementation is currently with the following
	// Nielsen versions: Nielsen Watermark SDK Version 5.2.1 Nielsen NLM Watermark
	// Engine Version 1.2.7 Nielsen Watermark Authenticator [SID_TIC] Version [5.0.0]
	NielsenNonLinearWatermark *NielsenNonLinearWatermarkSettings

	// Contains one group of settings for each set of outputs that share a common
	// package type. All unpackaged files (MPEG-4, MPEG-2 TS, Quicktime, MXF, and no
	// container) are grouped in a single output group as well. Required in is a group
	// of settings that apply to the whole group. This required object depends on the
	// value you set for Type. Type, settings object pairs are as follows. *
	// FILE_GROUP_SETTINGS, FileGroupSettings * HLS_GROUP_SETTINGS, HlsGroupSettings *
	// DASH_ISO_GROUP_SETTINGS, DashIsoGroupSettings * MS_SMOOTH_GROUP_SETTINGS,
	// MsSmoothGroupSettings * CMAF_GROUP_SETTINGS, CmafGroupSettings
	OutputGroups []OutputGroup

	// These settings control how the service handles timecodes throughout the job.
	// These settings don't affect input clipping.
	TimecodeConfig *TimecodeConfig

	// Insert user-defined custom ID3 metadata at timecodes that you specify. In each
	// output that you want to include this metadata, you must set ID3 metadata to
	// Passthrough.
	TimedMetadataInsertion *TimedMetadataInsertion

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}

// Use these settings only when you use Kantar watermarking. Specify the values
// that MediaConvert uses to generate and place Kantar watermarks in your output
// audio. These settings apply to every output in your job. In addition to
// specifying these values, you also need to store your Kantar credentials in AWS
// Secrets Manager. For more information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/kantar-watermarking.html.
type KantarWatermarkSettings struct {

	// Provide an audio channel name from your Kantar audio license.
	ChannelName *string

	// Specify a unique identifier for Kantar to use for this piece of content.
	ContentReference *string

	// Provide the name of the AWS Secrets Manager secret where your Kantar
	// credentials are stored. Note that your MediaConvert service role must provide
	// access to this secret. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/granting-permissions-for-mediaconvert-to-access-secrets-manager-secret.html.
	// For instructions on creating a secret, see
	// https://docs.aws.amazon.com/secretsmanager/latest/userguide/tutorials_basic.html,
	// in the AWS Secrets Manager User Guide.
	CredentialsSecretName *string

	// Optional. Specify an offset, in whole seconds, from the start of your output
	// and the beginning of the watermarking. When you don't specify an offset, Kantar
	// defaults to zero.
	FileOffset *float64

	// Provide your Kantar license ID number. You should get this number from Kantar.
	KantarLicenseId *int32

	// Provide the HTTPS endpoint to the Kantar server. You should get this endpoint
	// from Kantar.
	KantarServerUrl *string

	// Optional. Specify the Amazon S3 bucket where you want MediaConvert to store
	// your Kantar watermark XML logs. When you don't specify a bucket, MediaConvert
	// doesn't save these logs. Note that your MediaConvert service role must provide
	// access to this location. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/iam-role.html
	LogDestination *string

	// You can optionally use this field to specify the first timestamp that Kantar
	// embeds during watermarking. Kantar suggests that you be very cautious when using
	// this Kantar feature, and that you use it only on channels that are managed
	// specifically for use with this feature by your Audience Measurement Operator.
	// For more information about this feature, contact Kantar technical support.
	Metadata3 *string

	// Additional metadata that MediaConvert sends to Kantar. Maximum length is 50
	// characters.
	Metadata4 *string

	// Additional metadata that MediaConvert sends to Kantar. Maximum length is 50
	// characters.
	Metadata5 *string

	// Additional metadata that MediaConvert sends to Kantar. Maximum length is 50
	// characters.
	Metadata6 *string

	// Additional metadata that MediaConvert sends to Kantar. Maximum length is 50
	// characters.
	Metadata7 *string

	// Additional metadata that MediaConvert sends to Kantar. Maximum length is 50
	// characters.
	Metadata8 *string

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}

// Settings for SCTE-35 signals from ESAM. Include this in your job settings to
// put SCTE-35 markers in your HLS and transport stream outputs at the insertion
// points that you specify in an ESAM XML document. Provide the document in the
// setting SCC XML.
type M2tsScte35Esam struct {

	// Packet Identifier (PID) of the SCTE-35 stream in the transport stream generated
	// by ESAM.
	Scte35EsamPid *int32

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}

// MPEG-2 TS container settings. These apply to outputs in a File output group
// when the output's container is MPEG-2 Transport Stream (M2TS). In these assets,
// data is organized by the program map table (PMT). Each transport stream program
// contains subsets of data, including audio, video, and metadata. Each of these
// subsets of data has a numerical label called a packet identifier (PID). Each
// transport stream program corresponds to one MediaConvert output. The PMT lists
// the types of data in a program along with their PID. Downstream systems and
// players use the program map table to look up the PID for each type of data it
// accesses and then uses the PIDs to locate specific data within the asset.
type M2tsSettings struct {

	// Selects between the DVB and ATSC buffer models for Dolby Digital audio.
	AudioBufferModel M2tsAudioBufferModel

	// 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.
	AudioDuration M2tsAudioDuration

	// The number of audio frames to insert for each PES packet.
	AudioFramesPerPes *int32

	// Specify the packet identifiers (PIDs) for any elementary audio streams you
	// include in this output. Specify multiple PIDs as a JSON array. Default is the
	// range 482-492.
	AudioPids []int32

	// Specify the output bitrate of the transport stream in bits per second. Setting
	// to 0 lets the muxer automatically determine the appropriate bitrate. Other
	// common values are 3750000, 7500000, and 15000000.
	Bitrate *int32

	// Controls what buffer model to use for accurate interleaving. If set to
	// MULTIPLEX, use multiplex buffer model. If set to NONE, this can lead to lower
	// latency, but low-memory devices may not be able to play back the stream without
	// interruptions.
	BufferModel M2tsBufferModel

	// If you select ALIGN_TO_VIDEO, MediaConvert writes captions and data packets
	// with Presentation Timestamp (PTS) values greater than or equal to the first
	// video packet PTS (MediaConvert drops captions and data packets with lesser PTS
	// values). Keep the default value to allow all PTS values.
	DataPTSControl M2tsDataPtsControl

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

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

	// Specify the packet identifiers (PIDs) for DVB subtitle data included in this
	// output. Specify multiple PIDs as a JSON array. Default is the range 460-479.
	DvbSubPids []int32

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

	// Specify the packet identifier (PID) for DVB teletext data you include in this
	// output. Default is 499.
	DvbTeletextPid *int32

	// When set to VIDEO_AND_FIXED_INTERVALS, audio EBP markers will be added to
	// partitions 3 and 4. The interval between these additional markers will be fixed,
	// and will be slightly shorter than the video EBP marker interval. When set to
	// VIDEO_INTERVAL, these additional markers will not be inserted. Only applicable
	// when EBP segmentation markers are is selected (segmentationMarkers is EBP or
	// EBP_LEGACY).
	EbpAudioInterval M2tsEbpAudioInterval

	// Selects which PIDs to place EBP markers on. They can either be placed only on
	// the video PID, or on both the video PID and all audio PIDs. Only applicable when
	// EBP segmentation markers are is selected (segmentationMarkers is EBP or
	// EBP_LEGACY).
	EbpPlacement M2tsEbpPlacement

	// Controls whether to include the ES Rate field in the PES header.
	EsRateInPes M2tsEsRateInPes

	// Keep the default value unless you know that your audio EBP markers are
	// incorrectly appearing before your video EBP markers. To correct this problem,
	// set this value to Force.
	ForceTsVideoEbpOrder M2tsForceTsVideoEbpOrder

	// The length, in seconds, of each fragment. Only used with EBP markers.
	FragmentTime *float64

	// To include key-length-value metadata in this output: Set KLV metadata insertion
	// to Passthrough. MediaConvert reads KLV metadata present in your input and passes
	// it through to the output transport stream. To exclude this KLV metadata: Set KLV
	// metadata insertion to None or leave blank.
	KlvMetadata M2tsKlvMetadata

	// Specify the maximum time, in milliseconds, between Program Clock References
	// (PCRs) inserted into the transport stream.
	MaxPcrInterval *int32

	// When set, enforces that Encoder Boundary Points do not come within the
	// specified time interval of each other by looking ahead at input video. If
	// another EBP is going to come in within the specified time interval, the current
	// EBP is not emitted, and the segment is "stretched" to the next marker. The
	// lookahead value does not add latency to the system. The Live Event must be
	// configured elsewhere to create sufficient latency to make the lookahead
	// accurate.
	MinEbpInterval *int32

	// If INSERT, Nielsen inaudible tones for media tracking will be detected in the
	// input audio and an equivalent ID3 tag will be inserted in the output.
	NielsenId3 M2tsNielsenId3

	// Value in bits per second of extra null packets to insert into the transport
	// stream. This can be used if a downstream encryption system requires periodic
	// null packets.
	NullPacketBitrate *float64

	// The number of milliseconds between instances of this table in the output
	// transport stream.
	PatInterval *int32

	// When set to PCR_EVERY_PES_PACKET, a Program Clock Reference value is inserted
	// for every Packetized Elementary Stream (PES) header. This is effective only when
	// the PCR PID is the same as the video or audio elementary stream.
	PcrControl M2tsPcrControl

	// Specify the packet identifier (PID) for the program clock reference (PCR) in
	// this output. If you do not specify a value, the service will use the value for
	// Video PID.
	PcrPid *int32

	// Specify the number of milliseconds between instances of the program map table
	// (PMT) in the output transport stream.
	PmtInterval *int32

	// Specify the packet identifier (PID) for the program map table (PMT) itself.
	// Default is 480.
	PmtPid *int32

	// Specify the packet identifier (PID) of the private metadata stream. Default is
	// 503.
	PrivateMetadataPid *int32

	// Use Program number to specify the program number used in the program map table
	// (PMT) for this output. Default is 1. Program numbers and program map tables are
	// parts of MPEG-2 transport stream containers, used for organizing data.
	ProgramNumber *int32

	// Manually specify the initial PTS offset, in seconds, when you set PTS offset to
	// Seconds. Enter an integer from 0 to 3600. Leave blank to keep the default value
	// 2.
	PtsOffset *int32

	// Specify the initial presentation timestamp (PTS) offset for your transport
	// stream output. To let MediaConvert automatically determine the initial PTS
	// offset: Keep the default value, Auto. We recommend that you choose Auto for the
	// widest player compatibility. The initial PTS will be at least two seconds and
	// vary depending on your output's bitrate, HRD buffer size and HRD buffer initial
	// fill percentage. To manually specify an initial PTS offset: Choose Seconds. Then
	// specify the number of seconds with PTS offset.
	PtsOffsetMode TsPtsOffset

	// When set to CBR, inserts null packets into transport stream to fill specified
	// bitrate. When set to VBR, the bitrate setting acts as the maximum bitrate, but
	// the output will not be padded up to that bitrate.
	RateMode M2tsRateMode

	// Include this in your job settings to put SCTE-35 markers in your HLS and
	// transport stream outputs at the insertion points that you specify in an ESAM XML
	// document. Provide the document in the setting SCC XML.
	Scte35Esam *M2tsScte35Esam

	// Specify the packet identifier (PID) of the SCTE-35 stream in the transport
	// stream.
	Scte35Pid *int32

	// For SCTE-35 markers from your input-- 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 SCTE-35 markers in this output. For SCTE-35 markers from an ESAM
	// XML document-- Choose None. Also provide the ESAM XML as a string in the setting
	// Signal processing notification XML. Also enable ESAM SCTE-35 (include the
	// property scte35Esam).
	Scte35Source M2tsScte35Source

	// Inserts segmentation markers at each segmentation_time period. rai_segstart
	// sets the Random Access Indicator bit in the adaptation field. rai_adapt sets the
	// RAI bit and adds the current timecode in the private data bytes. psi_segstart
	// inserts PAT and PMT tables at the start of segments. ebp adds Encoder Boundary
	// Point information to the adaptation field as per OpenCable specification
	// OC-SP-EBP-I01-130118. ebp_legacy adds Encoder Boundary Point information to the
	// adaptation field using a legacy proprietary format.
	SegmentationMarkers M2tsSegmentationMarkers

	// The segmentation style parameter controls how segmentation markers are inserted
	// into the transport stream. With avails, it is possible that segments may be
	// truncated, which can influence where future segmentation markers are inserted.
	// When a segmentation style of "reset_cadence" is selected and a segment is
	// truncated due to an avail, we will reset the segmentation cadence. This means
	// the subsequent segment will have a duration of of $segmentation_time seconds.
	// When a segmentation style of "maintain_cadence" is selected and a segment is
	// truncated due to an avail, we will not reset the segmentation cadence. This
	// means the subsequent segment will likely be truncated as well. However, all
	// segments after that will have a duration of $segmentation_time seconds. Note
	// that EBP lookahead is a slight exception to this rule.
	SegmentationStyle M2tsSegmentationStyle

	// Specify the length, in seconds, of each segment. Required unless markers is set
	// to none.
	SegmentationTime *float64

	// Packet Identifier (PID) of the ID3 metadata stream in the transport stream.
	TimedMetadataPid *int32

	// Specify the ID for the transport stream itself in the program map table for
	// this output. Transport stream IDs and program map tables are parts of MPEG-2
	// transport stream containers, used for organizing data.
	TransportStreamId *int32

	// Specify the packet identifier (PID) of the elementary video stream in the
	// transport stream.
	VideoPid *int32

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}

// These settings relate to the MPEG-2 transport stream (MPEG2-TS) container for
// the MPEG2-TS segments in your HLS outputs.
type M3u8Settings struct {

	// 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.
	AudioDuration M3u8AudioDuration

	// The number of audio frames to insert for each PES packet.
	AudioFramesPerPes *int32

	// Packet Identifier (PID) of the elementary audio stream(s) in the transport
	// stream. Multiple values are accepted, and can be entered in ranges and/or by
	// comma separation.
	AudioPids []int32

	// If you select ALIGN_TO_VIDEO, MediaConvert writes captions and data packets
	// with Presentation Timestamp (PTS) values greater than or equal to the first
	// video packet PTS (MediaConvert drops captions and data packets with lesser PTS
	// values). Keep the default value AUTO to allow all PTS values.
	DataPTSControl M3u8DataPtsControl

	// Specify the maximum time, in milliseconds, between Program Clock References
	// (PCRs) inserted into the transport stream.
	MaxPcrInterval *int32

	// If INSERT, Nielsen inaudible tones for media tracking will be detected in the
	// input audio and an equivalent ID3 tag will be inserted in the output.
	NielsenId3 M3u8NielsenId3

	// The number of milliseconds between instances of this table in the output
	// transport stream.
	PatInterval *int32

	// When set to PCR_EVERY_PES_PACKET a Program Clock Reference value is inserted
	// for every Packetized Elementary Stream (PES) header. This parameter is effective
	// only when the PCR PID is the same as the video or audio elementary stream.
	PcrControl M3u8PcrControl

	// Packet Identifier (PID) of the Program Clock Reference (PCR) in the transport
	// stream. When no value is given, the encoder will assign the same value as the
	// Video PID.
	PcrPid *int32

	// The number of milliseconds between instances of this table in the output
	// transport stream.
	PmtInterval *int32

	// Packet Identifier (PID) for the Program Map Table (PMT) in the transport stream.
	PmtPid *int32

	// Packet Identifier (PID) of the private metadata stream in the transport stream.
	PrivateMetadataPid *int32

	// The value of the program number field in the Program Map Table.
	ProgramNumber *int32

	// Manually specify the initial PTS offset, in seconds, when you set PTS offset to
	// Seconds. Enter an integer from 0 to 3600. Leave blank to keep the default value
	// 2.
	PtsOffset *int32

	// Specify the initial presentation timestamp (PTS) offset for your transport
	// stream output. To let MediaConvert automatically determine the initial PTS
	// offset: Keep the default value, Auto. We recommend that you choose Auto for the
	// widest player compatibility. The initial PTS will be at least two seconds and
	// vary depending on your output's bitrate, HRD buffer size and HRD buffer initial
	// fill percentage. To manually specify an initial PTS offset: Choose Seconds. Then
	// specify the number of seconds with PTS offset.
	PtsOffsetMode TsPtsOffset

	// Packet Identifier (PID) of the SCTE-35 stream in the transport stream.
	Scte35Pid *int32

	// For SCTE-35 markers from your input-- 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 SCTE-35 markers in this output. For SCTE-35 markers from an ESAM
	// XML document-- Choose None if you don't want manifest conditioning. Choose
	// Passthrough and choose Ad markers if you do want manifest conditioning. In both
	// cases, also provide the ESAM XML as a string in the setting Signal processing
	// notification XML.
	Scte35Source M3u8Scte35Source

	// Set ID3 metadata to Passthrough to include ID3 metadata in this output. This
	// includes ID3 metadata from the following features: ID3 timestamp period, and
	// Custom ID3 metadata inserter. To exclude this ID3 metadata in this output: set
	// ID3 metadata to None or leave blank.
	TimedMetadata TimedMetadata

	// Packet Identifier (PID) of the ID3 metadata stream in the transport stream.
	TimedMetadataPid *int32

	// The value of the transport stream ID field in the Program Map Table.
	TransportStreamId *int32

	// Packet Identifier (PID) of the elementary video stream in the transport stream.
	VideoPid *int32

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}

// Use Min bottom rendition size to specify a minimum size for the lowest
// resolution in your ABR stack. * The lowest resolution in your ABR stack will be
// equal to or greater than the value that you enter. For example: If you specify
// 640x360 the lowest resolution in your ABR stack will be equal to or greater than
// to 640x360. * If you specify a Min top rendition size rule, the value that you
// specify for Min bottom rendition size must be less than, or equal to, Min top
// rendition size.
type MinBottomRenditionSize struct {

	// Use Height to define the video resolution height, in pixels, for this rule.
	Height *int32

	// Use Width to define the video resolution width, in pixels, for this rule.
	Width *int32

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}

// Use Min top rendition size to specify a minimum size for the highest resolution
// in your ABR stack. * The highest resolution in your ABR stack will be equal to
// or greater than the value that you enter. For example: If you specify 1280x720
// the highest resolution in your ABR stack will be equal to or greater than
// 1280x720. * If you specify a value for Max resolution, the value that you
// specify for Min top rendition size must be less than, or equal to, Max
// resolution.
type MinTopRenditionSize struct {

	// Use Height to define the video resolution height, in pixels, for this rule.
	Height *int32

	// Use Width to define the video resolution width, in pixels, for this rule.
	Width *int32

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}

// Overlay motion graphics on top of your video. The motion graphics that you
// specify here appear on all outputs in all output groups. For more information,
// see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/motion-graphic-overlay.html.
type MotionImageInserter struct {

	// If your motion graphic asset is a .mov file, keep this setting unspecified. If
	// your motion graphic asset is a series of .png files, specify the frame rate of
	// the overlay in frames per second, as a fraction. For example, specify 24 fps as
	// 24/1. Make sure that the number of images in your series matches the frame rate
	// and your intended overlay duration. For example, if you want a 30-second overlay
	// at 30 fps, you should have 900 .png images. This overlay frame rate doesn't need
	// to match the frame rate of the underlying video.
	Framerate *MotionImageInsertionFramerate

	// Specify the .mov file or series of .png files that you want to overlay on your
	// video. For .png files, provide the file name of the first file in the series.
	// Make sure that the names of the .png files end with sequential numbers that
	// specify the order that they are played in. For example, overlay_000.png,
	// overlay_001.png, overlay_002.png, and so on. The sequence must start at zero,
	// and each image file name must have the same number of digits. Pad your initial
	// file names with enough zeros to complete the sequence. For example, if the first
	// image is overlay_0.png, there can be only 10 images in the sequence, with the
	// last image being overlay_9.png. But if the first image is overlay_00.png, there
	// can be 100 images in the sequence.
	Input *string

	// Choose the type of motion graphic asset that you are providing for your
	// overlay. You can choose either a .mov file or a series of .png files.
	InsertionMode MotionImageInsertionMode

	// Use Offset to specify the placement of your motion graphic overlay on the video
	// frame. Specify in pixels, from the upper-left corner of the frame. If you don't
	// specify an offset, the service scales your overlay to the full size of the
	// frame. Otherwise, the service inserts the overlay at its native resolution and
	// scales the size up or down with any video scaling.
	Offset *MotionImageInsertionOffset

	// Specify whether your motion graphic overlay repeats on a loop or plays only
	// once.
	Playback MotionImagePlayback

	// Specify when the motion overlay begins. Use timecode format (HH:MM:SS:FF or
	// HH:MM:SS;FF). Make sure that the timecode you provide here takes into account
	// how you have set up your timecode configuration under both job settings and
	// input settings. The simplest way to do that is to set both to start at 0. If you
	// need to set up your job to follow timecodes embedded in your source that don't
	// start at zero, make sure that you specify a start time that is after the first
	// embedded timecode. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/setting-up-timecode.html
	StartTime *string

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}

// For motion overlays that don't have a built-in frame rate, specify the frame
// rate of the overlay in frames per second, as a fraction. For example, specify 24
// fps as 24/1. The overlay frame rate doesn't need to match the frame rate of the
// underlying video.
type MotionImageInsertionFramerate struct {

	// The bottom of the fraction that expresses your overlay frame rate. For example,
	// if your frame rate is 24 fps, set this value to 1.
	FramerateDenominator *int32

	// The top of the fraction that expresses your overlay frame rate. For example, if
	// your frame rate is 24 fps, set this value to 24.
	FramerateNumerator *int32

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}

// Specify the offset between the upper-left corner of the video frame and the top
// left corner of the overlay.
type MotionImageInsertionOffset struct {

	// Set the distance, in pixels, between the overlay and the left edge of the video
	// frame.
	ImageX *int32

	// Set the distance, in pixels, between the overlay and the top edge of the video
	// frame.
	ImageY *int32

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}

// These settings relate to your QuickTime MOV output container.
type MovSettings struct {

	// When enabled, include 'clap' atom if appropriate for the video output settings.
	ClapAtom MovClapAtom

	// When enabled, file composition times will start at zero, composition times in
	// the 'ctts' (composition time to sample) box for B-frames will be negative, and a
	// 'cslg' (composition shift least greatest) box will be included per 14496-1
	// amendment 1. This improves compatibility with Apple players and tools.
	CslgAtom MovCslgAtom

	// When set to XDCAM, writes MPEG2 video streams into the QuickTime file using
	// XDCAM fourcc codes. This increases compatibility with Apple editors and players,
	// but may decrease compatibility with other players. Only applicable when the
	// video codec is MPEG2.
	Mpeg2FourCCControl MovMpeg2FourCCControl

	// Unless you need Omneon compatibility: Keep the default value, None. To make
	// this output compatible with Omneon: Choose Omneon. When you do, MediaConvert
	// increases the length of the 'elst' edit list atom. Note that this might cause
	// file rejections when a recipient of the output file doesn't expect this extra
	// padding.
	PaddingControl MovPaddingControl

	// Always keep the default value (SELF_CONTAINED) for this setting.
	Reference MovReference

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}

// Required when you set Codec to the value MP2.
type Mp2Settings struct {

	// Specify the average bitrate in bits per second.
	Bitrate *int32

	// Set Channels to specify the number of channels in this output audio track.
	// Choosing Mono in will give you 1 output channel; choosing Stereo will give you
	// 2. In the API, valid values are 1 and 2.
	Channels *int32

	// Sample rate in Hz.
	SampleRate *int32

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}

// Required when you set Codec, under AudioDescriptions>CodecSettings, to the
// value MP3.
type Mp3Settings struct {

	// Specify the average bitrate in bits per second.
	Bitrate *int32

	// Specify the number of channels in this output audio track. Choosing Mono gives
	// you 1 output channel; choosing Stereo gives you 2. In the API, valid values are
	// 1 and 2.
	Channels *int32

	// Specify whether the service encodes this MP3 audio output with a constant
	// bitrate (CBR) or a variable bitrate (VBR).
	RateControlMode Mp3RateControlMode

	// Sample rate in Hz.
	SampleRate *int32

	// Required when you set Bitrate control mode to VBR. Specify the audio quality of
	// this MP3 output from 0 (highest quality) to 9 (lowest quality).
	VbrQuality *int32

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}

// These settings relate to your MP4 output container. You can create audio only
// outputs with this container. For more information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/supported-codecs-containers-audio-only.html#output-codecs-and-containers-supported-for-audio-only.
type Mp4Settings struct {

	// 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.
	AudioDuration CmfcAudioDuration

	// When enabled, file composition times will start at zero, composition times in
	// the 'ctts' (composition time to sample) box for B-frames will be negative, and a
	// 'cslg' (composition shift least greatest) box will be included per 14496-1
	// amendment 1. This improves compatibility with Apple players and tools.
	CslgAtom Mp4CslgAtom

	// Ignore this setting unless compliance to the CTTS box version specification
	// matters in your workflow. Specify a value of 1 to set your CTTS box version to 1
	// and make your output compliant with the specification. When you specify a value
	// of 1, you must also set CSLG atom to the value INCLUDE. Keep the default value 0
	// to set your CTTS box version to 0. This can provide backward compatibility for
	// some players and packagers.
	CttsVersion *int32

	// Inserts a free-space box immediately after the moov box.
	FreeSpaceBox Mp4FreeSpaceBox

	// 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.
	MoovPlacement Mp4MoovPlacement

	// Overrides the "Major Brand" field in the output file. Usually not necessary to
	// specify.
	Mp4MajorBrand *string

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}

// These settings relate to the fragmented MP4 container for the segments in your
// DASH outputs.
type MpdSettings struct {

	// Optional. Choose Include to have MediaConvert mark up your DASH manifest with
	// elements for embedded 608 captions. This markup isn't generally required, but
	// some video players require it to discover and play embedded 608 captions. Keep
	// the default value, Exclude, to leave these elements out. When you enable this
	// setting, this is the markup that MediaConvert includes in your manifest:
	AccessibilityCaptionHints MpdAccessibilityCaptionHints

	// 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.
	AudioDuration MpdAudioDuration

	// Use this setting only in DASH output groups that include sidecar TTML or IMSC
	// captions. You specify sidecar captions in a separate output from your audio and
	// video. Choose Raw for captions in a single XML file in a raw container. Choose
	// Fragmented MPEG-4 for captions in XML format contained within fragmented MP4
	// files. This set of fragmented MP4 files is separate from your video and audio
	// fragmented MP4 files.
	CaptionContainerType MpdCaptionContainerType

	// 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.
	KlvMetadata MpdKlvMetadata

	// 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.
	ManifestMetadataSignaling MpdManifestMetadataSignaling

	// 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.
	Scte35Esam MpdScte35Esam

	// 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.
	Scte35Source MpdScte35Source

	// 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.
	TimedMetadata MpdTimedMetadata

	// 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.
	TimedMetadataBoxVersion MpdTimedMetadataBoxVersion

	// Specify the event message box (eMSG) scheme ID URI for ID3 timed metadata in
	// your output. For more information, see ISO/IEC 23009-1:2022 section 5.10.3.3.4
	// Semantics. Leave blank to use the default value: https://aomedia.org/emsg/ID3
	// When you specify a value for ID3 metadata scheme ID URI, you must also set ID3
	// metadata to Passthrough.
	TimedMetadataSchemeIdUri *string

	// Specify the event message box (eMSG) value for ID3 timed metadata in your
	// output. For more information, see ISO/IEC 23009-1:2022 section 5.10.3.3.4
	// Semantics. When you specify a value for ID3 Metadata Value, you must also set
	// ID3 metadata to Passthrough.
	TimedMetadataValue *string

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}

// Required when you set Codec to the value MPEG2.
type Mpeg2Settings struct {

	// Specify the strength of any adaptive quantization filters that you enable. The
	// value that you choose here applies to the following settings: Spatial adaptive
	// quantization, and Temporal adaptive quantization.
	AdaptiveQuantization Mpeg2AdaptiveQuantization

	// Specify the average bitrate in bits per second. Required for VBR and CBR. For
	// MS Smooth outputs, bitrates must be unique when rounded down to the nearest
	// multiple of 1000.
	Bitrate *int32

	// Use Level to set the MPEG-2 level for the video output.
	CodecLevel Mpeg2CodecLevel

	// Use Profile to set the MPEG-2 profile for the video output.
	CodecProfile Mpeg2CodecProfile

	// Choose Adaptive to improve subjective video quality for high-motion content.
	// This will cause the service to use fewer B-frames (which infer information based
	// on other frames) for high-motion portions of the video and more B-frames for
	// low-motion portions. The maximum number of B-frames is limited by the value you
	// provide for the setting B frames between reference frames.
	DynamicSubGop Mpeg2DynamicSubGop

	// 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.
	FramerateControl Mpeg2FramerateControl

	// Choose the method that you want MediaConvert to use when increasing or
	// decreasing the 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.
	FramerateConversionAlgorithm Mpeg2FramerateConversionAlgorithm

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateDenominator to specify the denominator of this fraction. In this
	// example, use 1001 for the value of FramerateDenominator. When you use the
	// console for transcode jobs that use frame rate conversion, provide the value as
	// a decimal number for Framerate. In this example, specify 23.976.
	FramerateDenominator *int32

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateNumerator to specify the numerator of this fraction. In this example,
	// use 24000 for the value of FramerateNumerator. When you use the console for
	// transcode jobs that use frame rate conversion, provide the value as a decimal
	// number for Framerate. In this example, specify 23.976.
	FramerateNumerator *int32

	// Specify the relative frequency of open to closed GOPs in this output. For
	// example, if you want to allow four open GOPs and then require a closed GOP, set
	// this value to 5. When you create a streaming output, we recommend that you keep
	// the default value, 1, so that players starting mid-stream receive an IDR frame
	// as quickly as possible. Don't set this value to 0; that would break output
	// segmenting.
	GopClosedCadence *int32

	// Specify the interval between keyframes, in seconds or frames, for this output.
	// Default: 12 Related settings: When you specify the GOP size in seconds, set GOP
	// mode control to Specified, seconds. The default value for GOP mode control is
	// Frames.
	GopSize *float64

	// Specify the units for GOP size. If you don't specify a value here, by default
	// the encoder measures GOP size in frames.
	GopSizeUnits Mpeg2GopSizeUnits

	// If your downstream systems have strict buffer requirements: Specify the minimum
	// percentage of the HRD buffer that's available at the end of each encoded video
	// segment. For the best video quality: Set to 0 or leave blank to automatically
	// determine the final buffer fill percentage.
	HrdBufferFinalFillPercentage *int32

	// Percentage of the buffer that should initially be filled (HRD buffer model).
	HrdBufferInitialFillPercentage *int32

	// Size of buffer (HRD buffer model) in bits. For example, enter five megabits as
	// 5000000.
	HrdBufferSize *int32

	// 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.
	InterlaceMode Mpeg2InterlaceMode

	// Use Intra DC precision to set quantization precision for intra-block DC
	// coefficients. If you choose the value auto, the service will automatically
	// select the precision based on the per-frame compression ratio.
	IntraDcPrecision Mpeg2IntraDcPrecision

	// Maximum bitrate in bits/second. For example, enter five megabits per second as
	// 5000000.
	MaxBitrate *int32

	// Use this setting only when you also enable Scene change detection. This setting
	// determines how the encoder manages the spacing between I-frames that it inserts
	// as part of the I-frame cadence and the I-frames that it inserts for Scene change
	// detection. When you specify a value for this setting, the encoder determines
	// whether to skip a cadence-driven I-frame by the value you set. For example, if
	// you set Min I interval to 5 and a cadence-driven I-frame would fall within 5
	// frames of a scene-change I-frame, then the encoder skips the cadence-driven
	// I-frame. In this way, one GOP is shrunk slightly and one GOP is stretched
	// slightly. When the cadence-driven I-frames are farther from the scene-change
	// I-frame than the value you set, then the encoder leaves all I-frames in place
	// and the GOPs surrounding the scene change are smaller than the usual cadence
	// GOPs.
	MinIInterval *int32

	// Specify the number of B-frames that MediaConvert puts between reference frames
	// in this output. Valid values are whole numbers from 0 through 7. When you don't
	// specify a value, MediaConvert defaults to 2.
	NumberBFramesBetweenReferenceFrames *int32

	// Optional. Specify how the service determines the pixel aspect ratio (PAR) for
	// this output. The default behavior, Follow source, uses the PAR from your input
	// video for your output. To specify a different PAR in the console, choose any
	// value other than Follow source. When you choose SPECIFIED for this setting, you
	// must also specify values for the parNumerator and parDenominator settings.
	ParControl Mpeg2ParControl

	// Required when you set Pixel aspect ratio to SPECIFIED. On the console, this
	// corresponds to any value other than Follow source. When you specify an output
	// pixel aspect ratio (PAR) that is different from your input video PAR, provide
	// your output PAR as a ratio. For example, for D1/DV NTSC widescreen, you would
	// specify the ratio 40:33. In this example, the value for parDenominator is 33.
	ParDenominator *int32

	// Required when you set Pixel aspect ratio to SPECIFIED. On the console, this
	// corresponds to any value other than Follow source. When you specify an output
	// pixel aspect ratio (PAR) that is different from your input video PAR, provide
	// your output PAR as a ratio. For example, for D1/DV NTSC widescreen, you would
	// specify the ratio 40:33. In this example, the value for parNumerator is 40.
	ParNumerator *int32

	// Optional. Use Quality tuning level to choose how you want to trade off encoding
	// speed for output video quality. The default behavior is faster, lower quality,
	// single-pass encoding.
	QualityTuningLevel Mpeg2QualityTuningLevel

	// Use Rate control mode to specify whether the bitrate is variable (vbr) or
	// constant (cbr).
	RateControlMode Mpeg2RateControlMode

	// 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.
	ScanTypeConversionMode Mpeg2ScanTypeConversionMode

	// Enable this setting to insert I-frames at scene changes that the service
	// automatically detects. This improves video quality and is enabled by default.
	SceneChangeDetect Mpeg2SceneChangeDetect

	// 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.
	SlowPal Mpeg2SlowPal

	// Ignore this setting unless you need to comply with a specification that
	// requires a specific value. If you don't have a specification requirement, we
	// recommend that you adjust the softness of your output by using a lower value for
	// the setting Sharpness or by enabling a noise reducer filter. The Softness
	// setting specifies the quantization matrices that the encoder uses. Keep the
	// default value, 0, to use the AWS Elemental default matrices. Choose a value from
	// 17 to 128 to use planar interpolation. Increasing values from 17 to 128 result
	// in increasing reduction of high-frequency data. The value 128 results in the
	// softest video.
	Softness *int32

	// 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.
	SpatialAdaptiveQuantization Mpeg2SpatialAdaptiveQuantization

	// Specify whether this output's video uses the D10 syntax. Keep the default value
	// to not use the syntax. Related settings: When you choose D10 for your MXF
	// profile, you must also set this value to D10.
	Syntax Mpeg2Syntax

	// 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 or
	// soft telecine to create a smoother picture. Hard telecine produces a 29.97i
	// output. Soft telecine produces an output with a 23.976 output that signals to
	// the video player device to do the conversion during play back. 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.
	Telecine Mpeg2Telecine

	// Keep the default value, Enabled, to adjust quantization within each frame based
	// on temporal variation of content complexity. When you enable this feature, the
	// encoder uses fewer bits on areas of the frame that aren't moving and uses more
	// bits on complex objects with sharp edges that move a lot. For example, this
	// feature improves the readability of text tickers on newscasts and scoreboards on
	// sports matches. 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 that doesn't have moving objects with sharp
	// edges, such as sports athletes' faces, you might choose to disable this feature.
	// Related setting: When you enable temporal quantization, adjust the strength of
	// the filter with the setting Adaptive quantization.
	TemporalAdaptiveQuantization Mpeg2TemporalAdaptiveQuantization

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}

// Specify the details for each additional Microsoft Smooth Streaming manifest
// that you want the service to generate for this output group. Each manifest can
// reference a different subset of outputs in the group.
type MsSmoothAdditionalManifest struct {

	// Specify a name modifier that the service adds to the name of this manifest to
	// make it different from the file names of the other main manifests in the output
	// group. For example, say that the default main manifest for your Microsoft Smooth
	// group is film-name.ismv. If you enter "-no-premium" for this setting, then the
	// file name the service generates for this top-level manifest is
	// film-name-no-premium.ismv.
	ManifestNameModifier *string

	// Specify the outputs that you want this additional top-level manifest to
	// reference.
	SelectedOutputs []string

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}

// If you are using DRM, set DRM System to specify the value SpekeKeyProvider.
type MsSmoothEncryptionSettings struct {

	// If your output group type is HLS, DASH, or Microsoft Smooth, use these settings
	// when doing DRM encryption with a SPEKE-compliant key provider. If your output
	// group type is CMAF, use the SpekeKeyProviderCmaf settings instead.
	SpekeKeyProvider *SpekeKeyProvider

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}

// Settings related to your Microsoft Smooth Streaming output package. For more
// information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/outputs-file-ABR.html.
type MsSmoothGroupSettings struct {

	// By default, the service creates one .ism Microsoft Smooth Streaming manifest
	// for each Microsoft Smooth Streaming output group in your job. This default
	// manifest references every output in the output group. To create additional
	// manifests that reference a subset of the outputs in the output group, specify a
	// list of them here.
	AdditionalManifests []MsSmoothAdditionalManifest

	// COMBINE_DUPLICATE_STREAMS combines identical audio encoding settings across a
	// Microsoft Smooth output group into a single audio stream.
	AudioDeduplication MsSmoothAudioDeduplication

	// Use Destination to specify the S3 output location and the output filename base.
	// Destination accepts format identifiers. If you do not specify the base filename
	// in the URI, the service will use the filename of the input file. If your job has
	// multiple inputs, the service uses the filename of the first input file.
	Destination *string

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

	// If you are using DRM, set DRM System to specify the value SpekeKeyProvider.
	Encryption *MsSmoothEncryptionSettings

	// Specify how you want MediaConvert to determine the fragment length. Choose
	// Exact to have the encoder use the exact length that you specify with the setting
	// Fragment length. This might result in extra I-frames. Choose Multiple of GOP to
	// have the encoder round up the segment lengths to match the next GOP boundary.
	FragmentLength *int32

	// Specify how you want MediaConvert to determine the fragment length. Choose
	// Exact to have the encoder use the exact length that you specify with the setting
	// Fragment length. This might result in extra I-frames. Choose Multiple of GOP to
	// have the encoder round up the segment lengths to match the next GOP boundary.
	FragmentLengthControl MsSmoothFragmentLengthControl

	// Use Manifest encoding to specify the encoding format for the server and client
	// manifest. Valid options are utf8 and utf16.
	ManifestEncoding MsSmoothManifestEncoding

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// These settings relate to your MXF output container.
type MxfSettings struct {

	// Optional. When you have AFD signaling set up in your output video stream, use
	// this setting to choose whether to also include it in the MXF wrapper. Choose
	// Don't copy to exclude AFD signaling from the MXF wrapper. Choose Copy from video
	// stream to copy the AFD values from the video stream for this output to the MXF
	// wrapper. Regardless of which option you choose, the AFD values remain in the
	// video stream. Related settings: To set up your output to include or exclude AFD
	// values, see AfdSignaling, under VideoDescription. On the console, find AFD
	// signaling under the output's video encoding settings.
	AfdSignaling MxfAfdSignaling

	// Specify the MXF profile, also called shim, for this output. To automatically
	// select a profile according to your output video codec and resolution, leave
	// blank. For a list of codecs supported with each MXF profile, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/codecs-supported-with-each-mxf-profile.html.
	// For more information about the automatic selection behavior, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/default-automatic-selection-of-mxf-profiles.html.
	Profile MxfProfile

	// Specify the XAVC profile settings for MXF outputs when you set your MXF profile
	// to XAVC.
	XavcProfileSettings *MxfXavcProfileSettings

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// Specify the XAVC profile settings for MXF outputs when you set your MXF profile
// to XAVC.
type MxfXavcProfileSettings struct {

	// To create an output that complies with the XAVC file format guidelines for
	// interoperability, keep the default value, Drop frames for compliance. To include
	// all frames from your input in this output, keep the default setting, Allow any
	// duration. The number of frames that MediaConvert excludes when you set this to
	// Drop frames for compliance depends on the output frame rate and duration.
	DurationMode MxfXavcDurationMode

	// Specify a value for this setting only for outputs that you set up with one of
	// these two XAVC profiles: XAVC HD Intra CBG or XAVC 4K Intra CBG. Specify the
	// amount of space in each frame that the service reserves for ancillary data, such
	// as teletext captions. The default value for this setting is 1492 bytes per
	// frame. This should be sufficient to prevent overflow unless you have multiple
	// pages of teletext captions data. If you have a large amount of teletext data,
	// specify a larger number.
	MaxAncDataSize *int32

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// For forensic video watermarking, MediaConvert supports Nagra NexGuard File
// Marker watermarking. MediaConvert supports both PreRelease Content (NGPR/G2) and
// OTT Streaming workflows.
type NexGuardFileMarkerSettings struct {

	// Use the base64 license string that Nagra provides you. Enter it directly in
	// your JSON job specification or in the console. Required when you include Nagra
	// NexGuard File Marker watermarking in your job.
	License *string

	// Specify the payload ID that you want associated with this output. Valid values
	// vary depending on your Nagra NexGuard forensic watermarking workflow. Required
	// when you include Nagra NexGuard File Marker watermarking in your job. For
	// PreRelease Content (NGPR/G2), specify an integer from 1 through 4,194,303. You
	// must generate a unique ID for each asset you watermark, and keep a record of
	// which ID you have assigned to each asset. Neither Nagra nor MediaConvert keep
	// track of the relationship between output files and your IDs. For OTT Streaming,
	// create two adaptive bitrate (ABR) stacks for each asset. Do this by setting up
	// two output groups. For one output group, set the value of Payload ID to 0 in
	// every output. For the other output group, set Payload ID to 1 in every output.
	Payload *int32

	// Enter one of the watermarking preset strings that Nagra provides you. Required
	// when you include Nagra NexGuard File Marker watermarking in your job.
	Preset *string

	// Optional. Ignore this setting unless Nagra support directs you to specify a
	// value. When you don't specify a value here, the Nagra NexGuard library uses its
	// default value.
	Strength WatermarkingStrength

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// Settings for your Nielsen configuration. If you don't do Nielsen measurement
// and analytics, ignore these settings. When you enable Nielsen configuration,
// MediaConvert enables PCM to ID3 tagging for all outputs in the job.
type NielsenConfiguration struct {

	// Nielsen has discontinued the use of breakout code functionality. If you must
	// include this property, set the value to zero.
	BreakoutCode *int32

	// Use Distributor ID to specify the distributor ID that is assigned to your
	// organization by Nielsen.
	DistributorId *string

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// Ignore these settings unless you are using Nielsen non-linear watermarking.
// Specify the values that MediaConvert uses to generate and place Nielsen
// watermarks in your output audio. In addition to specifying these values, you
// also need to set up your cloud TIC server. These settings apply to every output
// in your job. The MediaConvert implementation is currently with the following
// Nielsen versions: Nielsen Watermark SDK Version 5.2.1 Nielsen NLM Watermark
// Engine Version 1.2.7 Nielsen Watermark Authenticator [SID_TIC] Version [5.0.0]
type NielsenNonLinearWatermarkSettings struct {

	// Choose the type of Nielsen watermarks that you want in your outputs. When you
	// choose NAES 2 and NW, you must provide a value for the setting SID. When you
	// choose CBET, you must provide a value for the setting CSID. When you choose NAES
	// 2, NW, and CBET, you must provide values for both of these settings.
	ActiveWatermarkProcess NielsenActiveWatermarkProcessType

	// Optional. Use this setting when you want the service to include an ADI file in
	// the Nielsen metadata .zip file. To provide an ADI file, store it in Amazon S3
	// and provide a URL to it here. The URL should be in the following format:
	// S3://bucket/path/ADI-file. For more information about the metadata .zip file,
	// see the setting Metadata destination.
	AdiFilename *string

	// Use the asset ID that you provide to Nielsen to uniquely identify this asset.
	// Required for all Nielsen non-linear watermarking.
	AssetId *string

	// Use the asset name that you provide to Nielsen for this asset. Required for all
	// Nielsen non-linear watermarking.
	AssetName *string

	// Use the CSID that Nielsen provides to you. This CBET source ID should be unique
	// to your Nielsen account but common to all of your output assets that have CBET
	// watermarking. Required when you choose a value for the setting Watermark types
	// that includes CBET.
	CbetSourceId *string

	// Optional. If this asset uses an episode ID with Nielsen, provide it here.
	EpisodeId *string

	// Specify the Amazon S3 location where you want MediaConvert to save your Nielsen
	// non-linear metadata .zip file. This Amazon S3 bucket must be in the same Region
	// as the one where you do your MediaConvert transcoding. If you want to include an
	// ADI file in this .zip file, use the setting ADI file to specify it. MediaConvert
	// delivers the Nielsen metadata .zip files only to your metadata destination
	// Amazon S3 bucket. It doesn't deliver the .zip files to Nielsen. You are
	// responsible for delivering the metadata .zip files to Nielsen.
	MetadataDestination *string

	// Use the SID that Nielsen provides to you. This source ID should be unique to
	// your Nielsen account but common to all of your output assets. Required for all
	// Nielsen non-linear watermarking. This ID should be unique to your Nielsen
	// account but common to all of your output assets. Required for all Nielsen
	// non-linear watermarking.
	SourceId *int32

	// Required. Specify whether your source content already contains Nielsen
	// non-linear watermarks. When you set this value to Watermarked, the service fails
	// the job. Nielsen requires that you add non-linear watermarking to only clean
	// content that doesn't already have non-linear Nielsen watermarks.
	SourceWatermarkStatus NielsenSourceWatermarkStatusType

	// Specify the endpoint for the TIC server that you have deployed and configured
	// in the AWS Cloud. Required for all Nielsen non-linear watermarking. MediaConvert
	// can't connect directly to a TIC server. Instead, you must use API Gateway to
	// provide a RESTful interface between MediaConvert and a TIC server that you
	// deploy in your AWS account. For more information on deploying a TIC server in
	// your AWS account and the required API Gateway, contact Nielsen support.
	TicServerUrl *string

	// To create assets that have the same TIC values in each audio track, keep the
	// default value Share TICs. To create assets that have unique TIC values for each
	// audio track, choose Use unique TICs.
	UniqueTicPerAudioTrack NielsenUniqueTicPerAudioTrackType

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// Enable the Noise reducer feature to remove noise from your video output if
// necessary. Enable or disable this feature for each output individually. This
// setting is disabled by default. When you enable Noise reducer, you must also
// select a value for Noise reducer filter. For AVC outputs, when you include Noise
// reducer, you cannot include the Bandwidth reduction filter.
type NoiseReducer struct {

	// Use Noise reducer filter to select one of the following spatial image filtering
	// functions. To use this setting, you must also enable Noise reducer. * Bilateral
	// preserves edges while reducing noise. * Mean (softest), Gaussian, Lanczos, and
	// Sharpen (sharpest) do convolution filtering. * Conserve does min/max noise
	// reduction. * Spatial does frequency-domain filtering based on JND principles. *
	// Temporal optimizes video quality for complex motion.
	Filter NoiseReducerFilter

	// Settings for a noise reducer filter
	FilterSettings *NoiseReducerFilterSettings

	// Noise reducer filter settings for spatial filter.
	SpatialFilterSettings *NoiseReducerSpatialFilterSettings

	// Noise reducer filter settings for temporal filter.
	TemporalFilterSettings *NoiseReducerTemporalFilterSettings

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// Settings for a noise reducer filter
type NoiseReducerFilterSettings struct {

	// Relative strength of noise reducing filter. Higher values produce stronger
	// filtering.
	Strength *int32

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// Noise reducer filter settings for spatial filter.
type NoiseReducerSpatialFilterSettings struct {

	// Specify strength of post noise reduction sharpening filter, with 0 disabling
	// the filter and 3 enabling it at maximum strength.
	PostFilterSharpenStrength *int32

	// The speed of the filter, from -2 (lower speed) to 3 (higher speed), with 0
	// being the nominal value.
	Speed *int32

	// Relative strength of noise reducing filter. Higher values produce stronger
	// filtering.
	Strength *int32

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// Noise reducer filter settings for temporal filter.
type NoiseReducerTemporalFilterSettings struct {

	// Use Aggressive mode for content that has complex motion. Higher values produce
	// stronger temporal filtering. This filters highly complex scenes more
	// aggressively and creates better VQ for low bitrate outputs.
	AggressiveMode *int32

	// When you set Noise reducer to Temporal, the bandwidth and sharpness of your
	// output is reduced. You can optionally use Post temporal sharpening to apply
	// sharpening to the edges of your output. Note that Post temporal sharpening will
	// also make the bandwidth reduction from the Noise reducer smaller. The default
	// behavior, Auto, allows the transcoder to determine whether to apply sharpening,
	// depending on your input type and quality. When you set Post temporal sharpening
	// to Enabled, specify how much sharpening is applied using Post temporal
	// sharpening strength. Set Post temporal sharpening to Disabled to not apply
	// sharpening.
	PostTemporalSharpening NoiseFilterPostTemporalSharpening

	// Use Post temporal sharpening strength to define the amount of sharpening the
	// transcoder applies to your output. Set Post temporal sharpening strength to Low,
	// Medium, or High to indicate the amount of sharpening.
	PostTemporalSharpeningStrength NoiseFilterPostTemporalSharpeningStrength

	// The speed of the filter (higher number is faster). Low setting reduces bit rate
	// at the cost of transcode time, high setting improves transcode time at the cost
	// of bit rate.
	Speed *int32

	// Specify the strength of the noise reducing filter on this output. Higher values
	// produce stronger filtering. We recommend the following value ranges, depending
	// on the result that you want: * 0-2 for complexity reduction with minimal
	// sharpness loss * 2-8 for complexity reduction with image preservation * 8-16 for
	// a high level of complexity reduction
	Strength *int32

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// Required when you set Codec, under AudioDescriptions>CodecSettings, to the
// value OPUS.
type OpusSettings struct {

	// Optional. Specify the average bitrate in bits per second. Valid values are
	// multiples of 8000, from 32000 through 192000. The default value is 96000, which
	// we recommend for quality and bandwidth.
	Bitrate *int32

	// Specify the number of channels in this output audio track. Choosing Mono on
	// gives you 1 output channel; choosing Stereo gives you 2. In the API, valid
	// values are 1 and 2.
	Channels *int32

	// Optional. Sample rate in Hz. Valid values are 16000, 24000, and 48000. The
	// default value is 48000.
	SampleRate *int32

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// Each output in your job is a collection of settings that describes how you want
// MediaConvert to encode a single output file or stream. For more information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/create-outputs.html.
type Output struct {

	// Contains groups of audio encoding settings organized by audio codec. Include
	// one instance of per output. Can contain multiple groups of encoding settings.
	AudioDescriptions []AudioDescription

	// Contains groups of captions settings. For each output that has captions,
	// include one instance of CaptionDescriptions. Can contain multiple groups of
	// captions settings.
	CaptionDescriptions []CaptionDescription

	// Container specific settings.
	ContainerSettings *ContainerSettings

	// Use Extension to specify the file extension for outputs in File output groups.
	// If you do not specify a value, the service will use default extensions by
	// container type as follows * MPEG-2 transport stream, m2ts * Quicktime, mov * MXF
	// container, mxf * MPEG-4 container, mp4 * WebM container, webm * No Container,
	// the service will use codec extensions (e.g. AAC, H265, H265, AC3)
	Extension *string

	// Use Name modifier to have the service add a string to the end of each output
	// filename. You specify the base filename as part of your destination URI. When
	// you create multiple outputs in the same output group, Name modifier is required.
	// Name modifier also accepts format identifiers. For DASH ISO outputs, if you use
	// the format identifiers $Number$ or $Time$ in one output, you must use them
	// in the same way in all outputs of the output group.
	NameModifier *string

	// Specific settings for this type of output.
	OutputSettings *OutputSettings

	// Use Preset to specify a preset for your transcoding settings. Provide the
	// system or custom preset name. You can specify either Preset or Container
	// settings, but not both.
	Preset *string

	// VideoDescription contains a group of video encoding settings. The specific
	// video settings depend on the video codec that you choose for the property codec.
	// Include one instance of VideoDescription per output.
	VideoDescription *VideoDescription

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// OutputChannel mapping settings.
type OutputChannelMapping struct {

	// Use this setting to specify your remix values when they are integers, such as
	// -10, 0, or 4.
	InputChannels []int32

	// Use this setting to specify your remix values when they have a decimal
	// component, such as -10.312, 0.08, or 4.9. MediaConvert rounds your remixing
	// values to the nearest thousandth.
	InputChannelsFineTune []float64

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// Details regarding output
type OutputDetail struct {

	// Duration in milliseconds
	DurationInMs *int32

	// Contains details about the output's video stream
	VideoDetails *VideoDetail

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// Group of outputs
type OutputGroup struct {

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

	// Use Custom Group Name to specify a name for the output group. This value is
	// displayed on the console and can make your job settings JSON more
	// human-readable. It does not affect your outputs. Use up to twelve characters
	// that are either letters, numbers, spaces, or underscores.
	CustomName *string

	// Name of the output group
	Name *string

	// Output Group settings, including type
	OutputGroupSettings *OutputGroupSettings

	// This object holds groups of encoding settings, one group of settings per output.
	Outputs []Output

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// Contains details about the output groups specified in the job settings.
type OutputGroupDetail struct {

	// Details about the output
	OutputDetails []OutputDetail

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// Output Group settings, including type
type OutputGroupSettings struct {

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

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

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

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

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

	// Type of output group (File group, Apple HLS, DASH ISO, Microsoft Smooth
	// Streaming, CMAF)
	Type OutputGroupType

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// Specific settings for this type of output.
type OutputSettings struct {

	// Settings for HLS output groups
	HlsSettings *HlsSettings

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// If you work with a third party video watermarking partner, use the group of
// settings that correspond with your watermarking partner to include watermarks in
// your output.
type PartnerWatermarking struct {

	// For forensic video watermarking, MediaConvert supports Nagra NexGuard File
	// Marker watermarking. MediaConvert supports both PreRelease Content (NGPR/G2) and
	// OTT Streaming workflows.
	NexguardFileMarkerSettings *NexGuardFileMarkerSettings

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// A policy configures behavior that you allow or disallow for your account. For
// information about MediaConvert policies, see the user guide at
// http://docs.aws.amazon.com/mediaconvert/latest/ug/what-is.html
type Policy struct {

	// Allow or disallow jobs that specify HTTP inputs.
	HttpInputs InputPolicy

	// Allow or disallow jobs that specify HTTPS inputs.
	HttpsInputs InputPolicy

	// Allow or disallow jobs that specify Amazon S3 inputs.
	S3Inputs InputPolicy

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// A preset is a collection of preconfigured media conversion settings that you
// want MediaConvert to apply to the output during the conversion process.
type Preset struct {

	// A name you create for each preset. Each name must be unique within your account.
	//
	// This member is required.
	Name *string

	// Settings for preset
	//
	// This member is required.
	Settings *PresetSettings

	// An identifier for this resource that is unique within all of AWS.
	Arn *string

	// An optional category you create to organize your presets.
	Category *string

	// The timestamp in epoch seconds for preset creation.
	CreatedAt *time.Time

	// An optional description you create for each preset.
	Description *string

	// The timestamp in epoch seconds when the preset was last updated.
	LastUpdated *time.Time

	// A preset can be of two types: system or custom. System or built-in preset can't
	// be modified or deleted by the user.
	Type Type

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// Settings for preset
type PresetSettings struct {

	// Contains groups of audio encoding settings organized by audio codec. Include
	// one instance of per output. Can contain multiple groups of encoding settings.
	AudioDescriptions []AudioDescription

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

	// Container specific settings.
	ContainerSettings *ContainerSettings

	// VideoDescription contains a group of video encoding settings. The specific
	// video settings depend on the video codec that you choose for the property codec.
	// Include one instance of VideoDescription per output.
	VideoDescription *VideoDescription

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// Required when you set Codec to the value PRORES.
type ProresSettings struct {

	// This setting applies only to ProRes 4444 and ProRes 4444 XQ outputs that you
	// create from inputs that use 4:4:4 chroma sampling. Set Preserve 4:4:4 sampling
	// to allow outputs to also use 4:4:4 chroma sampling. You must specify a value for
	// this setting when your output codec profile supports 4:4:4 chroma sampling.
	// Related Settings: For Apple ProRes outputs with 4:4:4 chroma sampling: Choose
	// Preserve 4:4:4 sampling. Use when your input has 4:4:4 chroma sampling and your
	// output codec Profile is Apple ProRes 4444 or 4444 XQ. Note that when you choose
	// Preserve 4:4:4 sampling, you cannot include any of the following Preprocessors:
	// Dolby Vision, HDR10+, or Noise reducer.
	ChromaSampling ProresChromaSampling

	// Use Profile to specify the type of Apple ProRes codec to use for this output.
	CodecProfile ProresCodecProfile

	// 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.
	FramerateControl ProresFramerateControl

	// Choose the method that you want MediaConvert to use when increasing or
	// decreasing the 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.
	FramerateConversionAlgorithm ProresFramerateConversionAlgorithm

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateDenominator to specify the denominator of this fraction. In this
	// example, use 1001 for the value of FramerateDenominator. When you use the
	// console for transcode jobs that use frame rate conversion, provide the value as
	// a decimal number for Framerate. In this example, specify 23.976.
	FramerateDenominator *int32

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateNumerator to specify the numerator of this fraction. In this example,
	// use 24000 for the value of FramerateNumerator. When you use the console for
	// transcode jobs that use frame rate conversion, provide the value as a decimal
	// number for Framerate. In this example, specify 23.976.
	FramerateNumerator *int32

	// 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.
	InterlaceMode ProresInterlaceMode

	// Optional. Specify how the service determines the pixel aspect ratio (PAR) for
	// this output. The default behavior, Follow source, uses the PAR from your input
	// video for your output. To specify a different PAR, choose any value other than
	// Follow source. When you choose SPECIFIED for this setting, you must also specify
	// values for the parNumerator and parDenominator settings.
	ParControl ProresParControl

	// Required when you set Pixel aspect ratio to SPECIFIED. On the console, this
	// corresponds to any value other than Follow source. When you specify an output
	// pixel aspect ratio (PAR) that is different from your input video PAR, provide
	// your output PAR as a ratio. For example, for D1/DV NTSC widescreen, you would
	// specify the ratio 40:33. In this example, the value for parDenominator is 33.
	ParDenominator *int32

	// Required when you set Pixel aspect ratio to SPECIFIED. On the console, this
	// corresponds to any value other than Follow source. When you specify an output
	// pixel aspect ratio (PAR) that is different from your input video PAR, provide
	// your output PAR as a ratio. For example, for D1/DV NTSC widescreen, you would
	// specify the ratio 40:33. In this example, the value for parNumerator is 40.
	ParNumerator *int32

	// 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.
	ScanTypeConversionMode ProresScanTypeConversionMode

	// 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.
	SlowPal ProresSlowPal

	// 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.
	Telecine ProresTelecine

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// You can use queues to manage the resources that are available to your AWS
// account for running multiple transcoding jobs at the same time. If you don't
// specify a queue, the service sends all jobs through the default queue. For more
// information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/working-with-queues.html.
type Queue struct {

	// A name that you create for each queue. Each name must be unique within your
	// account.
	//
	// This member is required.
	Name *string

	// An identifier for this resource that is unique within all of AWS.
	Arn *string

	// The timestamp in epoch seconds for when you created the queue.
	CreatedAt *time.Time

	// An optional description that you create for each queue.
	Description *string

	// The timestamp in epoch seconds for when you most recently updated the queue.
	LastUpdated *time.Time

	// Specifies whether the pricing plan for the queue is on-demand or reserved. For
	// on-demand, you pay per minute, billed in increments of .01 minute. For reserved,
	// you pay for the transcoding capacity of the entire queue, regardless of how much
	// or how little you use it. Reserved pricing requires a 12-month commitment.
	PricingPlan PricingPlan

	// The estimated number of jobs with a PROGRESSING status.
	ProgressingJobsCount *int32

	// Details about the pricing plan for your reserved queue. Required for reserved
	// queues and not applicable to on-demand queues.
	ReservationPlan *ReservationPlan

	// Queues can be ACTIVE or PAUSED. If you pause a queue, the service won't begin
	// processing jobs in that queue. Jobs that are running when you pause the queue
	// continue to run until they finish or result in an error.
	Status QueueStatus

	// The estimated number of jobs with a SUBMITTED status.
	SubmittedJobsCount *int32

	// Specifies whether this on-demand queue is system or custom. System queues are
	// built in. You can't modify or delete system queues. You can create and modify
	// custom queues.
	Type Type

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// Description of the source and destination queues between which the job has
// moved, along with the timestamp of the move
type QueueTransition struct {

	// The queue that the job was on after the transition.
	DestinationQueue *string

	// The queue that the job was on before the transition.
	SourceQueue *string

	// The time, in Unix epoch format, that the job moved from the source queue to the
	// destination queue.
	Timestamp *time.Time

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// Use Rectangle to identify a specific area of the video frame.
type Rectangle struct {

	// Height of rectangle in pixels. Specify only even numbers.
	Height *int32

	// Width of rectangle in pixels. Specify only even numbers.
	Width *int32

	// The distance, in pixels, between the rectangle and the left edge of the video
	// frame. Specify only even numbers.
	X *int32

	// The distance, in pixels, between the rectangle and the top edge of the video
	// frame. Specify only even numbers.
	Y *int32

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// Use Manual audio remixing to adjust audio levels for each audio channel in each
// output of your job. With audio remixing, you can output more or fewer audio
// channels than your input audio source provides.
type RemixSettings struct {

	// 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.
	ChannelMapping *ChannelMapping

	// Specify the number of audio channels from your input that you want to use in
	// your output. With remixing, you might combine or split the data in these
	// channels, so the number of channels in your final output might be different. If
	// you are doing both input channel mapping and output channel mapping, the number
	// of output channels in your input mapping must be the same as the number of input
	// channels in your output mapping.
	ChannelsIn *int32

	// Specify the number of channels in this output after remixing. Valid values: 1,
	// 2, 4, 6, 8... 64. (1 and even numbers to 64.) If you are doing both input
	// channel mapping and output channel mapping, the number of output channels in
	// your input mapping must be the same as the number of input channels in your
	// output mapping.
	ChannelsOut *int32

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// Details about the pricing plan for your reserved queue. Required for reserved
// queues and not applicable to on-demand queues.
type ReservationPlan struct {

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

	// The timestamp in epoch seconds for when the current pricing plan term for this
	// reserved queue expires.
	ExpiresAt *time.Time

	// The timestamp in epoch seconds for when you set up the current pricing plan for
	// this reserved queue.
	PurchasedAt *time.Time

	// Specifies whether the term of your reserved queue pricing plan is automatically
	// extended (AUTO_RENEW) or expires (EXPIRE) at the end of the term.
	RenewalType RenewalType

	// Specifies the number of reserved transcode slots (RTS) for this queue. The
	// number of RTS determines how many jobs the queue can process in parallel; each
	// RTS can process one job at a time. When you increase this number, you extend
	// your existing commitment with a new 12-month commitment for a larger number of
	// RTS. The new commitment begins when you purchase the additional capacity. You
	// can't decrease the number of RTS in your reserved queue.
	ReservedSlots *int32

	// Specifies whether the pricing plan for your reserved queue is ACTIVE or EXPIRED.
	Status ReservationPlanStatus

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// Details about the pricing plan for your reserved queue. Required for reserved
// queues and not applicable to on-demand queues.
type ReservationPlanSettings struct {

	// The length of the term of your reserved queue pricing plan commitment.
	//
	// This member is required.
	Commitment Commitment

	// Specifies whether the term of your reserved queue pricing plan is automatically
	// extended (AUTO_RENEW) or expires (EXPIRE) at the end of the term. When your term
	// is auto renewed, you extend your commitment by 12 months from the auto renew
	// date. You can cancel this commitment.
	//
	// This member is required.
	RenewalType RenewalType

	// Specifies the number of reserved transcode slots (RTS) for this queue. The
	// number of RTS determines how many jobs the queue can process in parallel; each
	// RTS can process one job at a time. You can't decrease the number of RTS in your
	// reserved queue. You can increase the number of RTS by extending your existing
	// commitment with a new 12-month commitment for the larger number. The new
	// commitment begins when you purchase the additional capacity. You can't cancel
	// your commitment or revert to your original commitment after you increase the
	// capacity.
	//
	// This member is required.
	ReservedSlots *int32

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// The Amazon Resource Name (ARN) and tags for an AWS Elemental MediaConvert
// resource.
type ResourceTags struct {

	// The Amazon Resource Name (ARN) of the resource.
	Arn *string

	// The tags for the resource.
	Tags map[string]string

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// Optional. Have MediaConvert automatically apply Amazon S3 access control for
// the outputs in this output group. When you don't use this setting, S3
// automatically applies the default access control list PRIVATE.
type S3DestinationAccessControl struct {

	// Choose an Amazon S3 canned ACL for MediaConvert to apply to this output.
	CannedAcl S3ObjectCannedAcl

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// Settings associated with S3 destination
type S3DestinationSettings struct {

	// Optional. Have MediaConvert automatically apply Amazon S3 access control for
	// the outputs in this output group. When you don't use this setting, S3
	// automatically applies the default access control list PRIVATE.
	AccessControl *S3DestinationAccessControl

	// Settings for how your job outputs are encrypted as they are uploaded to Amazon
	// S3.
	Encryption *S3EncryptionSettings

	// Specify the S3 storage class to use for this output. To use your destination's
	// default storage class: Keep the default value, Not set. For more information
	// about S3 storage classes, see
	// https://docs.aws.amazon.com/AmazonS3/latest/userguide/storage-class-intro.html
	StorageClass S3StorageClass

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// Settings for how your job outputs are encrypted as they are uploaded to Amazon
// S3.
type S3EncryptionSettings struct {

	// Specify how you want your data keys managed. AWS uses data keys to encrypt your
	// content. AWS also encrypts the data keys themselves, using a customer master key
	// (CMK), and then stores the encrypted data keys alongside your encrypted content.
	// Use this setting to specify which AWS service manages the CMK. For simplest set
	// up, choose Amazon S3. If you want your master key to be managed by AWS Key
	// Management Service (KMS), choose AWS KMS. By default, when you choose AWS KMS,
	// KMS uses the AWS managed customer master key (CMK) associated with Amazon S3 to
	// encrypt your data keys. You can optionally choose to specify a different,
	// customer managed CMK. Do so by specifying the Amazon Resource Name (ARN) of the
	// key for the setting KMS ARN.
	EncryptionType S3ServerSideEncryptionType

	// Optionally, specify the encryption context that you want to use alongside your
	// KMS key. AWS KMS uses this encryption context as additional authenticated data
	// (AAD) to support authenticated encryption. This value must be a base64-encoded
	// UTF-8 string holding JSON which represents a string-string map. To use this
	// setting, you must also set Server-side encryption to AWS KMS. For more
	// information about encryption context, see:
	// https://docs.aws.amazon.com/kms/latest/developerguide/concepts.html#encrypt_context.
	KmsEncryptionContext *string

	// Optionally, specify the customer master key (CMK) that you want to use to
	// encrypt the data key that AWS uses to encrypt your output content. Enter the
	// Amazon Resource Name (ARN) of the CMK. To use this setting, you must also set
	// Server-side encryption to AWS KMS. If you set Server-side encryption to AWS KMS
	// but don't specify a CMK here, AWS uses the AWS managed CMK associated with
	// Amazon S3.
	KmsKeyArn *string

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// Settings related to SCC captions. SCC is a sidecar format that holds captions
// in a file that is separate from the video container. Set up sidecar captions in
// the same output group, but different output from your video. For more
// information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/scc-srt-output-captions.html.
type SccDestinationSettings struct {

	// Set Framerate to make sure that the captions and the video are synchronized in
	// the output. Specify a frame rate that matches the frame rate of the associated
	// video. If the video frame rate is 29.97, choose 29.97 dropframe only if the
	// video has video_insertion=true and drop_frame_timecode=true; otherwise, choose
	// 29.97 non-dropframe.
	Framerate SccDestinationFramerate

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// If your output group type is HLS, DASH, or Microsoft Smooth, use these settings
// when doing DRM encryption with a SPEKE-compliant key provider. If your output
// group type is CMAF, use the SpekeKeyProviderCmaf settings instead.
type SpekeKeyProvider struct {

	// If you want your key provider to encrypt the content keys that it provides to
	// MediaConvert, set up a certificate with a master key using AWS Certificate
	// Manager. Specify the certificate's Amazon Resource Name (ARN) here.
	CertificateArn *string

	// Specify the resource ID that your SPEKE-compliant key provider uses to identify
	// this content.
	ResourceId *string

	// Relates to SPEKE implementation. DRM system identifiers. DASH output groups
	// support a max of two system ids. Other group types support one system id. See
	// https://dashif.org/identifiers/content_protection/ for more details.
	SystemIds []string

	// Specify the URL to the key server that your SPEKE-compliant DRM key provider
	// uses to provide keys for encrypting your content.
	Url *string

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// If your output group type is CMAF, use these settings when doing DRM encryption
// with a SPEKE-compliant key provider. If your output group type is HLS, DASH, or
// Microsoft Smooth, use the SpekeKeyProvider settings instead.
type SpekeKeyProviderCmaf struct {

	// If you want your key provider to encrypt the content keys that it provides to
	// MediaConvert, set up a certificate with a master key using AWS Certificate
	// Manager. Specify the certificate's Amazon Resource Name (ARN) here.
	CertificateArn *string

	// Specify the DRM system IDs that you want signaled in the DASH manifest that
	// MediaConvert creates as part of this CMAF package. The DASH manifest can
	// currently signal up to three system IDs. For more information, see
	// https://dashif.org/identifiers/content_protection/.
	DashSignaledSystemIds []string

	// Specify the DRM system ID that you want signaled in the HLS manifest that
	// MediaConvert creates as part of this CMAF package. The HLS manifest can
	// currently signal only one system ID. For more information, see
	// https://dashif.org/identifiers/content_protection/.
	HlsSignaledSystemIds []string

	// Specify the resource ID that your SPEKE-compliant key provider uses to identify
	// this content.
	ResourceId *string

	// Specify the URL to the key server that your SPEKE-compliant DRM key provider
	// uses to provide keys for encrypting your content.
	Url *string

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// Settings related to SRT captions. SRT is a sidecar format that holds captions
// in a file that is separate from the video container. Set up sidecar captions in
// the same output group, but different output from your video.
type SrtDestinationSettings struct {

	// Set Style passthrough to ENABLED to use the available style, color, and
	// position information from your input captions. MediaConvert uses default
	// settings for any missing style and position information in your input captions.
	// Set Style passthrough to DISABLED, or leave blank, to ignore the style and
	// position information from your input captions and use simplified output
	// captions.
	StylePassthrough SrtStylePassthrough

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// Use these settings to set up encryption with a static key provider.
type StaticKeyProvider struct {

	// Relates to DRM implementation. Sets the value of the KEYFORMAT attribute. Must
	// be 'identity' or a reverse DNS string. May be omitted to indicate an implicit
	// value of 'identity'.
	KeyFormat *string

	// Relates to DRM implementation. Either a single positive integer version value
	// or a slash delimited list of version values (1/2/3).
	KeyFormatVersions *string

	// Relates to DRM implementation. Use a 32-character hexidecimal string to specify
	// Key Value.
	StaticKeyValue *string

	// Relates to DRM implementation. The location of the license server used for
	// protecting content.
	Url *string

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// Settings related to teletext captions. Set up teletext captions in the same
// output as your video. For more information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/teletext-output-captions.html.
type TeletextDestinationSettings struct {

	// Set pageNumber to the Teletext page number for the destination captions for
	// this output. This value must be a three-digit hexadecimal string; strings ending
	// in -FF are invalid. If you are passing through the entire set of Teletext data,
	// do not use this field.
	PageNumber *string

	// Specify the page types for this Teletext page. If you don't specify a value
	// here, the service sets the page type to the default value Subtitle. If you pass
	// through the entire set of Teletext data, don't use this field. When you pass
	// through a set of Teletext pages, your output has the same page types as your
	// input.
	PageTypes []TeletextPageType

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// Settings specific to Teletext caption sources, including Page number.
type TeletextSourceSettings struct {

	// Use Page Number to specify the three-digit hexadecimal page number that will be
	// used for Teletext captions. Do not use this setting if you are passing through
	// teletext from the input source to output.
	PageNumber *string

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// Settings for burning the output timecode and specified prefix into the output.
type TimecodeBurnin struct {

	// Use Font size to set the font size of any burned-in timecode. Valid values are
	// 10, 16, 32, 48.
	FontSize *int32

	// Use Position under Timecode burn-in to specify the location the burned-in
	// timecode on output video.
	Position TimecodeBurninPosition

	// Use Prefix to place ASCII characters before any burned-in timecode. For
	// example, a prefix of "EZ-" will result in the timecode "EZ-00:00:00:00". Provide
	// either the characters themselves or the ASCII code equivalents. The supported
	// range of characters is 0x20 through 0x7e. This includes letters, numbers, and
	// all special characters represented on a standard English keyboard.
	Prefix *string

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// These settings control how the service handles timecodes throughout the job.
// These settings don't affect input clipping.
type TimecodeConfig struct {

	// If you use an editing platform that relies on an anchor timecode, use Anchor
	// Timecode to specify a timecode that will match the input video frame to the
	// output video frame. Use 24-hour format with frame number, (HH:MM:SS:FF) or
	// (HH:MM:SS;FF). This setting ignores frame rate conversion. System behavior for
	// Anchor Timecode varies depending on your setting for Source. * If Source is set
	// to Specified Start, the first input frame is the specified value in Start
	// Timecode. Anchor Timecode and Start Timecode are used calculate output timecode.
	// * If Source is set to Start at 0 the first frame is 00:00:00:00. * If Source is
	// set to Embedded, the first frame is the timecode value on the first input frame
	// of the input.
	Anchor *string

	// Use Source to set how timecodes are handled within this job. To make sure that
	// your video, audio, captions, and markers are synchronized and that time-based
	// features, such as image inserter, work correctly, choose the Timecode source
	// option that matches your assets. All timecodes are in a 24-hour format with
	// frame number (HH:MM:SS:FF). * Embedded - Use the timecode that is in the input
	// video. If no embedded timecode is in the source, the service will use Start at 0
	// instead. * Start at 0 - Set the timecode of the initial frame to 00:00:00:00. *
	// Specified Start - Set the timecode of the initial frame to a value other than
	// zero. You use Start timecode to provide this value.
	Source TimecodeSource

	// Only use when you set Source to Specified start. Use Start timecode to specify
	// the timecode for the initial frame. Use 24-hour format with frame number,
	// (HH:MM:SS:FF) or (HH:MM:SS;FF).
	Start *string

	// Only applies to outputs that support program-date-time stamp. Use Timestamp
	// offset to overwrite the timecode date without affecting the time and frame
	// number. Provide the new date as a string in the format "yyyy-mm-dd". To use
	// Timestamp offset, you must also enable Insert program-date-time in the output
	// settings. For example, if the date part of your timecodes is 2002-1-25 and you
	// want to change it to one year later, set Timestamp offset to 2003-1-25.
	TimestampOffset *string

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// Insert user-defined custom ID3 metadata at timecodes that you specify. In each
// output that you want to include this metadata, you must set ID3 metadata to
// Passthrough.
type TimedMetadataInsertion struct {

	// Id3Insertions contains the array of Id3Insertion instances.
	Id3Insertions []Id3Insertion

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// Information about when jobs are submitted, started, and finished is specified
// in Unix epoch format in seconds.
type Timing struct {

	// The time, in Unix epoch format, that the transcoding job finished
	FinishTime *time.Time

	// The time, in Unix epoch format, that transcoding for the job began.
	StartTime *time.Time

	// The time, in Unix epoch format, that you submitted the job.
	SubmitTime *time.Time

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// Settings specific to caption sources that are specified by track number.
// Currently, this is only IMSC captions in an IMF package. If your caption source
// is IMSC 1.1 in a separate xml file, use FileSourceSettings instead of
// TrackSourceSettings.
type TrackSourceSettings struct {

	// Use this setting to select a single captions track from a source. Track numbers
	// correspond to the order in the captions source file. For IMF sources, track
	// numbering is based on the order that the captions appear in the CPL. For
	// example, use 1 to select the captions asset that is listed first in the CPL. To
	// include more than one captions track in your job outputs, create multiple input
	// captions selectors. Specify one track per selector.
	TrackNumber *int32

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// Settings related to TTML captions. TTML is a sidecar format that holds captions
// in a file that is separate from the video container. Set up sidecar captions in
// the same output group, but different output from your video. For more
// information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/ttml-and-webvtt-output-captions.html.
type TtmlDestinationSettings struct {

	// Pass through style and position information from a TTML-like input source
	// (TTML, IMSC, SMPTE-TT) to the TTML output.
	StylePassthrough TtmlStylePassthrough

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}

// Required when you set Codec, under VideoDescription>CodecSettings to the value
// UNCOMPRESSED.
type UncompressedSettings struct {

	// The four character code for the uncompressed video.
	Fourcc UncompressedFourcc

	// 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.
	FramerateControl UncompressedFramerateControl

	// Choose the method that you want MediaConvert to use when increasing or
	// decreasing the 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.
	FramerateConversionAlgorithm UncompressedFramerateConversionAlgorithm

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateDenominator to specify the denominator of this fraction. In this
	// example, use 1001 for the value of FramerateDenominator. When you use the
	// console for transcode jobs that use frame rate conversion, provide the value as
	// a decimal number for Framerate. In this example, specify 23.976.
	FramerateDenominator *int32

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateNumerator to specify the numerator of this fraction. In this example,
	// use 24000 for the value of FramerateNumerator. When you use the console for
	// transcode jobs that use frame rate conversion, provide the value as a decimal
	// number for Framerate. In this example, specify 23.976.
	FramerateNumerator *int32

	// Optional. Choose the scan line type for this output. If you don't specify a
	// value, MediaConvert will create a progressive output.
	InterlaceMode UncompressedInterlaceMode

	// 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.
	ScanTypeConversionMode UncompressedScanTypeConversionMode

	// 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 by relabeling the video
	// frames and resampling your audio. Note that enabling this setting will slightly
	// reduce the duration of your video. Related settings: You must also set Framerate
	// to 25.
	SlowPal UncompressedSlowPal

	// 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.
	Telecine UncompressedTelecine

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// Required when you set Codec to the value VC3
type Vc3Settings struct {

	// 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.
	FramerateControl Vc3FramerateControl

	// Choose the method that you want MediaConvert to use when increasing or
	// decreasing the 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.
	FramerateConversionAlgorithm Vc3FramerateConversionAlgorithm

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateDenominator to specify the denominator of this fraction. In this
	// example, use 1001 for the value of FramerateDenominator. When you use the
	// console for transcode jobs that use frame rate conversion, provide the value as
	// a decimal number for Framerate. In this example, specify 23.976.
	FramerateDenominator *int32

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateNumerator to specify the numerator of this fraction. In this example,
	// use 24000 for the value of FramerateNumerator. When you use the console for
	// transcode jobs that use frame rate conversion, provide the value as a decimal
	// number for Framerate. In this example, specify 23.976.
	FramerateNumerator *int32

	// Optional. Choose the scan line type for this output. If you don't specify a
	// value, MediaConvert will create a progressive output.
	InterlaceMode Vc3InterlaceMode

	// 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.
	ScanTypeConversionMode Vc3ScanTypeConversionMode

	// 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 by relabeling the video
	// frames and resampling your audio. Note that enabling this setting will slightly
	// reduce the duration of your video. Related settings: You must also set Framerate
	// to 25.
	SlowPal Vc3SlowPal

	// 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.
	Telecine Vc3Telecine

	// Specify the VC3 class to choose the quality characteristics for this output.
	// VC3 class, together with the settings Framerate (framerateNumerator and
	// framerateDenominator) and Resolution (height and width), determine your output
	// bitrate. For example, say that your video resolution is 1920x1080 and your
	// framerate is 29.97. Then Class 145 gives you an output with a bitrate of
	// approximately 145 Mbps and Class 220 gives you and output with a bitrate of
	// approximately 220 Mbps. VC3 class also specifies the color bit depth of your
	// output.
	Vc3Class Vc3Class

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// Video codec settings contains the group of settings related to video encoding.
// The settings in this group vary depending on the value that you choose for Video
// codec. For each codec enum that you choose, define the corresponding settings
// object. The following lists the codec enum, settings object pairs. * AV1,
// Av1Settings * AVC_INTRA, AvcIntraSettings * FRAME_CAPTURE, FrameCaptureSettings
// * H_264, H264Settings * H_265, H265Settings * MPEG2, Mpeg2Settings * PRORES,
// ProresSettings * UNCOMPRESSED, UncompressedSettings * VC3, Vc3Settings * VP8,
// Vp8Settings * VP9, Vp9Settings * XAVC, XavcSettings
type VideoCodecSettings struct {

	// Required when you set Codec, under VideoDescription>CodecSettings to the value
	// AV1.
	Av1Settings *Av1Settings

	// 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.
	AvcIntraSettings *AvcIntraSettings

	// Specifies the video codec. This must be equal to one of the enum values defined
	// by the object VideoCodec. To passthrough the video stream of your input
	// JPEG2000, VC-3, AVC-INTRA or Apple ProRes video without any video encoding:
	// Choose Passthrough. If you have multiple input videos, note that they must have
	// identical encoding attributes. When you choose Passthrough, your output
	// container must be MXF or QuickTime MOV.
	Codec VideoCodec

	// Required when you set Codec to the value FRAME_CAPTURE.
	FrameCaptureSettings *FrameCaptureSettings

	// Required when you set Codec to the value H_264.
	H264Settings *H264Settings

	// Settings for H265 codec
	H265Settings *H265Settings

	// Required when you set Codec to the value MPEG2.
	Mpeg2Settings *Mpeg2Settings

	// Required when you set Codec to the value PRORES.
	ProresSettings *ProresSettings

	// Required when you set Codec, under VideoDescription>CodecSettings to the value
	// UNCOMPRESSED.
	UncompressedSettings *UncompressedSettings

	// Required when you set Codec to the value VC3
	Vc3Settings *Vc3Settings

	// Required when you set Codec to the value VP8.
	Vp8Settings *Vp8Settings

	// Required when you set Codec to the value VP9.
	Vp9Settings *Vp9Settings

	// Required when you set Codec to the value XAVC.
	XavcSettings *XavcSettings

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// Settings related to video encoding of your output. The specific video settings
// depend on the video codec that you choose.
type VideoDescription struct {

	// 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.
	AfdSignaling AfdSignaling

	// 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.
	AntiAlias AntiAlias

	// Video codec settings contains the group of settings related to video encoding.
	// The settings in this group vary depending on the value that you choose for Video
	// codec. For each codec enum that you choose, define the corresponding settings
	// object. The following lists the codec enum, settings object pairs. * AV1,
	// Av1Settings * AVC_INTRA, AvcIntraSettings * FRAME_CAPTURE, FrameCaptureSettings
	// * H_264, H264Settings * H_265, H265Settings * MPEG2, Mpeg2Settings * PRORES,
	// ProresSettings * UNCOMPRESSED, UncompressedSettings * VC3, Vc3Settings * VP8,
	// Vp8Settings * VP9, Vp9Settings * XAVC, XavcSettings
	CodecSettings *VideoCodecSettings

	// 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.
	ColorMetadata ColorMetadata

	// Use Cropping selection to specify the video area that the service will include
	// in the output video frame.
	Crop *Rectangle

	// 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 is enabled.
	DropFrameTimecode DropFrameTimecode

	// Applies only if you set AFD Signaling to Fixed. Use Fixed to specify a four-bit
	// AFD value which the service will write on all frames of this video output.
	FixedAfd *int32

	// Use Height to define the video resolution height, in pixels, for this output.
	// To use the same resolution as your input: Leave both Width and Height blank. To
	// evenly scale from your input resolution: Leave Height blank and enter a value
	// for Width. For example, if your input is 1920x1080 and you set Width to 1280,
	// your output will be 1280x720.
	Height *int32

	// Use Selection placement to define the video area in your output frame. The area
	// outside of the rectangle that you specify here is black.
	Position *Rectangle

	// Use Respond to AFD to specify how the service changes the video itself in
	// response to AFD values in the input. * Choose Respond to clip the input video
	// frame according to the AFD value, input display aspect ratio, and output display
	// aspect ratio. * Choose Passthrough to include the input AFD values. Do not
	// choose this when AfdSignaling is set to NONE. A preferred implementation of this
	// workflow is to set RespondToAfd to and set AfdSignaling to AUTO. * Choose None
	// to remove all input AFD values from this output.
	RespondToAfd RespondToAfd

	// Specify the video Scaling behavior when your output has a different resolution
	// than your input. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/video-scaling.html
	ScalingBehavior ScalingBehavior

	// Use Sharpness setting to specify the strength of anti-aliasing. This setting
	// changes the width of the anti-alias filter kernel used for scaling. Sharpness
	// only applies if your output resolution is different from your input resolution.
	// 0 is the softest setting, 100 the sharpest, and 50 recommended for most content.
	Sharpness *int32

	// Applies only to H.264, H.265, MPEG2, and ProRes outputs. Only enable Timecode
	// insertion when the input frame rate is identical to the output frame rate. To
	// include timecodes in this output, set Timecode insertion to PIC_TIMING_SEI. To
	// leave them out, set it to DISABLED. Default is DISABLED. When the service
	// inserts timecodes in an output, by default, it uses any embedded timecodes from
	// the input. If none are present, the service will set the timecode for the first
	// output frame to zero. To change this default behavior, adjust the settings under
	// Timecode configuration. In the console, these settings are located under Job >
	// Job settings > Timecode configuration. Note - Timecode source under input
	// settings does not affect the timecodes that are inserted in the output. Source
	// under Job settings > Timecode configuration does.
	TimecodeInsertion VideoTimecodeInsertion

	// Find additional transcoding features under Preprocessors. Enable the features
	// at each output individually. These features are disabled by default.
	VideoPreprocessors *VideoPreprocessor

	// Use Width to define the video resolution width, in pixels, for this output. To
	// use the same resolution as your input: Leave both Width and Height blank. To
	// evenly scale from your input resolution: Leave Width blank and enter a value for
	// Height. For example, if your input is 1920x1080 and you set Height to 720, your
	// output will be 1280x720.
	Width *int32

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// Contains details about the output's video stream
type VideoDetail struct {

	// Height in pixels for the output
	HeightInPx *int32

	// Width in pixels for the output
	WidthInPx *int32

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// Overlay one or more videos on top of your input video. For more information,
// see https://docs.aws.amazon.com/mediaconvert/latest/ug/video-overlays.html
type VideoOverlay struct {

	// Enter the end timecode in the underlying input video for this overlay. Your
	// overlay will be active through this frame. To display your video overlay for the
	// duration of the underlying video: Leave blank. Use the format HH:MM:SS:FF or
	// HH:MM:SS;FF, where HH is the hour, MM is the minute, SS is the second, and FF is
	// the frame number. When entering this value, take into account your choice for
	// the underlying Input timecode source. For example, if you have embedded
	// timecodes that start at 01:00:00:00 and you want your overlay to end ten minutes
	// into the video, enter 01:10:00:00.
	EndTimecode *string

	// Input settings for Video overlay. You can include one or more video overlays in
	// sequence at different times that you specify.
	Input *VideoOverlayInput

	// Enter the start timecode in the underlying input video for this overlay. Your
	// overlay will be active starting with this frame. To display your video overlay
	// starting at the beginning of the underlying video: Leave blank. Use the format
	// HH:MM:SS:FF or HH:MM:SS;FF, where HH is the hour, MM is the minute, SS is the
	// second, and FF is the frame number. When entering this value, take into account
	// your choice for the underlying Input timecode source. For example, if you have
	// embedded timecodes that start at 01:00:00:00 and you want your overlay to begin
	// five minutes into the video, enter 01:05:00:00.
	StartTimecode *string

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// Input settings for Video overlay. You can include one or more video overlays in
// sequence at different times that you specify.
type VideoOverlayInput struct {

	// Specify the input file S3, HTTP, or HTTPS URI for your video overlay. For
	// consistency in color and formatting in your output video image, we recommend
	// that you specify a video with similar characteristics as the underlying input
	// video.
	FileInput *string

	// Specify one or more clips to use from your video overlay. When you include an
	// input clip, you must also specify its start timecode, end timecode, or both
	// start and end timecode.
	InputClippings []VideoOverlayInputClipping

	// Specify the timecode source for your video overlay input clips. To use the
	// timecode present in your video overlay: Choose Embedded. To use a zerobased
	// timecode: Choose Start at 0. To choose a timecode: Choose Specified start. When
	// you do, enter the starting timecode in Start timecode. If you don't specify a
	// value for Timecode source, MediaConvert uses Embedded by default.
	TimecodeSource InputTimecodeSource

	// Specify the starting timecode for this video overlay. To use this setting, you
	// must set Timecode source to Specified start.
	TimecodeStart *string

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// To transcode only portions of your video overlay, include one input clip for
// each part of your video overlay that you want in your output.
type VideoOverlayInputClipping struct {

	// Specify the timecode of the last frame to include in your video overlay's clip.
	// Use the format HH:MM:SS:FF or HH:MM:SS;FF, where HH is the hour, MM is the
	// minute, SS is the second, and FF is the frame number. When entering this value,
	// take into account your choice for Timecode source.
	EndTimecode *string

	// Specify the timecode of the first frame to include in your video overlay's
	// clip. Use the format HH:MM:SS:FF or HH:MM:SS;FF, where HH is the hour, MM is the
	// minute, SS is the second, and FF is the frame number. When entering this value,
	// take into account your choice for Timecode source.
	StartTimecode *string

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// Find additional transcoding features under Preprocessors. Enable the features
// at each output individually. These features are disabled by default.
type VideoPreprocessor struct {

	// Use these settings to convert the color space or to modify properties such as
	// hue and contrast for this output. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/converting-the-color-space.html.
	ColorCorrector *ColorCorrector

	// Use the deinterlacer to produce smoother motion and a clearer picture. For more
	// information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/working-with-scan-type.html.
	Deinterlacer *Deinterlacer

	// Enable Dolby Vision feature to produce Dolby Vision compatible video output.
	DolbyVision *DolbyVision

	// Enable HDR10+ analysis and metadata injection. Compatible with HEVC only.
	Hdr10Plus *Hdr10Plus

	// Enable the Image inserter feature to include a graphic overlay on your video.
	// Enable or disable this feature for each output individually. This setting is
	// disabled by default.
	ImageInserter *ImageInserter

	// Enable the Noise reducer feature to remove noise from your video output if
	// necessary. Enable or disable this feature for each output individually. This
	// setting is disabled by default. When you enable Noise reducer, you must also
	// select a value for Noise reducer filter. For AVC outputs, when you include Noise
	// reducer, you cannot include the Bandwidth reduction filter.
	NoiseReducer *NoiseReducer

	// If you work with a third party video watermarking partner, use the group of
	// settings that correspond with your watermarking partner to include watermarks in
	// your output.
	PartnerWatermarking *PartnerWatermarking

	// Settings for burning the output timecode and specified prefix into the output.
	TimecodeBurnin *TimecodeBurnin

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// Input video selectors contain the video settings for the input. Each of your
// inputs can have up to one video selector.
type VideoSelector struct {

	// 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.
	AlphaBehavior AlphaBehavior

	// 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
	ColorSpace ColorSpace

	// 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.
	ColorSpaceUsage ColorSpaceUsage

	// 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.
	EmbeddedTimecodeOverride EmbeddedTimecodeOverride

	// Use these settings to provide HDR 10 metadata that is missing or inaccurate in
	// your input video. Appropriate values vary depending on the input video and must
	// be provided by a color grader. The color grader generates these values during
	// the HDR 10 mastering process. The valid range for each of these settings is 0 to
	// 50,000. Each increment represents 0.00002 in CIE1931 color coordinate. Related
	// settings - When you specify these values, you must also set Color space to HDR
	// 10. To specify whether the the values you specify here take precedence over the
	// values in the metadata of your input file, set Color space usage. To specify
	// whether color metadata is included in an output, set Color metadata. For more
	// information about MediaConvert HDR jobs, see
	// https://docs.aws.amazon.com/console/mediaconvert/hdr.
	Hdr10Metadata *Hdr10Metadata

	// Specify the maximum mastering display luminance. Enter an integer from 0 to
	// 2147483647, in units of 0.0001 nits. For example, enter 10000000 for 1000 nits.
	MaxLuminance *int32

	// Use this setting if your input has video and audio durations that don't align,
	// and your output or player has strict alignment requirements. Examples: Input
	// audio track has a delayed start. Input video track ends before audio ends. When
	// you set Pad video to Black, MediaConvert generates black video frames so that
	// output video and audio durations match. Black video frames are added at the
	// beginning or end, depending on your input. To keep the default behavior and not
	// generate black video, set Pad video to Disabled or leave blank.
	PadVideo PadVideo

	// Use PID to select specific video data from an input file. Specify this value as
	// an integer; the system automatically converts it to the hexidecimal value. For
	// example, 257 selects PID 0x101. A PID, or packet identifier, is an identifier
	// for a set of data in an MPEG-2 transport stream container.
	Pid *int32

	// Selects a specific program from within a multi-program transport stream. Note
	// that Quad 4K is not currently supported.
	ProgramNumber *int32

	// Use Rotate to specify how the service rotates your video. You can choose
	// automatic rotation or specify a rotation. You can specify a clockwise rotation
	// of 0, 90, 180, or 270 degrees. If your input video container is .mov or .mp4 and
	// your input has rotation metadata, you can choose Automatic to have the service
	// rotate your video according to the rotation specified in the metadata. The
	// rotation must be within one degree of 90, 180, or 270 degrees. If the rotation
	// metadata specifies any other rotation, the service will default to no rotation.
	// By default, the service does no rotation, even if your input video has rotation
	// metadata. The service doesn't pass through rotation metadata.
	Rotate InputRotate

	// If the sample range metadata in your input video is accurate, or if you don't
	// know about sample range, keep the default value, Follow, for this setting. When
	// you do, the service automatically detects your input sample range. If your input
	// video has metadata indicating the wrong sample range, specify the accurate
	// sample range here. When you do, MediaConvert ignores any sample range
	// information in the input metadata. Regardless of whether MediaConvert uses the
	// input sample range or the sample range that you specify, MediaConvert uses the
	// sample range for transcoding and also writes it to the output metadata.
	SampleRange InputSampleRange

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// Required when you set Codec, under AudioDescriptions>CodecSettings, to the
// value Vorbis.
type VorbisSettings struct {

	// Optional. Specify the number of channels in this output audio track. Choosing
	// Mono on the console gives you 1 output channel; choosing Stereo gives you 2. In
	// the API, valid values are 1 and 2. The default value is 2.
	Channels *int32

	// Optional. Specify the audio sample rate in Hz. Valid values are 22050, 32000,
	// 44100, and 48000. The default value is 48000.
	SampleRate *int32

	// Optional. Specify the variable audio quality of this Vorbis output from -1
	// (lowest quality, ~45 kbit/s) to 10 (highest quality, ~500 kbit/s). The default
	// value is 4 (~128 kbit/s). Values 5 and 6 are approximately 160 and 192 kbit/s,
	// respectively.
	VbrQuality *int32

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}

// Required when you set Codec to the value VP8.
type Vp8Settings struct {

	// Target bitrate in bits/second. For example, enter five megabits per second as
	// 5000000.
	Bitrate *int32

	// 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.
	FramerateControl Vp8FramerateControl

	// Choose the method that you want MediaConvert to use when increasing or
	// decreasing the 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.
	FramerateConversionAlgorithm Vp8FramerateConversionAlgorithm

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateDenominator to specify the denominator of this fraction. In this
	// example, use 1001 for the value of FramerateDenominator. When you use the
	// console for transcode jobs that use frame rate conversion, provide the value as
	// a decimal number for Framerate. In this example, specify 23.976.
	FramerateDenominator *int32

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateNumerator to specify the numerator of this fraction. In this example,
	// use 24000 for the value of FramerateNumerator. When you use the console for
	// transcode jobs that use frame rate conversion, provide the value as a decimal
	// number for Framerate. In this example, specify 23.976.
	FramerateNumerator *int32

	// GOP Length (keyframe interval) in frames. Must be greater than zero.
	GopSize *float64

	// Optional. Size of buffer (HRD buffer model) in bits. For example, enter five
	// megabits as 5000000.
	HrdBufferSize *int32

	// Ignore this setting unless you set qualityTuningLevel to MULTI_PASS. Optional.
	// Specify the maximum bitrate in bits/second. For example, enter five megabits per
	// second as 5000000. The default behavior uses twice the target bitrate as the
	// maximum bitrate.
	MaxBitrate *int32

	// Optional. Specify how the service determines the pixel aspect ratio (PAR) for
	// this output. The default behavior, Follow source, uses the PAR from your input
	// video for your output. To specify a different PAR in the console, choose any
	// value other than Follow source. When you choose SPECIFIED for this setting, you
	// must also specify values for the parNumerator and parDenominator settings.
	ParControl Vp8ParControl

	// Required when you set Pixel aspect ratio to SPECIFIED. On the console, this
	// corresponds to any value other than Follow source. When you specify an output
	// pixel aspect ratio (PAR) that is different from your input video PAR, provide
	// your output PAR as a ratio. For example, for D1/DV NTSC widescreen, you would
	// specify the ratio 40:33. In this example, the value for parDenominator is 33.
	ParDenominator *int32

	// Required when you set Pixel aspect ratio to SPECIFIED. On the console, this
	// corresponds to any value other than Follow source. When you specify an output
	// pixel aspect ratio (PAR) that is different from your input video PAR, provide
	// your output PAR as a ratio. For example, for D1/DV NTSC widescreen, you would
	// specify the ratio 40:33. In this example, the value for parNumerator is 40.
	ParNumerator *int32

	// Optional. Use Quality tuning level to choose how you want to trade off encoding
	// speed for output video quality. The default behavior is faster, lower quality,
	// multi-pass encoding.
	QualityTuningLevel Vp8QualityTuningLevel

	// With the VP8 codec, you can use only the variable bitrate (VBR) rate control
	// mode.
	RateControlMode Vp8RateControlMode

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// Required when you set Codec to the value VP9.
type Vp9Settings struct {

	// Target bitrate in bits/second. For example, enter five megabits per second as
	// 5000000.
	Bitrate *int32

	// 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.
	FramerateControl Vp9FramerateControl

	// Choose the method that you want MediaConvert to use when increasing or
	// decreasing the 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.
	FramerateConversionAlgorithm Vp9FramerateConversionAlgorithm

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateDenominator to specify the denominator of this fraction. In this
	// example, use 1001 for the value of FramerateDenominator. When you use the
	// console for transcode jobs that use frame rate conversion, provide the value as
	// a decimal number for Framerate. In this example, specify 23.976.
	FramerateDenominator *int32

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateNumerator to specify the numerator of this fraction. In this example,
	// use 24000 for the value of FramerateNumerator. When you use the console for
	// transcode jobs that use frame rate conversion, provide the value as a decimal
	// number for Framerate. In this example, specify 23.976.
	FramerateNumerator *int32

	// GOP Length (keyframe interval) in frames. Must be greater than zero.
	GopSize *float64

	// Size of buffer (HRD buffer model) in bits. For example, enter five megabits as
	// 5000000.
	HrdBufferSize *int32

	// Ignore this setting unless you set qualityTuningLevel to MULTI_PASS. Optional.
	// Specify the maximum bitrate in bits/second. For example, enter five megabits per
	// second as 5000000. The default behavior uses twice the target bitrate as the
	// maximum bitrate.
	MaxBitrate *int32

	// Optional. Specify how the service determines the pixel aspect ratio for this
	// output. The default behavior is to use the same pixel aspect ratio as your input
	// video.
	ParControl Vp9ParControl

	// Required when you set Pixel aspect ratio to SPECIFIED. On the console, this
	// corresponds to any value other than Follow source. When you specify an output
	// pixel aspect ratio (PAR) that is different from your input video PAR, provide
	// your output PAR as a ratio. For example, for D1/DV NTSC widescreen, you would
	// specify the ratio 40:33. In this example, the value for parDenominator is 33.
	ParDenominator *int32

	// Required when you set Pixel aspect ratio to SPECIFIED. On the console, this
	// corresponds to any value other than Follow source. When you specify an output
	// pixel aspect ratio (PAR) that is different from your input video PAR, provide
	// your output PAR as a ratio. For example, for D1/DV NTSC widescreen, you would
	// specify the ratio 40:33. In this example, the value for parNumerator is 40.
	ParNumerator *int32

	// Optional. Use Quality tuning level to choose how you want to trade off encoding
	// speed for output video quality. The default behavior is faster, lower quality,
	// multi-pass encoding.
	QualityTuningLevel Vp9QualityTuningLevel

	// With the VP9 codec, you can use only the variable bitrate (VBR) rate control
	// mode.
	RateControlMode Vp9RateControlMode

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}

// Contains any warning codes and their count for the job.
type WarningGroup struct {

	// Warning code that identifies a specific warning in the job. For more
	// information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/warning_codes.html
	//
	// This member is required.
	Code *int32

	// The number of times this warning occurred in the job.
	//
	// This member is required.
	Count *int32

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}

// Required when you set Codec to the value WAV.
type WavSettings struct {

	// Specify Bit depth, in bits per sample, to choose the encoding quality for this
	// audio track.
	BitDepth *int32

	// Specify the number of channels in this output audio track. Valid values are 1
	// and even numbers up to 64. For example, 1, 2, 4, 6, and so on, up to 64.
	Channels *int32

	// The service defaults to using RIFF for WAV outputs. If your output audio is
	// likely to exceed 4 GB in file size, or if you otherwise need the extended
	// support of the RF64 format, set your output WAV file format to RF64.
	Format WavFormat

	// Sample rate in Hz.
	SampleRate *int32

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}

// Settings related to WebVTT captions. WebVTT is a sidecar format that holds
// captions in a file that is separate from the video container. Set up sidecar
// captions in the same output group, but different output from your video. For
// more information, see
// https://docs.aws.amazon.com/mediaconvert/latest/ug/ttml-and-webvtt-output-captions.html.
type WebvttDestinationSettings struct {

	// If the WebVTT captions track is intended to provide accessibility for people
	// who are deaf or hard of hearing: Set Accessibility subtitles to Enabled. When
	// you do, MediaConvert adds accessibility attributes to your output HLS or DASH
	// manifest. For HLS manifests, MediaConvert adds the following accessibility
	// attributes under EXT-X-MEDIA for this track:
	// CHARACTERISTICS="public.accessibility.describes-spoken-dialog,public.accessibility.describes-music-and-sound"
	// and AUTOSELECT="YES". For DASH manifests, MediaConvert adds the following in the
	// adaptation set for this track: . If the captions track is not intended to
	// provide such accessibility: Keep the default value, Disabled. When you do, for
	// DASH manifests, MediaConvert instead adds the following in the adaptation set
	// for this track: .
	Accessibility WebvttAccessibilitySubs

	// To use the available style, color, and position information from your input
	// captions: Set Style passthrough to Enabled. MediaConvert uses default settings
	// when style and position information is missing from your input captions. To
	// recreate the input captions exactly: Set Style passthrough to Strict.
	// MediaConvert automatically applies timing adjustments, including adjustments for
	// frame rate conversion, ad avails, and input clipping. Your input captions format
	// must be WebVTT. To ignore the style and position information from your input
	// captions and use simplified output captions: Set Style passthrough to Disabled,
	// or leave blank.
	StylePassthrough WebvttStylePassthrough

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}

// Settings specific to WebVTT sources in HLS alternative rendition group. Specify
// the properties (renditionGroupId, renditionName or renditionLanguageCode) to
// identify the unique subtitle track among the alternative rendition groups
// present in the HLS manifest. If no unique track is found, or multiple tracks
// match the specified properties, the job fails. If there is only one subtitle
// track in the rendition group, the settings can be left empty and the default
// subtitle track will be chosen. If your caption source is a sidecar file, use
// FileSourceSettings instead of WebvttHlsSourceSettings.
type WebvttHlsSourceSettings struct {

	// Optional. Specify alternative group ID
	RenditionGroupId *string

	// Optional. Specify ISO 639-2 or ISO 639-3 code in the language property
	RenditionLanguageCode LanguageCode

	// Optional. Specify media name
	RenditionName *string

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}

// Required when you set Profile to the value XAVC_4K_INTRA_CBG.
type Xavc4kIntraCbgProfileSettings struct {

	// Specify the XAVC Intra 4k (CBG) Class to set the bitrate of your output.
	// Outputs of the same class have similar image quality over the operating points
	// that are valid for that class.
	XavcClass Xavc4kIntraCbgProfileClass

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}

// Required when you set Profile to the value XAVC_4K_INTRA_VBR.
type Xavc4kIntraVbrProfileSettings struct {

	// Specify the XAVC Intra 4k (VBR) Class to set the bitrate of your output.
	// Outputs of the same class have similar image quality over the operating points
	// that are valid for that class.
	XavcClass Xavc4kIntraVbrProfileClass

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}

// Required when you set Profile to the value XAVC_4K.
type Xavc4kProfileSettings struct {

	// Specify the XAVC 4k (Long GOP) Bitrate Class to set the bitrate of your output.
	// Outputs of the same class have similar image quality over the operating points
	// that are valid for that class.
	BitrateClass Xavc4kProfileBitrateClass

	// Specify the codec profile for this output. Choose High, 8-bit, 4:2:0 (HIGH) or
	// High, 10-bit, 4:2:2 (HIGH_422). These profiles are specified in ITU-T H.264.
	CodecProfile Xavc4kProfileCodecProfile

	// The best way to set up adaptive quantization is to keep the default value,
	// Auto, for the setting Adaptive quantization. When you do so, MediaConvert
	// automatically applies the best types of quantization for your video content.
	// Include this setting in your JSON job specification only when you choose to
	// change the default value for Adaptive quantization. Enable this setting to have
	// the encoder reduce I-frame pop. I-frame pop appears as a visual flicker that can
	// arise when the encoder saves bits by copying some macroblocks many times from
	// frame to frame, and then refreshes them at the I-frame. When you enable this
	// setting, the encoder updates these macroblocks slightly more often to smooth out
	// the flicker. This setting is disabled by default. Related setting: In addition
	// to enabling this setting, you must also set Adaptive quantization to a value
	// other than Off or Auto. Use Adaptive quantization to adjust the degree of
	// smoothing that Flicker adaptive quantization provides.
	FlickerAdaptiveQuantization XavcFlickerAdaptiveQuantization

	// Specify whether the encoder uses B-frames as reference frames for other
	// pictures in the same GOP. Choose Allow to allow the encoder to use B-frames as
	// reference frames. Choose Don't allow to prevent the encoder from using B-frames
	// as reference frames.
	GopBReference XavcGopBReference

	// Frequency of closed GOPs. In streaming applications, it is recommended that
	// this be set to 1 so a decoder joining mid-stream will receive an IDR frame as
	// quickly as possible. Setting this value to 0 will break output segmenting.
	GopClosedCadence *int32

	// Specify the size of the buffer that MediaConvert uses in the HRD buffer model
	// for this output. Specify this value in bits; for example, enter five megabits as
	// 5000000. When you don't set this value, or you set it to zero, MediaConvert
	// calculates the default by doubling the bitrate of this output point.
	HrdBufferSize *int32

	// Optional. Use Quality tuning level to choose how you want to trade off encoding
	// speed for output video quality. The default behavior is faster, lower quality,
	// single-pass encoding.
	QualityTuningLevel Xavc4kProfileQualityTuningLevel

	// Number of slices per picture. Must be less than or equal to the number of
	// macroblock rows for progressive pictures, and less than or equal to half the
	// number of macroblock rows for interlaced pictures.
	Slices *int32

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}

// Required when you set Profile to the value XAVC_HD_INTRA_CBG.
type XavcHdIntraCbgProfileSettings struct {

	// Specify the XAVC Intra HD (CBG) Class to set the bitrate of your output.
	// Outputs of the same class have similar image quality over the operating points
	// that are valid for that class.
	XavcClass XavcHdIntraCbgProfileClass

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}

// Required when you set Profile to the value XAVC_HD.
type XavcHdProfileSettings struct {

	// Specify the XAVC HD (Long GOP) Bitrate Class to set the bitrate of your output.
	// Outputs of the same class have similar image quality over the operating points
	// that are valid for that class.
	BitrateClass XavcHdProfileBitrateClass

	// The best way to set up adaptive quantization is to keep the default value,
	// Auto, for the setting Adaptive quantization. When you do so, MediaConvert
	// automatically applies the best types of quantization for your video content.
	// Include this setting in your JSON job specification only when you choose to
	// change the default value for Adaptive quantization. Enable this setting to have
	// the encoder reduce I-frame pop. I-frame pop appears as a visual flicker that can
	// arise when the encoder saves bits by copying some macroblocks many times from
	// frame to frame, and then refreshes them at the I-frame. When you enable this
	// setting, the encoder updates these macroblocks slightly more often to smooth out
	// the flicker. This setting is disabled by default. Related setting: In addition
	// to enabling this setting, you must also set Adaptive quantization to a value
	// other than Off or Auto. Use Adaptive quantization to adjust the degree of
	// smoothing that Flicker adaptive quantization provides.
	FlickerAdaptiveQuantization XavcFlickerAdaptiveQuantization

	// Specify whether the encoder uses B-frames as reference frames for other
	// pictures in the same GOP. Choose Allow to allow the encoder to use B-frames as
	// reference frames. Choose Don't allow to prevent the encoder from using B-frames
	// as reference frames.
	GopBReference XavcGopBReference

	// Frequency of closed GOPs. In streaming applications, it is recommended that
	// this be set to 1 so a decoder joining mid-stream will receive an IDR frame as
	// quickly as possible. Setting this value to 0 will break output segmenting.
	GopClosedCadence *int32

	// Specify the size of the buffer that MediaConvert uses in the HRD buffer model
	// for this output. Specify this value in bits; for example, enter five megabits as
	// 5000000. When you don't set this value, or you set it to zero, MediaConvert
	// calculates the default by doubling the bitrate of this output point.
	HrdBufferSize *int32

	// 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.
	InterlaceMode XavcInterlaceMode

	// Optional. Use Quality tuning level to choose how you want to trade off encoding
	// speed for output video quality. The default behavior is faster, lower quality,
	// single-pass encoding.
	QualityTuningLevel XavcHdProfileQualityTuningLevel

	// Number of slices per picture. Must be less than or equal to the number of
	// macroblock rows for progressive pictures, and less than or equal to half the
	// number of macroblock rows for interlaced pictures.
	Slices *int32

	// Ignore this setting unless you set Frame rate (framerateNumerator divided by
	// framerateDenominator) to 29.970. If your input framerate is 23.976, choose Hard.
	// Otherwise, keep the default value None. For more information, see
	// https://docs.aws.amazon.com/mediaconvert/latest/ug/working-with-telecine-and-inverse-telecine.html.
	Telecine XavcHdProfileTelecine

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}

// Required when you set Codec to the value XAVC.
type XavcSettings struct {

	// Keep the default value, Auto, for this setting to have MediaConvert
	// automatically apply the best types of quantization for your video content. When
	// you want to apply your quantization settings manually, you must set Adaptive
	// quantization to a value other than Auto. Use this setting to specify the
	// strength of any adaptive quantization filters that you enable. If you don't want
	// MediaConvert to do any adaptive quantization in this transcode, set Adaptive
	// quantization to Off. Related settings: The value that you choose here applies to
	// the following settings: Flicker adaptive quantization
	// (flickerAdaptiveQuantization), Spatial adaptive quantization, and Temporal
	// adaptive quantization.
	AdaptiveQuantization XavcAdaptiveQuantization

	// Optional. Choose a specific entropy encoding mode only when you want to
	// override XAVC recommendations. If you choose the value auto, MediaConvert uses
	// the mode that the XAVC file format specifies given this output's operating
	// point.
	EntropyEncoding XavcEntropyEncoding

	// If you are using the console, use the Frame rate 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. The framerates shown in the dropdown list are
	// decimal approximations of fractions.
	FramerateControl XavcFramerateControl

	// Choose the method that you want MediaConvert to use when increasing or
	// decreasing the 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.
	FramerateConversionAlgorithm XavcFramerateConversionAlgorithm

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateDenominator to specify the denominator of this fraction. In this
	// example, use 1001 for the value of FramerateDenominator. When you use the
	// console for transcode jobs that use frame rate conversion, provide the value as
	// a decimal number for Frame rate. In this example, specify 23.976.
	FramerateDenominator *int32

	// When you use the API for transcode jobs that use frame rate conversion, specify
	// the frame rate as a fraction. For example, 24000 / 1001 = 23.976 fps. Use
	// FramerateNumerator to specify the numerator of this fraction. In this example,
	// use 24000 for the value of FramerateNumerator. When you use the console for
	// transcode jobs that use frame rate conversion, provide the value as a decimal
	// number for Framerate. In this example, specify 23.976.
	FramerateNumerator *int32

	// Specify the XAVC profile for this output. For more information, see the Sony
	// documentation at https://www.xavc-info.org/. Note that MediaConvert doesn't
	// support the interlaced video XAVC operating points for XAVC_HD_INTRA_CBG. To
	// create an interlaced XAVC output, choose the profile XAVC_HD.
	Profile XavcProfile

	// 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 by relabeling the video
	// frames and resampling your audio. Note that enabling this setting will slightly
	// reduce the duration of your video. Related settings: You must also set Frame
	// rate to 25.
	SlowPal XavcSlowPal

	// Ignore this setting unless your downstream workflow requires that you specify
	// it explicitly. Otherwise, we recommend that you adjust the softness of your
	// output by using a lower value for the setting Sharpness or by enabling a noise
	// reducer filter. The Softness setting specifies the quantization matrices that
	// the encoder uses. Keep the default value, 0, for flat quantization. Choose the
	// value 1 or 16 to use the default JVT softening quantization matricies from the
	// H.264 specification. Choose a value from 17 to 128 to use planar interpolation.
	// Increasing values from 17 to 128 result in increasing reduction of
	// high-frequency data. The value 128 results in the softest video.
	Softness *int32

	// The best way to set up adaptive quantization is to keep the default value,
	// Auto, for the setting Adaptive quantization. When you do so, MediaConvert
	// automatically applies the best types of quantization for your video content.
	// Include this setting in your JSON job specification only when you choose to
	// change the default value for Adaptive quantization. For this setting, 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.
	SpatialAdaptiveQuantization XavcSpatialAdaptiveQuantization

	// The best way to set up adaptive quantization is to keep the default value,
	// Auto, for the setting Adaptive quantization. When you do so, MediaConvert
	// automatically applies the best types of quantization for your video content.
	// Include this setting in your JSON job specification only when you choose to
	// change the default value for Adaptive quantization. For this setting, keep the
	// default value, Enabled, to adjust quantization within each frame based on
	// temporal variation of content complexity. When you enable this feature, the
	// encoder uses fewer bits on areas of the frame that aren't moving and uses more
	// bits on complex objects with sharp edges that move a lot. For example, this
	// feature improves the readability of text tickers on newscasts and scoreboards on
	// sports matches. 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 that doesn't have moving objects with sharp
	// edges, such as sports athletes' faces, you might choose to disable this feature.
	// Related setting: When you enable temporal adaptive quantization, adjust the
	// strength of the filter with the setting Adaptive quantization.
	TemporalAdaptiveQuantization XavcTemporalAdaptiveQuantization

	// Required when you set Profile to the value XAVC_4K_INTRA_CBG.
	Xavc4kIntraCbgProfileSettings *Xavc4kIntraCbgProfileSettings

	// Required when you set Profile to the value XAVC_4K_INTRA_VBR.
	Xavc4kIntraVbrProfileSettings *Xavc4kIntraVbrProfileSettings

	// Required when you set Profile to the value XAVC_4K.
	Xavc4kProfileSettings *Xavc4kProfileSettings

	// Required when you set Profile to the value XAVC_HD_INTRA_CBG.
	XavcHdIntraCbgProfileSettings *XavcHdIntraCbgProfileSettings

	// Required when you set Profile to the value XAVC_HD.
	XavcHdProfileSettings *XavcHdProfileSettings

	noSmithyDocumentSerde
}

type noSmithyDocumentSerde = smithydocument.NoSerde